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Our much in-demand series of classic Brazilian 45’s are back! Featuring a vibrant new design, we’ve curated yet more wants-list regulars and unearthed fresh finds from Brazil that are destined to become collector’s items in their own right.

Number 80 in our Brazil.45 series, aptly sees a double-sider focusing on the awesome 80’s recordings by one of the giants of Brazilian music, Jorge Ben.

First up is the addictive, building groove of ‘Curumin Chama Cunh t Que Eu Vou Contar (Todo Dia Era Dia De ndio)’. Taken from the ‘D diva’ album from 1981, and originally released on Som Livre Records. A homage to the indigenous people and tribes of Brazil. The flip features one of Jorge’s most beloved Brazilian-Boogie joints, ‘Rio Babil nia’, which celebrates life in Rio, partying, the beach, and the city’s iconic monuments.

The song was originally released on a compacto and taken from the ‘D diva’ album from 1983, it features arrangements by the late-great, Lincoln Olivetti.

Mr Bongo is proud to present 'The Original Sound of Mali', compiled by Vik Sohonie & David Buttle.
Malian music is arguably deeper, more sophisticated and lyrical than any other form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a
selection of songs from across the country.
Compiled by Vik Sohonie & Dave 'Mr Bongo' Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. A treasure chest of rare finds from around the world! One mix in particular stood out and totally enthralled Dave - le monde à change: a tribute to mali 1970 - 1991. He
already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else! Deep & culled from the collections of some of the heaviest African music collectors in the world, legends like Vik Sohonie, Hidehito Morimoto, Philippe Noel, Gregoire
Villanova, and Rickard Masip. Dave immediately contacted Vik and a journey of discovery tracking down the rights-holders began. He also turned to the font of Malian music knowledge, Florent Mazzoleni. Florent has written the definitive book about Malian music - 'Musiques modernes et traditionnelles du Mali'. He
proposed some incredible tracks to include and provided the back bone of the sleeve notes and photos that are used in the album. No Malian album would be complete without a striking front cover photo, and ours is sourced from the late great Malian photographer Malick Sidibé.
On this album you will find well-known artists sitting next to rarer
discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kanté and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kanté Manfila, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. As an albino Salif has had to face considerable prejudice from society, focussing on his musical career to help overcome this.

A major discovery on the album has been Idrissa Soumaoro et L'Eclipse de L'Ija. L'Eclipse de l'Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household stars, including making an album with Manu Chao.
This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali's rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.
Dedicated to Malick Sidibé.

On their most explicit venture into music for moving image, Miles Whittaker & Sean Canty rudely fracture piano and vocal recordings by US filmmaker-musician Kristen Pilon in a short-circuiting of style and pattern.

Shredding up definitions of electro-acoustic opera, spectralist chamber musique and concrète rave, Demdike hit square between the eyes/ears of film music vernaculars on a startlingly strong addition to their unique oeuvre, now in its 16th year of elusive psychoacoustic strafes and jump-cuts across putative borders. The 13-part, hour-long album dislodges source material made for the experimental film ‘To Cut and Shoot’, by Kristen Pilon, an NYC-based musician and filmmaker, to farther refract the film’s themes of serendipity and the nature of ghosts and dreams with a flickering flux of sound-imagery and aleatoric weirdness appropriate to her original meditations, but also freely messing with their forms.

Situated just a few miles north of Houston, Cut and Shoot is a relatively insignificant Texas town with an unforgettably bizarre name. Pilon grew up not far from Cut and Shoot, and it's there where she ran into 65-year-old machinist and motorcyclist Robert Lewis Stevenson, better known as Bobbo, who's pictured on the album's cover. The meeting occurred a few months after Pilon recorded her improvisations on piano, strings and voice in the basement cellar of the Halle in Manchester, with Bobbo providing the necessary narrative heft the trio needed to inspire an experimental film and its accompanying soundtrack.

