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2024 BLACK VINYL REPRESS.
One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.

There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.

Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’

But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.

In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

The UK’s cosmic, psychedelic-funk ensemble issue their first album on maverick producer Madlib’s label, Madlib Invazion. The Heliocentrics’ albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry’s turned-on musique concrète, and Can’s beat-heavy Krautrock, they have – regardless of the label on which they’ve released their music - pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and they are obsessive weirdos in today’s musical climate, searching, progressive humans who are often out-of-time with current trends. They have been playing together for nearly two decades and their collective drive is to find an individual voice. The Heliocentrics search for it in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and “ethnic” music all revolve around “The One.” With Madilb’s label Madlib Invazion for Infinity of Now, the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences, Latin, African, and more.

With I Will Make a Baby in this Damn Economy, Fat Tony embodies the kind of quixotic figure he would rap about; a singular entity who’s motivated, confident, and hungry; a perpetual-motion-machine locked in a staring contest with his country. It’s the latest album in his catalog produced entirely by L.A-based producer Taydex since 2020’s Wake Up. Later that same year Fat Tony released Exotica, and ever since he’s demonstrated he is in his own lane as a professional rapper with the mind of a magician, as quick to conjure an image as pull it out from under you, deftly manoeuvring through so many details and references a listener feels as if they have witnessed the work of an illusionist. He paints these canvases inside of songs that rarely spill past three minutes; they’re pocket-sized diaries replete with acute observations, character studies, microdoses of storytelling, and single-minded ruminations on a topic that bud, blossom, and fade before too long. Fat Tony & Taydex’s I Will Make a Baby in this Damn Economy cements Tony’s status as someone whose albums are not so much lyrically-lyrical as they are picaresque.
As with any Fat Tony project, the bars are tight as ever, but are so fluid for the 34-year-old it’s almost easy to take for granted the details, warmth, and humanity inside his free-associative tales of day-one friends who’ve passed, edgelord grifters who want to spit game, and nights on ketamine. Taydex’s production sprints through disparate yet simpatico styles, dipping its toes into Pi’erre Bourne-esque bass (see lead single “Spectacular”), house (“Loosen Up”), and even hyperpop. Meditations on loss and grief are woven throughout, but Tony throws a few curveballs as well: Consider “Alexis,” which sweetly reflects on a long-term platonic friendship. Taydex finds a Teddy Riley-indebted New Jack Swing groove just deep enough for the feeling to land and underlines the song’s sincere candor. This is the appeal of Fat Tony writ-large: his boisterous voice and genial personality invite you to the party, then you stick around to hear what he’s saying, which is frequently more introspective and complex than one assumes.
Written and recorded in Taydex’s new studio in North Hollywood, Tony says, “We had much more freedom and flexibility in making this album and you can hear it. It felt like a family project.” If the album is comfortable and loose, it is also dense and substantial. The album’s final two tracks contextualize the immediacy of what came before it—the mezcal with ices drank, Paul Wall swangin’ through to drop knowledge, the Polaris Prize-winning rapper Cadence Weapon providing a vibe check. “Make a Baby” accounts for Tony who’s seen everything, and knows he’s met the one to be a father with, and yet chooses to take his time to get it done. Taydex’s beat recalls turn-of-the-century R&B and the millennial promise of an endless good time. Sombre closer “Jasper, TX” is Tony coming to grips with the story of James Byrd, Jr., a Black man from East Texas dragged to his death by three white supremacists in 1998. These songs are not only trademarks of Tony’s fastidious rapping—they are deeply personal examples of his approach to artistry and life itself, where every decision is made in the shadow of history.
It’s here the mission statement of I Will Make a Baby in this Damn Economy comes into focus—you get the sense he means it, he’s ready for it, he’ll fight for it. He’s waiting to take the world at its word.

Internationally renowned singer/songwriter and folk-rock high priestess Alanis Morissette released her greatest hits album The Collection nearly twenty years ago. Now, for the first time ever on vinyl, this collection of hit records is being reissued as account exclusive double LPs in varying shades of violet, alongside a standard black version for the general market. Beautifully assembled and repackaged for vinyl, this collection spans the decade between 1995 and 2005 when the Canadian popstar first broke out in the States. It includes a number of Morissette’s well-known singles, plus a few interesting soundtrack selections, and a cover of Seal's smash single "Crazy".

