quête:jackson 5

"Brothers Jackie, Tito, Jermaine, Marlon, and Michael Jackson formed the R&B pop band The Jackson 5 in 196Originally released in 1979, Boogie is the compilation album of both previously released and unreleased songs by The Jackson Included on the album are ""ABC"" and Grammy Award nominated ""Dancing Machine"" (sampled by MC Hammer's in his hit ""Dancing Machine""), ""Never Can Say Goodbye"" and seven more songs. Boogie is considered as one of the rarest Jackson 5 albums, as it was released on the Motown subsidiary record label Natural Resources. Boogie is being reissued for the first time since its original release in 1979."

Boogie by Jackson 5, released 15 March 2024, includes the following tracks: "ABC", "One Day I'll Marry You", "Oh, I've Been Blessed", "Just Because I Love You" and more.

This version of Boogie comes as a 1xLP.

• 180 GRAM AUDIOPHILE VINYL
• SECOND ALBUM FROM BROTHERS MICHAEL, JACKIE, TITO, MARLON AND JERMAINE
• INCLUDES THE BILLBOARD HOT 100 #1 SINGLES “ABC”, “ONE MORE CHANCE”, “THE LOVE YOU HAVE” A.O.

The brothers Joe, Jackie, Tito, Jermaine, Marlon and Michael Jackson formed the pop band the Jackson 5 in 1964. In 1968 they signed with Motown Records and became the first group to debut with four consecutive number one hits on the Billboard Hot 100, including “ABC”. This single is featured on the same-titled album which was released in 1970. Other hit single “The Love You Save” is also included on the album. Both singles went directly to the number one position across the board, even knocking The Beatles off their number one spot. ABC peaked at #4 on the Billboard Pop Albums Chart and at #1 on the Billboard Black Albums Chart in the U.S. It remains one of the most popular efforts by the Jackson 5, selling over 5.7 million copies worldwide.

VERY strong track listing with some of the biggest Motown hits ever - should do very nicely going into Christmas gifting area and beyond as a strong catalogue seller.


[B] A2 | Dancing In The Street - Martha Reeves & The Vandellas

In the far reaches of space, an American pilot named Peter Quill finds himself the object of a manhunt after stealing an orb coveted by the villainous Ronan. In order to evade Ronan, Quill is forced into an uneasy truce with a group of misfits including Gamora, Rocket, Drax the Destroyer, and Groot. But when Quill discovers the true power of the orb and the menace it poses to the cosmos, he must rally his ragtag rivals for a last, desperate stand - with the galaxy's fate in the balance. Staring Chris Pratt, Zoe Saldana, John C. Reilly as well as the voices of Vin Diesel and Bradley Cooper.

This deluxe double vinyl edition of the soundtrack to the James Gunn-directed 2014 film Guardians Of The Galaxy includes classic 1970's songs from the movie like Blue Swede's "Hooked on a Feeling," David Bowie's "Moonage Daydream," 10cc's "I'm Not in Love," the Jackson 5's "I Want You Back," Redbone's "Come and Get Your Love," and The Runaways' "Cherry Bomb" plus the film's original score composed by Tyler Bates.

Music plays a major role in Guardians of the Galaxy as the 1970's songs featured in the film are part of the storyline in a unique way. Explaining how the songs come to play in the story, director James Gunn says, "One of the main story points in the movie is that Quill has this compilation tape (Awesome Mix #1) that he got from his mother before she died that she made for him. It was of songs that she loved, all songs from the 1970s, and that's the only thing he has left of his mother and that's the only thing he has left of his home on Earth. He uses that as a connection to his past and to the sadness that he feels of having left all that and lost all that."

POP AMBIENT 2012 begins in an unusually new but nevertheless somehow familiar fashion. MOHN with MANIFESTO is the opening act. A manifest of slowness. A slowness that Jörg Burger and Wolfgang Voigt have taken up as new mission. MOHN is their new ambient-grunge-down-beat project, scheduled to depart on its official musical journey to Middle Earth early 2012.

Stank In Here
Have no fear, the stank is here! Temu & Mofak are bringing it with their new single “Stank In Here”. Serving as a long-awaited follow-up to their first collaboration back in 2015, “On the Come Up”, the duo returns with an even smoother, soulful yet futuristic dance smash meticulously composed by Mofak for people of all ages to enjoy. Meanwhile, Temu addresses the listeners directly with a message of love and togetherness while echoing back to the era of EWF, Kool & The Gang, Zapp & Roger, and The Gap Band.

Heralds of the Stank
Temu is back on the scene with his new solo single “Heralds Of The Stank”. Temu recalls the first moments when the stank hit him personally and credits the ones who introduced him as its heralds — his parents — in an infectious funky tribute song. (Ever heard something so good it made you frown and pucker your lips while nodding your head? That’s the stank face!) Standing ten toes firm on his Funk roots, Temu both lyrically and musically draws inspiration from George Clinton, Sly & the Family Stone, Jackson 5, Prince, and James Brown. Be on the lookout for his upcoming album titled “HERALDS”.

Pariah’s cult album re-issued! “Blaze of Obscurity” brings you pure Thrash Metal fury! Satan changed their name to Pariah in 1988-1989. There’s Heavy Metal, Power Metal, Thrash Metal, Death Metal, the list seems almost endless. Sub-genres are important in metal and bands are quickly classified and labeled. Pariah (the last re-incarnation of Satan) is one of few bands that are difficult if not impossible to classify. Is it Heavy metal? NWOBHM? Thrash Metal? Pariah did not make it easy to describe their sound. It might be too sophisticated to simply label it Heavy Metal, which in its infancy was a rather simple affair.

They don’t sound like any Metal band out there, perhaps discounting some of the more aggressive and technical ones, and then the signature NWOBHM sound is added. The guitar playing by Russ Tippins and Steve Ramsey is undeniably what defines Pariah as well as Satan in the past. Undeniably, Satan has gone a long way; from humble NWOBHM beginnings, to Experimental/Melodic Mettal (in Blind Fury) and something that could be described as a NWOBHM/Thrash Metal hybrid (“The Kindred”). It’s as if they’ve been experimenting trying to find their identity, and theyfinally found it. Stylistically, “Blaze of Obscurity” could be seen a step back to “Suspended Sentence”, but this time around they got everything right, down to the last note. Those who have heard Satan know what to expect: great guitar playing.