Responding to Kristen’s initial piano and operatic vocal recordings, Demdike return a volley of discrete parts tilting from typically cantankerous mayhem to quieter, more clandestine buzzes sliced with crazed interstices of the imagination, all marbled with the plasmic contrails of the paranormal which have long been peculiar to their work. With a poetic flair reflecting Pilon’s own phrasing and melding of mediums, Demdike unfold and expand her melodic fragments into temporal mazes, variously resembling the most messed-up ends of The Caretaker in ‘A Grave Fall (January)’, but also liable to skew into buckshot club turbulence, as with ‘Belly Up’, or the bittersweet bruk contortions of ‘Twist’.

The storyline wickedly frays and loops into itself with a non-linearity that recalls the mid-to-latter stages of Lynch’s ‘Mulholland Drive’ or waking from a sweaty fever dream only to pitch back into its thorny bush of ghosts, often within the space of one track. It’s testament to the ever-tighter binds of Demdike’s symbiotic vision that the results nevertheless hold a thread of logic that weaves in everything from their Jon Collin jams to reams of mixes and Gruppo edits with an unresolved, open-ended quality that still keeps us on our toes, perhaps more so than ever here.

This anthology follows Now-Again's Loving On The Flipside, issued more than a decade ago. And that anthology itself got its start in a different time, a decade even earlier - the era in which Now-Again's Egon and his friends chased down funk 45s and the odd LP for their testosterone riddled, aggressive sound. Often times the funk song on one of their chosen is would be the throw-away b-side, the hasty afterthought the band cobbled together the night before hitting - or while in - the studio because they'd put all of their energies into writing the amazing ballad that would ensure their entry in soul's history books. Every once in a while, that funk song they coveted could have been - in an alternate universe - a ballad. The Third Guitar's "Baby Don't Cry," El Pooks* "I Could Do The Impossible" and Spider Harrison's "Beautiful Day" all fit into this category. That realization notwithstanding, more often than not they shined over the ballads to get to the tough stuff. Then they started flipping those funk records over to find some loving on the flip side. Some marvellous tunes were there to be found. This is the long awaited follow up. Contained within this anthology are some of the greatest soul ballads that go sweet with a beat - or, to follow our tagline, epitomize "sweet funk." Most of these songs have never been compiled. Some have never been issued in any form. Some, like the Ledgends entry here, were sampled to great success (in that case for Freddie Gibbs and Madlib's "Deeper"). Some haven't been sampled, but, like Herb Johnson's entry, are patiently awaiting their day. It should go without saying that we're proud to present this music in good conscience; with the full participation of everyone but the most obscure names contained within. And, for those who we've not yet been able to contact, this is our message: We've found your brethren, we've placed them beside you on an album that we hope you feel is befitting of your collective contributions to soul music and now we're just waiting for you. Though the music you recorded is from the years past, vour time is now.

Worldship Music returns for 2025 with a brand new various artists EP sure to set all soulful dancefloors on fire. The second installation of the Herald Traccs series welcomes back label stalwarts Roberta and Trilaterals while bringing Reelsoul into the fold as well, of course alongside a cut by imprint head Teflon Dons.

Reelsoul kicks proceedings off with a stunningly beautiful version of an all time classic jazz inflected dance jam “La Costa”. Leaning into the sophisticated vocal harmonies, a bed of warm instrumentation carries this familiar joint seamlessly into the modern era. New crowds and veterans alike will be swept away on an unforgettable lover’s holiday to the seashore.
Trilaterals come through in full on party mode on “Flo Jo”. Filtered and chopped samples from a funk staple are twisted into a swinging groove that will have house dancers going off. The stripped back arrangement teases with energy before exploding into dancefloor ecstasy. Adept sample spotters will be sure to get the title reference, a wink and a nod to two legends of black American culture.
Teflon Dons can’t help but put their underground edge into the music, with “DONTWANTU2GO”’s tough drums immediately signaling the late nite intentions of this banger. Pleading vocals and pitched chords add a twinge of that distinctive deep house melancholy before the strings drop in and take the jam to the next level.
Roberta is a perfect choice to end the EP with the smoky jazz club vibes of “Hang Back”. Gritty drums and electric piano riffs provide the hypnotic backbone, while flute and vibes add funky flourishes on top. This is the kind of cut that is sure to elicit whoops of joy from exhausted dancers catching a second wind thanks to its undeniable electricity.