Internationally renowned singer/songwriter and folk-rock high priestess Alanis Morissette released her greatest hits album The Collection nearly twenty years ago. Now, for the first time ever on vinyl, this collection of hit records is being reissued as account exclusive double LPs in varying shades of violet, alongside a standard black version for the general market. Beautifully assembled and repackaged for vinyl, this collection spans the decade between 1995 and 2005 when the Canadian popstar first broke out in the States. It includes a number of Morissette’s well-known singles, plus a few interesting soundtrack selections, and a cover of Seal's smash single "Crazy".

Twice Removed From Yesterday: 50th Anniversary
Deluxe Edition
Twice Removed From Yesterday is Robin Trower's first solo album after
leaving Procol Harum in 1971 and hooking up with Frankie Miller in the
band Jude
Featuring ex-Stone The Crows bassist/ vocalist James Dewar and Reg Isidore on
drums, it was originally released in March 1973 and heralded the beginning of this
legendary power trio, paving the way for Robin to be the deserved guitar hero that
he is. A mix of hard bluesy rock, the album contains nuggets of genius
throughout, none more so than on the title track, I Can't Wait Much Longer, and
Daydream amongst others.This new deluxe version is housed in a gatefold sleeve
and is remastered for 2023. It features 3 unreleased versions of album tracks, the
B side of the "Man Of The World" single (Take A Fast Train) and 4 BBC John Peel
sessions.

Ivory colored vinyl, limited to 150 copies. "When did time start flying by so fast? It's getting harder to recall the past." The opening lines of As Friends Rust's upcoming album Any Joy are a fitting start for a band that has existed in one form or another for over 25 years (minus a hiatus from 2002-2008). Originally formed in the late `90s, As Friends Rust has been through a few iterations, but it is the core line-up of vocalist Damien Moyal, guitarist Joseph Simmons, guitarist James Glayat, and drummer Timothy Kirkpatrick that are creating thought-provoking melodic punk music for the modern age. With three EPs, two 7 inches, and a full-length in their history, As Friends Rust already have a lifetime of work in their pocket, but the seven songs on Any Joy might just be their most striking yet. Originating in Gainesville, Florida and now spread across the country, As Friends Rust wrote, recorded, and produced Any Joy mostly from the comfort of their own homes. Vocals in Ann Arbor, MI, guitars in Gainesville, FL and Brooklyn, NY, with the exception of the drums, which were recorded in a studio by John Howard in Gainesville. Not currently having a permanent bassist, the band called upon friend Andrew Seward (of Against Me!) to play bass on most of the record, with additional contributions from Simmons. Mixed by James Paul Wisner in Orlando, FL and mastered by Matthias Lohmöller in Germany, the creation of the album was truly a collaborative and international effort. Working in separate spaces allowed the band to experiment more as the songs came together, resulting in a familiar but fresh sound that has more bite than past releases. It's more focused, more direct, more confrontational, more catchy, while still staying true to the band's melodic punk and hardcore roots. Lyrics tackle everything from the emptiness of emoticons as a form of communication on "Positive Mental Platitude" to the need for political and social activism versus the occurrences of daily life on "??No Gods, Some Masters."

Long Island Sound follow up their acclaimed debut album and accompanying remix EP with Don’t Let Me / Air a limited white label release featuring 2 brand new dancefloor-certified anthems that signal a new era for the duo in both style and effect, while certifying them as masters of their house domain.

The Dublin-based duo of Rob Roche and Tim Nolan have made impressive strides as Long Island Sound for close to a decade now, honing their swooning dance craft via beloved EPs on their Signs Of Space imprint while becoming mainstays of their island’s club and festival circuit thanks to multiple acclaimed DJ sets.

Last year, they reached an impressive feat that few Irish dance acts have before them by releasing their debut album Lost Connection.

A 7-track opus that fused dynamic electronic sounds with contemporary styles of house, techno, and breaks, it signalled an exhilarating new direction for the duo that showcased their exceptional artistry in melody and production and subsequently earned them great acclaim.

An accompanying 5 track remix EP followed this year, featuring quality club reworks of various album cuts from producers Cromby, James Shinra, Mor Elian, and Benjamin Damage.

Signing off on that notable era, the duo moves swiftly on with this limited 2 track white label of unadulterated festival-ready house epics that have been highlights of their sets over the past year.