And sure enough, “Blaze of Obscurity” is a demonstration of guitar mastery and is overall a very guitar-driven album, with plenty of mind-boggling riffs and solos are all over the place, but more importantly, it’s a demonstration of some amazing songwriting as well. This is easily Pariah/Satan’s creative peak and one of the most consistent albums I’ve ever heard, featuring eight great and conceptually perfect songs with lyrics that come across as sophisticated and thought-provoking. It is not fair to put the entire spotlight on Tippins and Ramsey though since the drumming and bass work from Sean Taylor and Graham English really shines. The rhythm is fast and tight, keeping it focused, aggressive and intense till the end. Vocalist Michael Jackson (yes, that’s his name) has to be commended too as this is easily his careers best performance.

The verdict: “Blaze of Obscurity”: the level of musical genius expressed here, along with near flawless songwriting, is more than enough to skyrocket it to heights reserved only for classics. Probably not your choice for some light listening those quiet Sunday evenings, but those who take a more serious, intellectual approach when selecting their music will find very much to appreciate here.
Tracklisting

180g, Gatefold, schwarzes Vinyl. Fünfzehn Jahre nach Personal Jesus kehrt Nina Hagen mit HiGHWAY TO HEAVEN zu ihrer großen Gospel-Leidenschaft zurück. Gemeinsam mit Produzent Warner Poland, ihrer Band sowie Freundinnen wie Nana Mouskouri und Gitte Hænning interpretiert sie Klassiker neu - von Mahalia Jackson über Sister Rosetta Tharpe bis zu Kitty Wells. Das Album verbindet Southern Gospel, Americana, Reggae und Punk: Von der kraftvollen Neubearbeitung von "Somebody Prayed for Me" bis zur Americana-Version von "Never Grow Old" und einer deutschen Fassung von "Everybody Wanna Go to Heaven". HiGHWAY TO HEAVEN ist ein lebendiges, genreoffenes Gospel-Rock-Pop-Album, voller Spielfreude, Spiritualität und unverkennbarer Nina-Hagen-Persönlichkeit.

180g, Gatefold, White Vinyl, limitiert auf 1000 Exemplare. Fünfzehn Jahre nach Personal Jesus kehrt Nina Hagen mit HiGHWAY TO HEAVEN zu ihrer großen Gospel-Leidenschaft zurück. Gemeinsam mit Produzent Warner Poland, ihrer Band sowie Freundinnen wie Nana Mouskouri und Gitte Hænning interpretiert sie Klassiker neu - von Mahalia Jackson über Sister Rosetta Tharpe bis zu Kitty Wells. Das Album verbindet Southern Gospel, Americana, Reggae und Punk: Von der kraftvollen Neubearbeitung von "Somebody Prayed for Me" bis zur Americana-Version von "Never Grow Old" und einer deutschen Fassung von "Everybody Wanna Go to Heaven". HiGHWAY TO HEAVEN ist ein lebendiges, genreoffenes Gospel-Rock-Pop-Album, voller Spielfreude, Spiritualität und unverkennbarer Nina-Hagen-Persönlichkeit.

Der energetische Tenorsaxofonist Fred Jackson begann seine Karriere Anfang der 1950er Jahre in der
Begleitband von Little Richard. In den frühen 1960er unternahm er einen kurzen Ausflug in die Jazzwelt,
der von Blue Note auf vier Alben dokumentiert wurde. Neben drei Alben, auf denen er sich als Begleiter
der Soul-Jazz-Organisten Baby Face Willette und Big John Patton profilierte, durfte er 1962 “Hootin’ ‘n
Tootin’” aufnehmen - sein einziges Album unter eigenem Namen, auf dem er funkigen Soul-Jazz und Hard
Bop spielte. Anschließend kehrte er zum Rhythm ‘n’ Blues und Soul zurück.

VOLUMES: ONE startet eine neue Archivreihe mit Live-Shows, Demos, unveröffentlichten Aufnahmen und anderem bisher unbekannten Material, das die vielen Epochen und Facetten von Bon Iver zeigt. VOLUMES: ONE "SELECTIONS FROM MUSIC CONCERTS 2019-2023 BON IVER 6 PIECE BAND" ist die erste Folge und vereint 10 Auftritte, die Bon Iver von ihrer wildesten, wärmsten und kraftvollsten Seite zeigen. "Diese 10 Songs sind so etwas wie ,Hier, wenn du Bon Iver noch nie gehört hast oder wenn du es gehört hast und es dir nicht gefallen hat, könnte das hier was für dich sein.' Das ist das, was wir geworden sind. Das ist wirklich unser Bestes. Das ist es", sagt Justin Vernon, der 2020 mit der Arbeit an VOLUMES: ONE begann und Dutzende von Stunden Live-Aufnahmen durchforstete, um die ultimative Trackliste zusammenzustellen. VOLUMES: ONE "SELECTIONS FROM MUSIC CONCERTS 2019-2023 BON IVER 6 PIECE BAND" ist das erste Nicht-Studioalbum von Bon Iver, aber es ist mehr als nur eine Compilation oder ein Live-Album. Die Bandmitglieder Andrew Fitzpatrick, Jenn Wasner, Justin Vernon, Matthew McCaughan, Michael Lewis und Sean Carey sind eine eigene Einheit. Gemeinsam liefern sie sowohl für Neulinge als auch für eingefleischte Fans die definitiven Versionen dieser Songs und lassen die Tracks durch die essentielle Live-Technik von Xandy Whitesel in ihrer reichhaltigsten Form explodieren. Aufgenommen zwischen 2019 und 2023, als Bon Iver ihr bisher letztes Live-Konzert gaben, hebt VOLUMES: ONE die Musik von "22, A Million" aus dem Jahr 2016 und "i,i" aus dem Jahr 2019 hervor, ergänzt durch drei wichtige Stücke. Der COVID-Hymnus "P.D.L.I.F." steht für eine neue Phase von Bon Iver; ein Cover von Mahalia Jacksons "A SATISFIED MIND" erinnert an die frühen Tage von DeYarmond Edison, als Vernon während privater Bandproben sein Falsett entdeckte; und nun endlich kehrt mit "HEAVENLY FATHER" ein beliebter Fan-Favorit zurück. Die berauschende, introvertierte und innovative Seite von Bon Iver, die die Studioalben ausmacht, kann ohne die Live-Band nicht existieren, und VOLUMES: ONE ist wie eine Zeitkapsel - ein prismatischer Blick auf einen alten Freund, der zeigt, wer sie waren und wer sie sind, all das Gute, zu dem sie fähig sind, aber manchmal vielleicht zu schüchtern sind, um es zu zeigen.