Cut-Line Records proudly unveils its inaugural release, featuring a collection of euphoric, minimal, and
breaky tracks that resonate deeply within the realm of house music. Launched by lifelong mates and
production partners Maják and Diego Knows, this label aims to capture the essence of dancefloor
energy while pushing creative boundaries across an endless soundscape of alien vibes.
Setting the stage, Pedro Goya’s “Celeste” opens the EP with a euphoric minimal groove that perfectly
encapsulates the magic of house, taking you on an emotional journey that sweeps you away into
sound. Next, we dive headfirst into "Alien Vision" by Francula & St. Xose—a gritty, breaky banger
loaded with gnarly vocals and a tight groove, punctuated by an uplifting euphoric break that keeps the
energy flowing on the dancefloor.

At the heart of this release lies the highly anticipated "Warning Bells" from Digital Pimps, which opens
the B-side. This classic '90s break track, once long lost and now reborn, roars back to life thanks to a
brilliant remaster that is sure to evoke nostalgia. Collaborating with the original artist, New York local
Fonseca 72, we’ve breathed new life into this beloved classic, ensuring it grooves on vinyl for a whole
new generation of listeners.

To round off this sonic journey, our label heads deliver their own signature flavor on B2. Expect pure
pumping grooves with a dash of funk, wrapped in their iconic psychedelic minimal vibe that will keep
you hooked. With this debut, Cut-Line Records invites you to embark on a journey filled with rich
textures, infectious rhythms, and the vibrant spirit of house music. This EP is an absolute must-have!
Grab it before it's gone!

These two vinyl records showcase the legacy left by the boogaloo movement in Peru between 1966 and 1975. They comprise twenty-two songs by seventeen artists who recorded on the remarkable local label MAG more than five decades ago and now invite today’s new generations to dance body and soul to these re-releases. You will find outstanding tracks by the likes of Tito Chicoma, Melcochita, Los Kintos, Otto Rojas, Coco Lagos among many others. MAG was one of the most important and prolific labels in Peru and, though it also was involved in releasing a lot of other types of music, its specialty was the tropical variety, which coincidentally, DJs and collectors seem to crave most. Peru developed a major boogaloo scene in the mid-60s, far from the genre’s place of origin, New York, where iconic songs like 'Bang Bang' and 'El Pito', fused soul and funk with Latin sounds, conquering dance halls and winning extensive radio airplay. The music trend soon spread to Caribbean countries and from there made the geographical leap to the city of Lima. 'El Pito', the collective creation of the Joe Cuba Sextet, was particularly popular. Shorn of overelaborate arrangements, the improvisation and spontaneity of the song resonated with the young generation who were avid for new music after the U.S. placed an embargo on the distribution of Cuban music. In July 1966, Rebeca Llave´s label, Disperú, released the 45 RPM of 'El Pito' (and Joe Cuba's LP), promoting the single in the most prestigious newspaper in the country: El Comercio. The press information stated that the record had sold seventy thousand copies in New York and fifty thousand in Los Angeles. That same year local dance versions by the bands of Alfredo Linares (MAG) and Lucho Macedo (El Virrey) were released, followed by another by the band of the Argentinean musician Enrique Lynch who was based in Peru (Sono Radio). These records were a hit with a new generation that embraced Lucho Macedo's band and the garage rock of Los York's with equal enthusiasm. Although Joe Bataan claimed that boogaloo was killed off at the end of the sixties by the labels and their veteran musicians (who conspired against the new generation of singers), Pete Rodriguez, Richie Ray and the Lebrón Brothers continued to release boogaloo records in Peru, but salsa music soon took over.