Don’t Let Me glides along a chromatic world of lasered synths, pitched diva croons and shuffling pistons before a breathtaking swell of cinematic rave harmonics reaches a magnificent combustible peak that’ll have you gasping for Air.

The flip cracks the window open, dialling down the frenzy with a magnificent swooning melody sits on top of a growling Reese bassline and mechanized 2-step beat where a romantic ambience grows.

Limited stock. First come first served!

DJ Support:

Pete Tong Radio One Support 21.07.2023

Tim Sweeney supports 'Don't Let Me' on his Beats in Space podcast on Apple Music

John Digweed supports 'Air' on his recent Compiled and Mixed podcast for Apple Music

Jenny Greene 2FM Ireland supports 'Don't Let Me'

Long Island Sound Guest Mix on Jenny's 'The Greene Room' on 2fm Ireland

Das Drängen der Fans war so groß, dass Big Time Rush sich dazu entschieden haben, ihr neues Album digital schon früher als geplant zu veröffentlichen. Am 02. Juni 2023 erschien mit "Another Life" ihr erstes Studioalbum seit 10 Jahren. Nun folgt am 18.08. auch die CD und LP dazu!

Die Band um Kendall Schmidt, James Maslow, Logan Henderson und Carlos PenaVega wurde 2009 durch den Start der Nickelodeon-Fernsehserie Big Time Rush über Nacht zur Sensation. In ihrem Mittelpunkt: die Hollywood-Abenteuer von vier Eishockeyspielern aus
Minnesota, nachdem diese ausgewählt wurden, eine Boyband zu gründen. Die Serie war ein durchschlagender Erfolg und katapultierte die gleichnamige Band ins reale Leben, wo sie drei Studioalben veröffentlichte und weltweit Konzerte gab. Nach einer fast siebenjährigen Pause veranstalteten Big Time Rush 2020 eine überraschende virtuelle Reunion, um das 10-jährige Jubiläum ihres Hits "Worldwide" zu feiern.

Die Wiedervereinigung führte zu einer Massenhysterie unter ihren Fans und wurde zu einem globalen Medien-Spektakel. Im Jahr darauf wurden alle Staffeln der Serie auf Netflix eingestellt, und die Band ging erneut viral. Die Resonanz übertraf alle Erwartungen und bewies die Macht ihrer treuen Fangemeinde. Es folgten neue Musik und ausverkaufte Tourneen.

Mit dem Debütalbum „Old Time Feeling“ stellte sich 2020 die amerikanische Sängerin, Songschreiberin und Gitarristin S.G. Goodman vor. Goodman steht knietief in der Tradition des Southern Rock und verbindet ihn mit Country, Singer-Songwriter-Kultur und hier und da auch mal knackigem Rock and Roll. In ihren Texten legt die Künstlerin den Finger dahin wo es weh tut und in ihrer Musik flirtet sie des Öfteren so charmant mit Indie-Sounds, dass man sie keineswegs als konservativ oder „retro“ bezeichnen kann, auch
wenn sie musikalisch an klassische Vorbilder anknüpft. Der Rolling Stone legte sie beispielsweise allen Fans
von PJ Harvey ans Herz.

„Teeth Marks“ ist S.G. Goodmans zweites Album auf Verve Forecast, wie der Vorgänger wurde es produziert von Jim James von der Band My Morning Jacket. James über Goodman: „Ich denke, sie könnte
eine wichtige Rolle bei dem Heilungsprozess spielen, den wir unbedingt brauchen. Sie ist der lebende Beweis dafür, dass wir sein können, wer wir wollen, egal woher wir kommen.“

Produced alongside Aaron Dessner (The National, Sharon Van Etten, Taylor Swift), Collections From The Whiteout heralds the first time Ben has opened the door to production outside of he and his bands closer confines.

The foreboding darkness that coated Ben’s second record I Forget Where We Were and thinly veiled its follow up Noonday Dream, isn’t so evident on Collections.. These are songs written from headlines scanned, or news stories scrolled past. Ben has taken those snippets and let his curiosity take control, creating an aural scrapbook that reverberates with tape loops and guitar FXs.

There are sounds akin to Brian Eno, Durutti Column and Steve Reich in there, but also Neil Young and Townes Van Zandt. It’s a million miles away from Ben’s multi-platinum selling debut, but a path plotted from Ben’s then to his now isn’t so far removed.