Pariah’s cult debut re-issued! “The Kindred” brings you pure old school Thrash Metal fury! Satan changed their name to Pariah in 1988-1989. Satan’s evolution for the time being came to an end here with this band, Pariah, in 1988. What Satan were going for with “Suspended Sentence”, could definitely be seen as a hint to the direction they would take as Pariah. That raspy, ill-tempered, aggressive Michael Jackson (indeed) is still here on vocals and these guys really wanted to tear things apart with this album. The main lineup here is entirely the same from Satan and Blind Fury (vocalists aside).

Simply put, one could easily say they took “Suspended Sentence”’s interesting idea of “NWOBHM meets Thrash Metal” and basically focused on being even more aggressive this time. We might be throwing out the obvious here again, but if you are new to Pariah or perhaps Satan, familiarize yourself with the fact that guitarists Russ Tippins and Steve Ramsey are truly an insane duo. For the most part with “The Kindred” their guitar work is pretty thrashy and extremely melodic. Then out of nowhere those classic NWOBHM solo’s, dual harmonies, and majestic melodies come into play all over the place and they manage to make it work incredibly well in between the thrashy antics. The production and mix seems to be an improvement over “Suspended Sentence” and here the guitars tend to have more of a sharper edge, Jackson’s vocals are constantly in the clear and never overpowered by anything else, and overall there is a tougher vibe surrounding this.

Everything here is pretty damn heavy. While Tippins and Ramsey are really out there in a realm of their own, there’s great performances again by Graeme English on bass and Sean Taylor on drums. Overall you’ve got a whole package of virtuous musicians here that really mastered the beauty of balance. All in all “The Kindred” goes all the way with every track being fast and aggressive. Satan and Pariah are all typically made up of the same core members and definitely created some timeless and unique Heavy Metal.

DIG! is the 6th studio album by UK 5-piece band Mamas Gun, a rare creative brotherhood of passionate musicians making soul music that sounds and feels timeless. Recorded by engineer Neil Innes straight to 16-track analogue tape at All Things Analogue Studios in Leeds, the album captures the sound of five musicians at the very top of their game, coming together to bring 11 lovingly crafted songs to life. The result is intimate performances that put you in the room with the band as the music unfolds.
Andy Platts’ golden falsetto leads songs that explore universal themes of love, family, hope, and redemption, finding uplift in times of downturn. Drummer Chris Boot provides grooves with jazz-like lightness, Cameron Dawson’s melodic bass echoes the spirit of James Jamerson, Terry Lewis brings warm, old-school guitar authenticity, and Dave Oliver connects jazz, gospel, and soul with piano, Wurlitzer, and Hammond organ.
The album features a standout collaboration with legendary Brian Jackson on the jazz-funk title track “DIG!”, as well as fan favourites like “Food For The Flames”, “The Proof”, and “Joy.” Deeply soulful and authentic, DIG! is Mamas Gun at their most accomplished.

‘Michael: Songs From The Motion Picture’ is the official companion album to the brand new biopic ‘Michael’. This album highlights 13 songs showcased in the film, from The Jackson 5 to The Jacksons to Michael’s chart-topping solo success with “Off The Wall” and “Thriller.” This collection includes smash hits like “Billie Jean,” “Don’t Stop ’Til You Get Enough,” “Human Nature” and more.

NOW That’s What I Call 70s Soul brings together 50 era-defining tracks from one of the most powerful decades in soul music, featuring classics from Motown legends, Philly Soul pioneers, smooth balladeers and funk innovators – all pressed across 3LPs on beautiful blue vinyl… Out April 24th!

LP1 opens with one of the decade’s most recognisable love songs: Al Green’s ‘Let’s Stay Together’, a US #1 and UK Top 10 hit that became his signature recording. It’s followed by Marvin Gaye’s ‘What’s Going On’, the socially conscious masterpiece and title track from his landmark 1971 album, and Diana Ross’ Ain’t No Mountain High Enough’, which topped the US chart and became her first solo #1. Stevie Wonder’s ‘Signed, Sealed, Delivered (I’m Yours)’ remains one of Motown’s most joyful recordings and comes before Commodores’ ‘Easy’ introducing Lionel Richie’s smooth ballad vocals. The side also includes Bill Withers’ timeless ‘Ain’t No Sunshine’, a Grammy-winning classic, and The Stylistics’ lush ballad ‘You Make Me Feel Brand New’, a UK Top 3 smash, before closing with Rose Royce’s beautiful ‘Wishing On A Star’, one of the most loved soul ballads of the era.

Flip the LP over and The Jackson 5’s ‘I Want You Back’ – the group’s explosive debut single opens the side. Smokey Robinson & The Miracles’ ‘The Tears Of A Clown’ became a UK #1 and is followed by The Supremes’ Nathan Jones’ showcasing the group’s evolving psychedelic-soul sound. Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, Chairmen Of The Board’s Top 3 smash ‘Give Me Just A Little More Time’ and The Trammps’ ‘Hold Back The Night’. The O’Jays’ joyous ‘Love Train’ leads to The Blackbyrds’ Walking In Rhythm’, before the side closes with the romantic classic ‘Always And Forever’ from Heatwave.