Uhlmann Johnson Wilkes is the debut album from Gregory Uhlmann (SML, Anna Butterss, Duffy x Uhlmann, Perfume Genius), Josh Johnson (SML, Jeff Parker ETA IVtet & New Breed, Meshell Ndegeocello, Anna Butterss, Leon Bridges), and Sam Wilkes (Sam Gendel, Louis Cole, Chaka Khan). The three improviser/arranger/producers' impressive individual credits encompass such a wide stylistic pendulum swing that a collection of group music from the trio could mine any number of musical territories with masterful results. I n these 11 instrumental songs, the trio explores a spacious lyrical curiosity that could b e described as a jazz-informed take o n progressive electro-acoustic chamber music.

Conceived during two live shows at ETA and a session at Uhlmann's house in Los Angeles, the album maintains a focus on beauty, melody, and rhythm as the pieces unfold, with the trio pushing their instruments and highly-dialed effects to sculpt otherworldly sounds with the collective sensibility o f a rhythm section. The ethos of these instant compositions is arrangement-minded improvisation that showcases the mournful beauty of Uhlmann's fingerpicked electric guitar, the hybrid rhythm-lead of Wilkes' bass chording, and the textural harmonic worldbuilding of Johnson's effect-laden alto saxophone.

LP in printed inner sleeve. The Joy of Coincidences is the debut album from the intriguing Barcelona-born and raised musician and singer-songwriter of British and German descent. The songs are stories and related feelings that reflect upon mankind observed through our eyes in different circumstances. This reflection is told through intimate music coming from folk-inspired pop.



The Joy of Coincidences is the debut album from the intriguing Barcelona-born and raised musician and singer-songwriter of British and German descent. Within the midst of movement, noise and chaos of the city, Bianca Steck searched for calmness and silence in order to write these twelve songs. Whether in a bar, on a tram, under a tree in a park, on a bench or on the balcony of her little apartment in Brussels overlooking the square, there must always be room for curiosity regarding the world we live in. Hence, this album was born through her compelling need for a conscious observation of our society and surroundings.



The songs are stories and related feelings that reflect upon mankind observed through our eyes in different circumstances and the consequent understanding of ourselves along this process. This reflection is told through intimate music coming from folk-inspired pop. Rooted in classical tradition, Bianca Steck chooses instruments such as harp, cello, double bass, upright piano, and flugelhorn and blends these warm sounds with synths, omnichord, drums, electric bass... in a very delicate way in order to create a dreamy landscape of sound. This carefully chosen music together with lyrics that tell real down to earth stories seen through the eyes of her imaginary world are the realm of this work.



BiancaSteck sees coincidences as small and playful interruptions of our everyday concerns, of life. We live in extremely uncertain times where many worries reign over our minds and there needs to be some kind of lightheartedness to move forward, to survive. Within all this complex spiral of thoughts, in the Joy of Coincidences the essential seed of simplicity prevails over the existential crisis.



The album is produced together with Catalan pianist and composer Nil Ciuró and features guest appearance Hania Rani with whom Bianca Steck toured as a support act across London, Paris, Berlin, Utrecht, Antwerp and other European cities and venues.

All demos were recorded in her apartment in Brussels with very simple means and were later on recorded in a studio in the mountains of Catalunya.

Nouveau monde is the fourth album from Jonathan Personne, also known as the singer, guitarist and lyricist from the Montreal-based indie rock band Corridor. Bringing together previously unreleased songs from different eras, the LP is by no means an outtakes album. Assuming the mismatched quality of his compositions, Jonathan Personne opted for a “bedroom” production just polished enough to create a cohesive bond that makes this melodic jumble a real tour de force. The result is an album whose “mixtape” structure echoes that of ’90s classics such as Check Your Head by the Beastie Boys or early Beck records, which shaped Jonathan Personne’s youth.