The door was also left open to some new players too. Yussef Dayes, one of the UK’s most innovative young drummer/producer’ especially in the field of jazz features, as does Kate Stables from This Is The Kit, James Krivchenia from Big Thief, Kyle Keegan from Hiss Golden Messenger, and the aforementioned Aaron Dessner lent his hand too where needed. Long-term guitarist to Ben’s band, Mickey Smith, remains a reassuring presence. Rob Moose, a long-standing arranger of strings for Bon Iver and a collaborator to Laura Marling, Blake Mills, and Phoebe Bridgers is also present, peppering the mix.

"One of the more remarkable albums in Freddie Hubbard’s formidable Blue Note oeuvre, Breaking Point! was recorded in May 1964 shortly after the trumpeter left Art Blakey’s Jazz Messengers to form his own band. The quintet—with James Spaulding on alto saxophone and flute, Ronnie Mathews on piano, Eddie Khan on bass, and Joe Chambers on drums—moves assuredly from free-form playing and modal jazz to the blues and balladry on this five-song set of originals by Hubbard and Chambers.
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."

Der renommierte Troubadour aus Illinois erweitert seine musikalische DNA mit Covers Vol. 2, die tiefgreifendste persönliche Musikreise, die er je unternahm. Zuhörer werden mit mitreißenden Interpretationen von Klassikern von Billy Joel (Vienna), Bruce Springsteen (Streets Of Philadelphia), James Taylor (Fire And Rain) und Peter Gabriel (In Your Eyes) sowie Indie-Perlen von Radiohead (Weird Fishes), JP Saxe (A Little Bit Yours) und Manchester Orchestra (Sleeper 1972) verwöhnt. Ebenfalls enthalten sind einige unerwartete Darbietungen wie Jeremy Zucker (Scared), Del Amitiri (Tell Her This) und Go West (King Of Wishful Thinking). William Fitzsimmons: 'Leute, die meinen Katalog kennen, wären wahrscheinlich überrascht zu erfahren, dass ich tatsächlich ein ziemlich großer Fan von Popmusik bin. Von der Brillanz der Beatles und den Beach Boys bis hin zu den moderneren Stilrichtungen von Harry Styles, Beyoncé und Taylor Swift – ich genieße eine eingängige Melodie genauso wie jeder andere.'

The "Origins" collection focusses on one the greatest guitarist of all time. More than 50 years after his death, find the titles that influenced the sound of Jimi Hendrix on a double vinyl! With original tracks by : Muddy Waters - Bo Diddley - Chuck Berry - Little Richard - Buddy Guy - Bob Dylan - Elvis Presley - John Lee Hooker - B.B King

Auf ihrer neuen EP „Sugar EP“ verbindet Tash Sultana kunstvoll Klänge ihrer früheren Werke („NOTION“, „Flow State“ und „Terra Firma“) und schafft somit einen ausgereiften musikalischen Ansatz. Tash verwebt diese Elemente gekonnt miteinander und vermittelt Lektionen aus gegenwärtigen Momenten. Mit ihrer einzigartigen Mischung aus musikalischem Talent und Introspektion wird Tash Sultana ihre Fans weiterhin fesseln und inspirieren und mit ihrer neuen EP eine transformative und tief bedeutsame Erfahrung liefern.

Die britischen URNE melden sich mit ihrem zweiten Album 'A Feast On Sorrow' zurück!

Es gibt Zeiten im Leben, in denen es sich anfühlt, als ob die Dunkelheit das Licht verschluckt. Leid. Verlust. Die Leere, die folgt. Aus der Ferne können wir uns gegen die düstere Unausweichlichkeit von Krankheit, Demenz und Verfall im Alter stemmen, aber wenn man sich näher mit ihren Auswirkungen befasst, erscheint es leicht, sich einen verborgenen Dämon auszumalen, der sich an dem verursachten Elend labt. Aus diesem Schmerz heraus entstand Urnes brachiales zweites Album 'A Feast On Sorrow'. Der Nachfolger ihres Debüts 'Serpent & Spirit' entstand mit Gitarrist Angus Neyra, Schlagzeuger James Cook und der überraschenden Unterstützung von Gojira-Frontmann Joe Duplantier im New Yorker Silver Cord Studio.

Die britischen URNE melden sich mit ihrem zweiten Album 'A Feast On Sorrow' zurück!