LP2 opens with The Temptations’ epic ‘Papa Was A Rollin’ Stone’, a Grammy-winning US #1 remains one of the most stunning recordings from the Motown catalogue, is followed by Isaac Hayes’ ‘Theme From “Shaft”’, an Academy Award-winner and a US #1 smash. More funk follows from Ike & Tina Turner, James Brown with one of his key tracks ‘Get Up (I Feel Like Being A) Sex Machine’, Edwin Starr’s powerful anti-Vietnam protest song ‘War’, and Sly & The Family Stone’s hugely influential ‘Family Affair’. The Delfonics’ sublime ‘Didn’t I (Blow Your Mind This Time)’ comes ahead of Billy Paul’s timeless ‘Me And Mrs. Jones’ which closes the side…the other side begins with the 1977 #1 from The Floaters with ‘Float On’, before the breathtaking vocals of Minnie Riperton on ‘Lovin’ You’. The Isley Brothers’ Summer Breeze’ and William DeVaughn’s ‘Be Thankful For What You Got’ have become enduring classics and are followed by a run of ‘80s pop-chart crossover hits completing LP2 from Detroit Emeralds, The Moments Raydio and The Tymes’ #1 ‘Ms. Grace’.

LP3 opens with the unmistakable voice of Barry White and his US #1 hit ‘Can’t Get Enough Of Your Love, Babe’, before Aretha Franklin’s ‘Until You Come Back To Me (That’s What I’m Gonna Do)’, delivers one of her smoothest performances. Al Green’s ‘Tired Of Being Alone’ and Gladys Knight & The Pips’ ‘Midnight Train To Georgia’ are followed by minimalist soul classic ‘Why Can’t We Live Together’ from Timmy Thomas, and the side closes with a trio of defining ballads:- George Benson’s ‘The Greatest Love Of All’ Diana Ross’ ‘Theme From Mahogany (Do You Know Where You’re Going To)’ and The Jackson 5’s ‘I’ll Be There’, their biggest hit…while over on the final side…Freda Payne’s #1 ‘Band Of Gold’, opens alongside Ann Peebles’ influential and much covered ‘I Can’t Stand The Rain’.Marvin Gaye’s sensual ‘Let’s Get It On’ became another US #1, while Harold Melvin & The Blue Notes featuring Teddy Pendergrass deliver the contemporary standard ‘If You Don’t Know Me By Now’. Three massive UK #1s are next…The Stylistics with ‘Can’t Give You Anything (But My Love)’, The Three Degrees’ peerless ‘When Will I See You Again’ and Deniece Williams’ ‘Free’. This amazing collection closes with two timeless ballads: Earth, Wind & Fire’s ‘After The Love Has Gone’, a Grammy-winning classic, along with ‘Three Times A Lady’, a huge worldwide #1 for the Commodores.


NOW That’s What I Call 70s Soul, 50 defining tracks from one of music’s greatest decades. Out April 24th.

Sixteen killer 70s reggae funk and soul cuts from the likes of John Holt, Lee Perry, Cornel Campbell, The Cimarons, The Chosen Few and more featuring superb reggae takes on songs by artists including The Jackson 5, William DeVaughn, Diana Ross and The Supremes, War, The Temptations, Roberta Flack, The Stylistics and others!

Well-documented is the influence of American black music on Jamaican styles of the 1960s – from the birth of ska music, when The Skatalites ska-ified the jump-up southern USA rhythm and blues music of Rosco Gordon, Louis Jordan and Fats Domino, through to the creation of rocksteady when Jamaican artists like The Techniques, The Paragons, Alton Ellis and The Melodians turned to the slower rhythms and soulful harmonies of groups such as The Impressions and The Drifters for inspiration. 

Less-well established is that in the 1970s Jamaicans didn’t (shock!) stop listening to American black music styles, with many 70s reggae artists as invested in soul, funk and the proto-disco sounds of Philadelphia, as was the case with rhythm and blues in the previous decade. In the 1970s, while Jamaica promoted its own roots reggae styles around the world, powerhouse USA soul labels such as Motown, Philadelphia International and Stax Records were at the same time all popular on the island.
This interaction between American and Jamaican music was not limited to Jamaica. In Britain, first-generation Caribbean-émigré children in the 1960s and early 70s grew up with an equal love of both soul and reggae, which manifested itself in the home-grown arrival of lovers rock in the mid-1970s.
Soul Jazz Records’ new ‘Reggae Island Soul’ tells this story of how soul and funk-infused reggae in the 1970s united the sounds of Jamaica, USA and the UK into a highly addictive cultural hybrid of styles.

Celebrate the epic conclusion of Netflix’s Stranger Things with the official Season 5 soundtrack, a nostalgic journey back to 1987. Featuring iconic tracks that underscore the final battle in Hawkins.

Limited Edition Transparent Black Vinyl Version - 500 Units Only

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s The House Music Anthem (Move Your Body) featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

After following Luke Blair's work for approaching two decades from his 2007 debut as Lukid on Actress' Werk Discs, we're humbled to present a new album on Death Is Not The End. Following relatively hot on the heels of 2023's Tilt (his first in 11 years, not counting his work with Jackson Bailey under the Rezzett guise) Underloop brings Blair's innate knack for building loops and sound structures further to the surface, while allowing his ear for emotional expression to be dialled up a notch. Those fortunate enough to be familiar with Lukid's work as a DJ will be aware of how distinct his ability is to seamlessly disappear into loop-based abstraction and back again seemingly without blinking, and often Underloop feels much like a collection of the sludgey interludes and foggy sketches that underpin his sets. Blending apparently ramshackle melodies and textures and pulling them together into an undeniable whole, Blair's tendency for pairing the simple and the indescribable with an understated vigour is fully on show here.

Written and produced by Luke Blair. Mastered by Giuseppe Ielasi.

Incl. Pryda, Dexter Connection, Superfunk feat. Ron Carroll, Dave Swayze, Chris Bangs feat. Rita Campbell, Hyper Pearl, Daniel Bovie & Roy Rox, The Disco Freaks, The Mackenzie feat. Jessy



Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 9

A1) Pryda - Allein (Original Release 2012)

Pryda, the legendary alter ego of Eric Prydz, has earned iconic status in the electronic music scene with his refined productions and epic tracks. Under this name, he has released several hits that have stood the test of time, including Allein. This track is a progressive house masterpiece built around a sample from Polarkreis 18's Allein Allein and is infused with the characteristic Pryda sound: grand, hypnotic, and emotionally powerful.

With its timeless and universal appeal, Pryda - Allein has captivated fans worldwide. The track is an absolute floor-filler that forms a highlight in any DJ set. Notably, this iconic track has never had a vinyl release, making this edition extra special for both collectors and lovers of true electronic music history.