*Repress*

180gr) 10 YEARS ON, ARTHUR VEROCAI'S ENCORE GETS A VINYL RELEASE. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to createa modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.
To celebrate the album's 10th anniversary, Far Out Recordings announces the first ever vinyl edition of Arthur Verocai's 2007 masterpiece Encore. Remastered from the original tapes, Encore features 11 original compositions from Arthur with guest musicians including Azymuth, Ivan Lins and a nine-piece string section. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.

In the mid-2000's, following on from Marcos Valle, Joyce and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out. The story of 'Encore' of course begins with Joe Davis, Far Out's head honcho who stumbled upon Arthur's debut in a dusty record store in downtown Rio in the late 80s. At the time of its release in 1972 critics panned Arthur's debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe's at the studio of Far Out Recording artists Harmonic 313 - aka production duo Mark 'Troubleman' Pritchard and Dave Brinkworth - playing them some of his favourite Brazilian albums. Dave recalls the moment Joe put on Arthur's debut, 'As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds'.

Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become 'Encore' were being laid down. Produced by Dave, 'Encore' sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the (conductor's) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut.


Born in Rio de Janeiro on 17 June 1945, Arthur Verocai began his professional music career in 1969 and over the next few years he was responsible for the orchestration of albums by Ivan Lins, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4 and Marcos Valle, among others. In the 1970s he was hired by Brazil's biggest TV station, TV Globo, as musical director and wrote the arrangements for many of the stations biggest shows. In 1972, following the success Arthur had with the production of Ivan Lins 1971 album "Agora", Arthur recorded his self-titled debut album on Continental Records. 'Arthur Verocai' challenged the musical conventions of the day, combining Brazilian influences with folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney.

Very little is known about Joe Prichard or his sidekicks, except that the band, which hailed from Missouri, drew its inspiration from influences far and wide, resulting in each of the five tracks being very different in character, ranging from the power chords and staccato guitar breaks of the Jimmy Page variety, to the throaty sax of 12-bar blues specialists Climax as well as the dual guitars of ZZ Top. There’s even a nine-minute jam a la Jethro Tull or Traffic with flute and sax giving a decidedly jazzy feel to proceedings. Originally released in 1974, this is another extremely rare record now reissued by Riding Easy Records. "Pro-sounding 1970s rarity with a ballsy rock sound and songs ranging from ambitious prog over bluesy bar-rock into macho FM rock postures. It’s solid across the board with excellent guitar leads, soulful vocals, and a versatile band. Keyboards, woodwinds and elaborate arrangements provide a prog-AOR vibe that may turn some off, although there’s enough groove to keep one’s attention throughout the four long tracks." – (Acid Archives)

Six track EP full of warm deep house music, spacy jazz not jazz, african and brasil rhythms, plus a portion of psychedelic funk poetry.

‚Children Of Zu Zu‘ is Charles Petersohn‘s restart after his previous label release from 18 years ago, besides some experiments on Bandcamp and SoundCloud. On this EP sound merges into each other, is producing an organic flow. Smooth deep house, different kinds of jazz and jazznotjazz, african rhythms, Brasil batucada, psychedelic funk poetry, inspired by Dr. John and most of all the space music and afrofuturist philosophy of Sun Ra and his Arkestra. Soundscapes and atmos in the background of each song give the music a deeper feel. It took its time to get the music ready. There was the desire of having Web Web pianist Roberto di Gioia in the music, took months. But it was worth waiting. Roberto planted some magic moments in to it. On other hand Charles is hyper critic with his own sound. If jumping into to arena again, there should be something special. When he will be okay with every inch of his sonic work, then its done! ‚Children Of Zu Zu‘ became a collage of thick, warm and smooth housemusic, spacy Ambient Jazz and two dancefloor tools with a deep Afro and Brasil feel.

Here we go with six tracks full of love, full of dreams and full of space.