Es gibt Zeiten im Leben, in denen es sich anfühlt, als ob die Dunkelheit das Licht verschluckt. Leid. Verlust. Die Leere, die folgt. Aus der Ferne können wir uns gegen die düstere Unausweichlichkeit von Krankheit, Demenz und Verfall im Alter stemmen, aber wenn man sich näher mit ihren Auswirkungen befasst, erscheint es leicht, sich einen verborgenen Dämon auszumalen, der sich an dem verursachten Elend labt. Aus diesem Schmerz heraus entstand Urnes brachiales zweites Album 'A Feast On Sorrow'. Der Nachfolger ihres Debüts 'Serpent & Spirit' entstand mit Gitarrist Angus Neyra, Schlagzeuger James Cook und der überraschenden Unterstützung von Gojira-Frontmann Joe Duplantier im New Yorker Silver Cord Studio.

Baxck in stock! PRESSED ON RED & GREEN OPAQUE VINYL! De La Soul and A Tribe Called Quest may have been more commercially successful, but the afrocentric, jazz political rap movement and unfadeable Native Tounge Massive started with the Jungle Brothers. Their debut full length “Straight Out the Jungle” opened up many doors that are walked through by today’s artists like Mos Def, Common and even Kanye West. Their taste for jazzy horn samples helped kick-start the entire jazz-rap movement, and their James Brown fixation was one of the first. Plus, the group’s groundbreaking collaboration with legendary house producer Todd Terry, “I’ll House You,” paved the way for numerous hip-house hybrids that shot up the dance and pop charts over the next few years and appeared to be a staple on every East Coast Rap Album from ‘88 until ‘92. The opening track “Straight Out the Jungle” samples the classic Bill Withers drum break as the JB’s tell you where they are coming from. “Black Is Black” (featuring a young Q-Tip) and “Sounds Of The Safari” introduces the pro-black edge, while the sexually subtle classics “Jimbrowski” and “I’m Gonna Do You” are funny, clever and timely. Hard, smart, fun, clever and brilliant, Mike G., Africa Baby Bam and Sammy G may not have realized it but they crafted a classic rap album that stands the test of time. Available here on high grade, loud pressed, double vinyl for the first time ever!

Die Trackliste für Guardians of the Galaxy Vol. 3: Awesome Mix Vol. 3 (Original Motion Picture Soundtrack) besteht aus 17 Songs und wird am 5. Mai auf CD und 12” 2-LP Vinyl erhältlich sein.

Im Film spielen Chris Pratt, Zoe Saldana, Dave Bautista, Karen Gillan, Pom Klementieff, Vin Diesel als Groot und Bradley Cooper als Rocket, Sean Gunn, Chukwudi Iwuji, Will Poulter und Maria Bakalova mit. James Gunn ist der Regisseur und hat auch das Drehbuch geschrieben. Kevin Feige ist Produzent, Louis D’Esposito, Victoria Alonso, Nikolas Korda, Sara Smith und Simon Hatt fungieren als ausführende Produzenten.

The summer of 2016 marked the fortuitous meeting of two talented musicians, Zaidi Kiggundu (Ziggy Funk) and Jamie Mcshane, at a music festival. Sharing a love for Funk, Jazz, and Soul music, the duo knew they had to collaborate on a project together. Both Zaidi and Jamie had established music careers, bringing their unique backgrounds and experiences to the table. They also had their own music labels, contributing to their respective scenes.

Their collaboration began with a series of demo sessions at Jamie's studio in Scotland. Together, they laid down the foundation for their debut album, which they named 'Fortuitous.' This album fused Funk, Jazz, and Soul with a contemporary touch, paying homage to the classic albums of the past that deeply inspired them. Despite facing challenges such as scheduling conflicts and the disruptive impact of the COVID-19 pandemic, Zaidi and Jamie remained committed to completing the project.

To bring their musical vision to life, they enlisted the help of top-notch musicians on horns, including Ewan Mains, Konrad Wisniewski, and James Steele. With their contributions, the album 'Fortuitous' delivers solid grooves and captivating arrangements, showcasing the duo's dedication to their craft. The quality of the music caught the attention of Splash Music, who eagerly embraced the project. What started as a chance encounter and a few simple ideas many years ago has now transformed into a fully realized album, ready to be released to the world for everyone to enjoy.