A2) Dexter Connection - Baby Be Mine (Original Release 2003)

Released in 2003, this delightful groover samples Michael Jackson's Baby Be Mine and Brothers Johnson's Stomp. The track combines funky basslines with a tight, rhythmic groove that immediately invites dancing. The nostalgic vibes from the classic samples provide a familiar sound, while the modern production gives it a fresh, contemporary twist. Ideal for DJ sets where you want to get the crowd in the right mood.

A3) Superfunk feat. Ron Carroll - Lucky Star (Original Release 2000)

This track needs little introduction. Released in 2000, with soulful vocals from Ron Carroll, it quickly became an iconic hit within the house scene. Lucky Star was the breakthrough single of Superfunk, a French house group,and sold over 500,000 copies worldwide. The track reached number 42 on the UK Singles Chart and has since become a staple in house and dance sets.

With its funky basslines, catchy melody, and infectious groove, it's a perfect mix of disco, house, and soul. The track includes a sample from Chris Rea's Josephine, adding to the recognizable and nostalgic vibe. Lucky Star became not only a floor-filler but also an anthem of the French house movement, alongside acts like Daft Punk and Cassius who dominated the world in the same period.

B1) Dave Swayze - Goldwave (24K) (Original Release 1996)

This 1996 trance classic needs little introduction. Goldwave is a timeless track that continues to resonate with trance lovers, thanks to the unique combination of dreamy synths, hypnotic rhythms, and epic build-up. The track is a true ear-candy and touches anyone who hears it. Originally released in 1996 on Belgium's DiKi Records, it quickly became a classic in clubs like La Bush, Illusion, La Rocca, and many more.

To this day, Goldwave is still played in the sets of many DJs, and remains a favorite at retro trance events. The track has stood the test of time and remains a key track for fans of old-school trance. It's a piece of electronic music history that makes people dream on the dancefloor with its dreamy Goldwave.

B2) Chris Bangs feat. Rita Campbell - Warm Weather (Ibiza BeachBall Vocal Mix) (Original Release 2000)

Warm Weather by Chris Bangs feat. Rita Campbell is a summery, uplifting track that perfectly evokes the atmosphere of Ibiza. The song blends house and trance with the infectious vocals of Rita Campbell, creating a warm, relaxed vibe. The Ibiza BeachBall Vocal Mix adds a touch of Balearic energy, with a calm rhythm and melodies that immediately remind you of sunny beaches and carefree days. Originally released in 2000 on the UK label INCredible, it remains a hidden gem for many trance lovers.

C1) Hyper Pearl - Can You Feel The Pain (Up & Vox Version) (Original Release 1995)

This 1995 trance classic made a lot of noise in clubs like Illusion, La Bush, Lagoa, and At the Villa. Pure old-school trance with emotion and drive like only that era could produce. A fantastic track, produced by Carl Drake, Matt Spinner, and Zzino, originally released on Belgium's Aquatic label.

C2) Daniel Bovie & Roy Rox - Stop Playing With My Mind (Dub) (Original Release 2008)

Daniel Bovie (aka Danny Van Wouwe) is a versatile producer with dozens of tracks to his name, many of which are considered classics. This track is no exception. Originally released on the legendary Strictly Rhythm label, co-produced with Dutch producer Roy "Van Luffelen" Rox, this track quickly became a floor-filler and charted in Belgium and the Netherlands. The vocals wereprovided by the talented Nelson.

D1) The Disco Freaks - Make My Dreams Reality (Chord Memory Mix) (Original Release 1997)

Originally released on an EP by The Disco Freaks, the alter ego of producers Bart Grinaert and Lajos Meszaros. This mix, which is much stronger than the original, quickly became a club classic and was played extensively in clubs like Illusion, Carat, and Extreme. A delightful, groovy, and uplifting track that combines disco elements with house. The Chord Memory Mix adds a nostalgic touch by using warm chords, funky basslines, and uplifting percussion.

D2) The Mackenzie feat. Jessy - I Am Free (Marino Stephano Club Mix) (Original Release 1997)

I Am Free by The Mackenzie needs little introduction and is a must in every DJ and vinyl lover's collection. This mix, often played at our parties, is something special. The man behind many legendary trance classics, Marino Stephano (RIP), hasreworked this version in his unmistakable way. The remix has an energetic and captivating vibe, with deep, hypnotic beats and floating synths. A beautiful track in its original version, it continues to fascinate.

Soul Music legend Candi Staton returns to her down-home Alabama roots on her 32nd album, Back to My Roots. The twelve-track Americana set features an array of Staton-penned originals and some well-chosen covers.

"These songs represent my roots," Staton adds as she reflects on her many trials and triumphs. "Even the new songs on some level represent something I've experienced and that's what real soul music is about." Back to My Roots was produced by Staton with her second eldest son, Marcus Williams, a professional drummer who has toured with the likes of Peabo Bryson, Isaac Hayes, and Tyler Perry. They brought in Mark Nevers of Lambchop fame, who produced three of Staton’s prior Americana albums for Honest Jon’s and Thirty Tigers, to sweeten certain tracks. “Some of the first songs I ever heard were songs like `Peace in the Valley’ and `It’s Gonna Rain,’” says Staton. “The new songs or cover songs are tracks that remind me of that era when I was growing up as a child and evolving as a young woman. That’s why I named the album Back to My Roots because I’m going back to the roots that made me who I am.”

Staton received the Americana Music Association UK’s highest honour, the International Lifetime Achievement Award, at the UK Americana Music Awards ceremony at Hackney Church in London last year for her southern soul work that stretches from her 1969 Muscle Shoals hits to her more recent collaborations with the likes of Americana kings Jason Isbell and John Paul White.
The album opens with a mid-tempo Bonnie Raitt-styled contemporary blues “I Missed the Target Again” that finds Harry Connick Jr.’s longtime guitarist Jonathan DuBose Jr. (aka the Prophesying Guitarist) showing off his skills that set the tone for the song and the album.

Staton’s older sister, Maggie Staton Peebles (who alongside Staton was a member of the Jewel Gospel Trio in the 1950s), joins her for two duets. The first, “It’s Gonna Rain,” features just a drum, steel guitar and vocals. “My mother used to sing that song to us all the time when I was a child,” Staton recalls. “It’s a really soulful kind of song I wanted to revisit.” They then take turns leading Thomas Dorsey 1939 gem “There Will Be Peace in the Valley” that Elvis Presley popularized in the 1950s.