"Children Of Zu Zu" ist Charles Petersohns Neustart nach seiner letzten Label-Veröffentlichung vor 18 Jahren mit dem Pianisten Jasper van't Hof bei "Jaro". Deep House Music, Jazz Not Jazz, afrobrasilianische Jazz-Grooves, Ambient Jazz, eine von New Orleans Legende Dr. John inspirierte spirituelle Botschaft, einen Gesang von Frauen und Mädchen aus Samoa vom "British Commonwealth Sound Archive" und nicht zuletzt die intergalaktische Poesie von Sun Ra und seinem Arkestra. Soundscapes im Hintergrund fast aller Tracks versetzen die Musik jeweils an einen fiktiven Ort. Es hat seine Zeit gedauert, bis die Musik fertig war. Der Wunsch, den Web Web Pianisten Roberto Di Gioia für die Musik zu gewinnen, schien fast unmöglich. Seine Teilnahme verzögerte sich um mehrere Monate, denn Roberto ist ein vielbeschäftigter Musiker und Produzent. Am Ende hat sich das Warten gelohnt. Er hat der Musik einige magische Momente beschert. Auf der anderen Seite ist Charles mit seinem eigenen Material meist überkritisch. "Wenn ich mich parallel zu so vielen großartigen Musikern und Produzenten überall in der Welt und darüber hinaus mit einer eigenen Botschaft in die Welt begebe, muss das schon etwas Besonderes werden!" Nach endlosen Sessions in seinem Mini-Studio ist 'Children Of Zu Zu' um einiges mehr geworden, als er sich vorgenommen hat. Statt zwei, sind es am Ende sechs Tracks und zwei Bonus-Versionen voller Liebe, voller Träume und voller Space, innerspace und outerspace, geworden. Musik für den Dancefloor, für Jazz Clubs, Chill Zones und obendrein für Kinderzimmer!

Iron Curtis and Johannes Albert return to orbit with their highly anticipated Moon IV, the next chapter in their acclaimed lunar album series. Building on over a decade of collaboration and the cosmic groundwork in Moon I, II, and III, this fourth instalment is a testament to their ever-evolving artistry and expansive vision.

Released on their beloved Frank Music imprint, Moon IV sees the duo starring an 11-track journey that once again defies genres, challenges conventions, and charts a vivid course through the electronic cosmos.

From the warm opener "Void Gathering" and wistful melodies of "Silverclub" to the driving rhythms of "Sounds (The Feels)," which echoes the relentless pulse of NYC Post-Disco, Moon IV encapsulates the duo's signature blend of moods and eras.

"Club L'Avenir" & "Daso" serve up euphoric moments with a nod to the French Touch, while the ambient vignette "Into Somethin' (Interlude)" calms you down again. Electro cuts like "Pipeline" are reminiscent of earlier works in the Moon album series, and new paths are forged when the two are exploring Balearic Pop Music (BPM) territory in "Ohne Dich".

Returning from space with the elegant deepness of "Bliss (The Short Finale)", the duo gets you home safe and sound. Their unique studio alchemy shines brighter on this moonlit, flaring long-player than ever. So, buckle up and off we go.

The Vogue Years Vol. 1 by Johnny Hallyday, released 21 February 2025, includes the following tracks: "Souvenirs, Souvenirs" and more.

This version of The Vogue Years Vol. 1 comes as a 1xLP.

The vinyl is pressed as a picture disc disc.

The Vogue Years Vol. 1 by Johnny Hallyday, released 21 February 2025, includes the following tracks: "Souvenirs, Souvenirs" and more.

This version of The Vogue Years Vol. 1 comes as a 1xLP.

The vinyl is pressed as a picture disc disc.

The Vogue Years Vol. 3 by Johnny Hallyday, released 21 February 2025, includes the following tracks: "Bien Trop Timide", "Depuis Qu'ma Môme", "Ce N'est Pas Méchant" and more.

This version of The Vogue Years Vol. 3 comes as a 1xLP.

The vinyl is pressed as a picture disc disc.