“Hang on in There” is a new, mid-tempo song that has an old school gospel flavour and features vocals from veteran bluesman, Larry McCray.
While in Europe in 2023 for her farewell concert tour that took her to the Glastonbury Festival and Love Supreme, Staton and her British band, PUSH, went into a London studio to record a new version of The Rolling Stones’ 1972 gem, “Shine A Light.” “I love the way that came out,” Staton says. “We put a big choir on it and put our own twist on it.”
From there, Staton revives another Thomas Dorsey classic, “The Lord Will Make a Way Somehow,” with a bluesy vibe. When Al Green started recording gospel in the early 1980s, he re-introduced this song into the culture.

“God’s Gonna Use Me Anyway” is a new mid-tempo blues with subtle Caribbean influences.

The mood takes a turn on “1963.” It’s a poignant, spoken-word reflection on September 15, 1963, when four black girls were killed in the Birmingham Church bombing. “I was in the city that day and I remember the chaos and horror after the bombing,” Staton recalls. “Just thinking of how racism and hatred caused those men to kill those girls was so emotional for me that I could only do it in one take.”

It's a perfect segue into "Reach Down and Touch Heaven," a haunting, plea for divine intervention into the affairs of mankind. "That's straight Baptist," she says. "I used to be a church pianist back in the 1960s. I've never played piano on one of my records before so that's a unique song for me because I’m finally playing on one of my records. The message of that song is about the homeless. It came to me when a homeless person on the street asked me for $5. When God touches your heart to help somebody else that’s heaven to God’s hears. So, when we reach into our purse or wallet to help someone, we’re touching heaven."

Staton offers love as an antidote to hate on the bouncy, Motown-styled, “Love Breakthrough.”

Her publicist brought Aaron Frazer & the Flying Stars of Brooklyn NY’s 2017 cut “My God Has a Telephone” to Staton’s attention. She shifts the track from a retro 1960s groove to more of a 1980s Malaco Records arrangement, a subtle but distinct variation. Staton brought in her longtime friend and STAX Records legend, William Bell (“I Forgot to Be Your Lover” and “Trying to Love Two”), to add raspy seasoning to the track.

The album closes with the wistful, “In God’s Hands We Rest Untroubled,” that was originally written and recorded by the late country star, Lari White, who died in 2017 at the age of 52. “Lari sent me that song to consider at least ten years ago and I always loved it,” Staton says. “The record label didn’t want it on the album or something, so I just held it.”
Staton says, “I grew up hearing a lot of these old songs when they were new songs. I toured with the Jewel Gospel Trio in the 1950s and we got to know people like Mahalia Jackson, Sam Cooke and others who sang these types of songs. So, I’m sort of paying tribute to them and the influence they had on me by refreshing these songs and making new songs in the old style.”’

Das mit einem Grammy ausgezeichnete Album "Stankonia" enthält den weltweiten Hit "Ms. Jackson" (über 1 Mrd. Streams) sowie "So Fresh So Clean" (250 Mio.+ Streams) und "B.O.B." (100 Mio.+ Streams) und taucht regelmäßig in den Listen der besten Alben auf, z.B. in der "Rolling Stones 500 Greatest Albums Of All Time". Erhältlich als schwarzes 2LP-Vinyl-Set.

200 Records marks its 50th release with a four-track EP showcasing both fresh faces and long-time contributors to the label. M.R.E. opens with a vibrant house cut, full of energy and warmth. Blauert follows with a deep, dub-tinged house track, subtle but with a steady, driving rhythm that keeps things moving. Havantepe contributes a deep and intricate Detroit-inspired techno track, rich in texture and unmistakably his own. Till Krüger rounds off the release with a timeless B2 track: —subtle, melodic, and unmistakably his in style.

Highly recommended by Paul Nazca, Tim French, Chad jackson, Brett Gould, Johan, Sinca, Spencer Brown, Steve parry, Ruede Hagelstein,
Karotte, Alexander maier, Greg Eversoul, Dibby Dougherty / Island Hill, Adi Shabat, Michel de Hey, Francesco Chiocci, Paul James Nolan,
Yas Cepeda, Urmet K, Satoshi Fumi, Steve Raschke, Siavash, Ranj Kaler, Nhar / Bernhard Siefert, Four Candles, Alex Neri, Dimitri Schnider / Definition,
Yves Eaux, Cerillio, Paco Osuna, Lonya, Richie Hawtin, Just Her, Stefano Lotti, Nick Stoynoff, Joseph Capriati, Luke Garcia, Mihai Popoviciu, Daniel Mehlhart, Joris Voorn, Jamie Jones, Greg Fenton, Audio Jack, Stefan Weise....to name a few!

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
out

In 2025 Acid Jazz announced the Spring Revisited project, in collaboration with Ace Records,
exploring the musical legacy of the iconic New York label Spring Records, with a series of new
mixes and limited edition vinyl releases.
After the rapid sell-out of the first release – 12” mixes of Millie Jackson’s iconic ‘We Got To Hit It
Off’ from Dimitri From Paris and Opolopo respectively – they are introducing a special 7” to the
series. This release is fronted by Dimitri’s ‘Liberated Woman Edit’ of the track – a vinyl exclusive,
dance-floor and flight-ready for DJ sets this summer. It is backed by a special edit of Dave Lee’s
inspired disco mix of The Joneses ‘Love Contest’.
It is presented in a beautiful, aged reproduction of the classic Spring house-bag, looking as if it
were hand-delivered to you from 1979. Limited to 500 copies and out 11 July, pre-order is
advised…

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

The Beatles played two shows at the Montréal Forum on September 8th 1964, a matinee at 4pm and an evening performance at 8pm and at 6pm they held a press conference for Canadian Broadcasting Corporation from the Forum’s stage. A local newspaper had reported that somebody was going to kill Ringo, so instead of staying the night in Montréal, they flew out straight after the evening show and arrived at Key West at 3.30am where hundreds of fans were awaiting them. After a day off in Miami, the group performed at the Gator Bowl in Jacksonville, Florida the following night.
We have done the best we possibly could with these admittedly lo-fi yet important historical recordings. The source is AM radio and there is considerable distortion on the vocals. The broadcast was faded out halfway through A Hard Day's Night so the last two songs of the show, I Want To Hold Your Hand and Long Tall Sally were not transmitted.

Change, founded in 1980 by Mauro Malavasi, Jacques Fred Petrus, Davide Romani, and
Paolo Gianolio, is a legendary band on the interna#onal soul/disco scene, renowned for
launching iconic voices such as Luther Vandross and Jocelyn Brown.
Their debut album, The Glow of Love, was produced in 1979 between Bologna and New
York. Widely regarded as one of the greatest disco/soul/funk LPs of all #me, it achieved
enormous interna#onal success. It was the first Italian produc#on in this genre to enter the
Billboard 200 chart, peaking at #29 and earning a Gold Record. The singles “A Lover’s
Holiday” (Top 40 on the Billboard Hot 100), “Searching,” and the #tle track “The Glow of
Love” (which reached #2 in Italy) solidified the album’s global impact.
So influen#al was the record that in 2001, Janet Jackson sampled the #tle track for her hit
“All for You,” which went on to win the Grammy Award for Best R&B Recording.
Throughout the 1980s, Change released five addi#onal albums:
• Miracles (1981)
• Sharing
Your Love (1982)
• This Is Your Time (1983)
• Change of Heart (1984, produced by Jimmy
Jam & Terry Lewis)
• Turn on Your Radio (1985)
In 2010, the previously unreleased album Change Your Mind—recorded in the 1990s and
produced by Davide Romani—was finally released.
In 2018, aEer a 33-year hiatus, Love 4
Love marked the band’s comeback. Produced by Romani and Stefano Colombo, the album
introduced vocalist Tanya Michelle Smith and featured eight original tracks wriGen by
Romani, Malavasi, Colombo, and Elio Baldi Cantù. The singles included:
• “Hit or Miss” (remixed by Soulpersona)
• “Love 4 Love” (also remixed by Joey Negro)
• “Make Me (Go
Crazy)” (remixed by Opolopo)
Embrace (2025), credited to Change feat. Tanya Michelle Smith, represents the natural
musical evolu#on of Love 4 Love. Originally conceived in 2019 as Tanya Michelle Smith’s solo
album, it was later reviewed by producer Stefano Colombo together with Mauro Malavasi,
who approved the material and authorized the use of the name “Change.” Malavasi also
contributed to the cover design and selected the album #tle: Embrace.
The first single, “Sunrise Forever,” was released on January 10. The remix by Michael Gray
reached #1 on Traxsource and ranked high on the UK Soul Chart.
The album’s release was postponed when Davide Romani and Stefano Colombo decided to
complete an unfinished demo from the Love 4 Love sessions. Some original parts were lost
due to a corrupted backup, but in 2025 the track was completely rearranged with a newly
recorded bassline by Romani and fresh backing vocals.
On April 4, the single “Got 2 Get Up” was released across all digital plaOorms, receiving
strong radio airplay across Europe and entering the UK Soul Chart. On May 16, a remix by
renowned Italian duo Micky More & Andy Tee will be released in an#cipa#on of the album.
Embrace includes ten original tracks and one cover.
The album will be available on CD and vinyl, distributed by Self Distribuzione Srl. The first
500 vinyl copies will be issued as a limited “Expanded Edi&on”, including the full album plus
a bonus 12” single with Michael Gray’s remixes of “Sunrise Forever.”

The Situation collective headed up by Mr Mulatto and Frank Situation return with their much-anticipated new album ‘Audio Proxemics’. Across nine sumptuous tracks it explores a warm array of sounds from jazz-flecked deep house to soulful nu-disco with guests like Javonntte, Faze Action's Robin Lee and more. Situation is a collective of DJs, producers, editors, and musicians who hail from the five valleys of Stroud in the UK. Between them they have deep roots in electronic music and have been entrenched in the scene on many levels from hosting their own events, organising free parties, releasing everything from deep house to tech under several aliases and, since 2014, have established Situationism Records with cultured sounds from the likes of Ashley Beedle, Greg Wilson, Dr. Packer, and more.

This accomplished new album has been two years in the making and began with three tracks recorded by South African vocalist Venessa Jackson while she was on tour in the UK. As well as Venessa’s sweet tones, vocalists from across the globe contribute alongside some core Situation members: James Payne, Phil aka Dr Keys and Jon Gray aka BitterSuite who take care of bass, arrangement, production, and guitar.

It’s a timeless record that spans everything from jazz to funk with real musicality and standout instrumental skills lighting up each track. Underground favourite Javonntte adds deep and smoky tones to the flute laced and sunny house sounds of 'Bullit' while 'Never Taken A Weekend Off' is a lush broken beat sound with radiant synth leads and vocal hooks that echo classic Brit funk. 'Mrs Donovan' is a more club-ready sound with dazzling keys dancing over dusty house drums and 'Fairy Godmother' is a gorgeous slice of disco house with vibrant strings from Faze Action's Robin Lee and an effortlessly cool acid jazz vocal. Add in 'Over & Over', a lovely jumble of chords, organic percussion and life-affirming horns, and the hip-swinging drums and expressive interplay of sax and synth on the uplifting 'Rodborough Groove' and you have an album perfectly suited to bright days and hot summer nights.

1. Watermelon Man
This track version actually came from an improvisation that Allesandro IIona (Keys) made on a live show at RonnieScott's at the start of the year. I think we were were having some issues with one of the monitors on stage and it juststarted making this beeping sound. Then I remember Alleh just came in with that piano riffat the start and the rest was history. This one of thefirst tracks we recorded for the EP and I'm super pleased with how this one turned out. Afterseeing Herbie Hancock live for thefirst time the year before, this felt like the perfect tribute to him!

2. Mandible
The majority of the writing on this album was done at my studio space in Hither Green, where I am every tuesday! I usethis space to record but mainly a space to develop my art. So this EP all came from a few sessions there. We all haveour own creative things going on so it was really great to collaborate as a band and trash out some ideas we had.Mandible is one of my favourite tracks on the EP. It's very simple but leaves us a lot of space to explore some more freeimprovisation. I think in some of my previous recorded music I was more focused on creating well crafted music withgreat melodies and harmony. Whereas here there's a bit more focus on playing as a group and being more explorative inimprovisation. We also didn't have a melody for this track until a week before the recording! Sometimes it just takes awhile tofind that melody or it might just pop into your head one day.