NOW Music proudly presents NOW That’s What I Call Gold – The Ultimate Hits – this essential 3-LP set brings together 46 tracks by legendary artists with timeless anthems, celebrating some of the greatest hits of all time, including chart-topping classics and enduring favourites.



LP1 sets the stage with Queen’s electrifying ‘A Kind Of Magic’, followed by Philip Bailey & Phil Collins’ #1 ‘Easy Lover’. The Police feature with their #1 smash ‘Message In A Bottle’, while The Killers follow with their record-breaking anthem ‘Mr. Brightside’. The massive ‘Stick Season’ from Noah Kahan is up next before the first side finishes with Lana Del Rey’s stunning ‘Video Games’. Flip the LP over for contemporary classics from Coldplay and Duran Duran. Sinéad O’Connor’s ‘Nothing Compares 2 U’ still sounds raw and breath-taking and is followed by classics from the Pretenders, Shirley Bassey, Dusty Springfield, and Soft Cell’s ‘Tainted Love’, one of the best-selling UK singles of the ‘80s, whilst another of those closes out the first LP: Ultravox with their masterpiece, ‘Vienna’.



LP2 delivers a legendary lineup, including Billy Joel with his Grammy-winning ‘Just The Way You Are’ and Céline Dion’s powerful version of ‘All By Myself’. John Denver’s ‘Take Me Home, Country Roads’ and Paul Simon’s groundbreaking ‘Graceland’ are featured along with the pop genius of Electric Light Orchestra with ‘Last Train To London’. While on the other side timeless ballads from Elton John with ‘Tiny Dancer’ and Lewis Capaldi’s ‘Someone You Loved’ come ahead of Wings, Simply Red and ‘60s gems from Stevie Wonder, The Supremes and the peerless ‘Walk On By’ from Dionne Warwick.



LP3 opens with Neil Diamond’s universally beloved singalong anthem, ‘Sweet Caroline’ and Cliff Richard’s mid-70s classic, ‘Devil Woman’. Disco legends Donna Summer (‘MacArthur Park’) and Gloria Gaynor (‘I Will Survive’), lead into Sophie Ellis Bextor’s ‘Murder On The Dancefloor’ which became a smash for the second time recently. Ed Sheeran and Pharrell Williams had enduringly popular hits with ‘Galway Girl’ and ‘Happy’, and the side closes with the harmonic vocals of All-4-One and their beautiful signature song ‘I Swear’. The final side is packed with anthemic and uplifting classics kicking off with Spandau Ballet’s ‘Gold’, Survivor’s ‘Eye Of The Tiger’, and Take That’s soaring ‘Rule The World’. The remainder of the collection celebrates and showcases some of the ‘70s greatest tracks including Bonnie Tyler’s ‘Lost In France’, Marianne Faithfull’s poignant ‘The Ballad Of Lucy Jordan’ and Blondie’s era-defining and genre-defying #1 ‘Heart Of Glass’.



NOW That’s What I Call Gold is a must-have for all music lovers —packed with legendary artists, timeless hits, and unforgettable moments in pop. Don’t miss out on this golden treasure trove of musical brilliance!

This new 45 RPM single is the lastest from Pyramid Blue, a group known for their Ethio-jazz fusion.

This time, the Spanish band has teamed up with Habiba Chaouf, an Arab singer rooted in Spain's flamenco scene, who lends her beautiful vocals to the A-side. The song blends Arab melodies with deep afro-funk rhythms. Habiba's soulful vocals elevate the track, which reflects on the emotional journey of longing, uncertainty, and the search for change. "Amal" (meaning "Hope" in Arabic) reminds us of the power of hope as both a guiding light and a source of inner strength, even in the face of doubt and longing.

On the B-side, La Esperanza (Hope), Pyramid Blue delivers a hypnotic, instrumental journey, featuring a bold horn section and a guitar riff that evokes the feeling of crossing a vast desert—an atmospheric, cinematic soundscape that could easily score a film.