3. Slum
This is a tune that was actually written by myself in 2017/18. Round about that time, I had been playing at a jam night ata warehouse unit in Limehouse called Unit 31. The night was ran by Pianist Raffy Bushman and Drummer Sam Michnikand was focused on hiphop and Jazz fusion. We would usually play a set of instrumental music before it opened up forvocalists and other instrumentalists to come and jam. It was a great place to try out new ideas, so I wrote this tune for itbut we never recorded it. It was really nice to revisit this tune and get it recorded properly at 'That SoundStudios' (Seven Sisters). This track is all about dynamics and a slow build throughout. Descending to more chaos at theend!

4. Red Pistachio
For thefirst two sessions we wrote with a different bass player to Edmondo Cicchetti who is on the recordings. A greatbass player and friend of mine Tom Driessler. This track started kinda exactly how it starts on the record, with that basshook. I'm very influenced by Christian Scott Atunde Adjuah and his melodic writing. Particularly on his album 'StretchMusic'. So this felt really inspired by that album. The chords don't really move around too much until the solo sectionwhere it becomes more like a blues. Then Allesandro get's a bit more loose at the end with the descending sequence.

5. Jerome arrived Late
Quite simply we started writing this tune before Jerome (Drums) arrived late. In the recording session we were a bitundecided about what to do in the solo section. We tried out a few different options before we eventually landed onfeaturing Gabriele Pribetti on Sax. I'm really into his solo on this as it's rhythmically and dynamically really exciting. As Imixed the record it was also a great solo to mess with and run through lots of different plug-ins. There's some weirddelays and phasing going on that and I added some octaves too in places.

First Word Records is very proud to bring you the 10th anniversary edition of Tall Black Guy's debut LP '8 Miles to Moenart'!

It includes two brand new jazz interpretations ('From Home To Work, And Back' and 'Running The Motor'), recorded with a live band, as well as a new intro cut ('Black Detroit'), and an alternative mix of the single 'Mon Amie De'troit', previously only available on 7" vinyl.

The original vinyl LP release was a one-time limited edition pressing; this being the first time this project has been available on wax since then, and also includes entirely new artwork and photography.

From humble origins in Detroit, raised on a healthy diet of Motown, jazz and hip hop, Terrel Wallace (aka Tall Black Guy) has become a standard bearer for the hip hop beats scene. Through a steady stream of soulful productions filled with incredibly clever sample flips and deft production chops, he has won fans across the world, including Gilles Peterson, Benji B, Don Letts, Lefto, Tom Ravenscroft, Lord Finesse, Huey Morgan, Anthony Valadez and countless others, along with sessions for Boiler Room and more.

'8 Miles To Moenart' literally brought Tall Black Guy full circle, and proceeds to do so once again. Detroit was where he started making music, and it's to his hometown he took inspiration for this debut album. Taking in low-slung hip hop, downtempo house and jazz-tinged street soul, it's a record of rare focus. It encapsulated the musical heritage of Detroit, through the looking glass of Tall Black Guy's own signature sound.

Follow up releases included his sophomore First Word album 'Let's Take A Trip' (which also featured the likes of Masego, Daniel Crawford, Miles Bonny and Moonchild), and records on Ubiquity, Bastard Jazz and Street Corner Music, to name a few, along with a steady slew of limited self-released edits amd productions, most recently with his #7DayVaults series.

He's worked with a number of formidable artists worldwide, including recent extensive work with Zo! (Little Brother), Ozay Moore, Deborah Bond and Dee Jackson (80's Babies), as well as collaborations with 14KT and First Word label-mate Allysha Joy, to name just a few. He is also an integral player for DJ Jazzy Jeff's infamous PLAYlist Retreat sessions, along with more First Word family, Kaidi Tatham and Eric Lau, as well as artists like James Poyser, Ali Shaheed Muhammad and Questlove, and he was a core contributor to First Word's 'Nothing Leaves The House' series, along with Eric, Mr Thing and kidkanevil.

Tall Black Guy has firmly established himself to be one of the most influential producers working today.

Terrel says "I made the bulk of this album back in Detroit around 2012/2013, before I relocated to the UK. I've been back living and working in the States for a while now, and it's great to look back on this project. But while it's nice to reminisce, it's important to look forwards, so I wanted to include something new here to represent my progression as an artist, so there's some new versions included, that I created with the help of some jazz musician friends of mine."

'8 Miles to Moenart' (10th Anniversary Edition) will be released on digital & vinyl on October 18th 2024.



c 03: Funeral Biz / Welcome to Detroit (Interlude) feat. Malice & Mario Sweet

e 05: Mon Amie De`troit (7" Version) feat. Ozay Moore

Greg Wilson returns to Running Back with another special project.
Forty years on from the release of the groundbreaking ‘Street Sounds UK Electro’ LP, ‘Real Time’ (two versions of which opened the separate sides of the album), finally gets a 12” release. Despite its prominence on ‘UK Electro’, it was the only inclusion not to be issued on 12” back in 1984.
Zer-o, like Syncbeat and Forevereaction, were the same trio – Manchester musicians, Martin Jackson and Andy Connell, and DJ Greg Wilson, making his first foray into record production. They also teamed up with rappers, Kermit and Fiddz, for the Broken Glass
track, ‘Style Of The Street’, one of the early UK hip hop releases. Fictional production and songwriting credits were added by Street Sounds to suggest a thriving British electro scene, the music having blown-up in New York during ‘82/’83, with the ‘Street Sounds Electro’
series, launched in October ’83, documenting these developments and unlocking a significant youth market who’d religiously collect these compilations.
Featured here is a Greg Wilson edit of ‘Real Time’, the ‘retrospective dub’ (the ‘UK Electro opener, which was in fact the original demo version of the track), and a Gerd Janson bonus beats edit. Flip it over and you’ll find a pair of 2024 reworks – the retrospective
dub, and the more downtempo introspective dub – courtesy of Greg and Ché Wilson, whose recent collaborations have included remixes for Gabriels and Confidence Man.