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Since his introduction in the 60’s, Roger Damawuzan has lit stages on fire, whether it be with The Rickers Orchestra or with The Melo-Togo Orchestra (taking home 2nd place for the first National Festival of Tologese Music). His first 7" vinyl Wait For Me is a holy grail for diggers all around the world. It was such a hit that Togolese music is and will forever be stamped by Roger Damawuzan. He was principal in introducing Gazo, Akpesse and Kamou rhythms to modern day soul music. Relentless and unstoppable, Roger Damawuzan is now making a comeback with a heavy funk 7 inch!

This release contains an unreleased single from the album Seda , which will be available on October 14th 2022. Such a force of nature, this album could have been only captured, if not mastered, by one studio. Such mission was accomplished by the legendary studio OTODI (Office Togolese of Disks) by utilizing solely analog equipment to translate and to breath all of Damawuzan’s soul into this album. Roger Damawuzan could have been supported by only one group. Led by Peter Solo, the members of the Vaudou Game and Lomé’s most talented musicians are at Damawuzan’s disposal for this new soul DJ friendly vinyl.

1972-1985 KATEBEGIAK - Prog-Rock, Psych-Folk & Jazz-Rock Music from the BASQUE COUNTRY. The album KATEBEGIAK, now published by ELKAR, contains 13 tunes on double LP gatefold edition from Haizea, Izukaitz, William S. Fischer, Magdalena, Enbor, Itoiz, Koska, Itziar, Errobi, Lisker, Amaia Zubiria & Pascal Gaigne, Gontzal Mendibil & Taldea and Urria, and the CD-Book edition adds an extra bonus track by the great unknown artist Juan Arkotxa. Complied by Mikel Unzurrunzaga Schmitz aka DJ Makala. Music produced in the 70's in the Basque Country got trapped between two earth shattering artistic currents; Ez Dok Amairu in the 60s and Basque Radical Rock in the 80's, and unfortunately, most of the lovely discs and tunes created at that magical time have been pushed to a remote (and sometimes even despised) corner of our collective memory. 60's and 80's music currents are almost opposite, and both work as magnetic poles with a very strong power of attraction, and maybe also as a burden for any of the later artistic currents. 60's generation of artists searched within their rich and ancient cultural roots to acknowledge and update them, in proud, hopeful and unforgettable folk songs. The 80's one on the other hand, worked in a flammable environment in constant social and political conflict and found in punk the perfect way to express their anger and weariness for so many unfulfilled promises and the lack of opportunities into short, noisy, direct and corrosive songs, technically sparse but full of energy and expressive power. Most of the "classic" names engraved in our memory come from one or the other like Benito Lertxundi, Mikel Laboa, Lourdes Iriondo and Xabier Lete or Kortatu, Hertzainak, Zarama, Las vulpes, Eskorbuto or Cicatriz. 70's generation and their music work somehow as the "missing link" ("katebegia" in Basque) between the two. They loved folky tunes and don't forget their ancient roots, but they also look outside for inspiration and experimentation. Just as the 80's boys and girls found punk the 70's guys found a completely different sonic and aesthetic landscape in the works of Grateful Dead, Fairport Convention, King Crimson, Soft Machine, Gong_ and worked closely with keen souls in other neighboring regions such as Maquina!, Pau Riba or Sisa in Catalonia or Smash and Triana in Andalusia. This resulted in more abstract and poetic lyrical content, much longer psych-folk-prog-jazz tunes, full of complex instrumental passages and mesmerizing structures of sheer ambition and masterful execution in many cases. But, most important of all, they found a voice of their own, rich, unique, and fascinating, and that's what makes them so valuable to us. Not only to us, but also to lots of vinyl collectors and crate-diggers around the world, who have in many cases paid fortunes for some of the original editions of LPs that are the source of tunes in this compilation. Mikel Unzurrunzaga Schmitz aka DJ Makala, DJ and producer of worldwide scope and wisdom, noticed this fact first and decided to pay homage to these wonderful tunes through this masterful and dedicated selection for your pleasure and as an open invitation to dig deeper into your adventures in the dark and hidden side of Basque popular music.

Repress in legendary Soul:r Sleeve for 2022

When Marcus asked Brazilian producer Bungle to make a tune for Soul:R with no pressure and no limitation he never expected him to
come back with what Marcus says is the best Soul:R 12" there has been for a long time. For months now "Astral Travel" and "Aura"
have been turning heads in Intalex DJ sets all over the world as soon as they are played, with people rushing to find out what these
tunes are. This is the first single from Soul:R for 2013 and it sets the bar high.

"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "It is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff my inner community wants to communicate but it doesn't have the English language as its form of communication, and so this album was a form of giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full.

"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "It is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff my inner community wants to communicate but it doesn't have the English language as its form of communication, and so this album was a form of giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full.

Clear Vinyl
2022 repress, ltd. edition of 300 copies, 45 rpm
incl. download code

Second Woman is a new collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of the renowned Telefon Tel Aviv. As one would imagine, Second Woman is a nonpareil debut of futuristic electronic music fusing the coveted genetics of the duos respective previous endeavors into an alluring new enigma of ASMR-inducing kaleidoscopic dub. Second Woman is a fully realized entity; a well-crafted sound world and a refreshing shared effort which is inspiring in its purity and painstaking in its design.

The opening "100407jd7" wastes no time exhibiting mastery in both sound and structure, contorting the frequency spectrum into a psychoactive mirage with its mutating tectonics and vaporous tone clouds. Cuts like "200601je6" and "700358bc5" are bar-raising examples of veteran craftsmanship and vision, refining and reengineering the blue prints of their early works to create an original and dynamic album. The deliberation and control over every particle is obsessive, but the end results of each individual track unfold with an organic temperament unparalleled in a grid-locked world of DAW shaped musics and rat's-nest modular aleatory. Words fail where essential sonics are concerned, and this vital new creation speaks for itself.

Sometimes a band grows so exponentially from one record to the next, it’s almost jarring. Hell Fire has already established themselves as the preeminent masters of a new hybrid breed of Bay Area thrash and NWOBHM in just a few short years, but their fourth album Reckoning is the type of ascendance that truly sets a band apart.

Reckoning is their Master of Puppets, their Number of The Beast, their Defenders Of The Faith. From the very first notes of the album opening title track, you can feel a vital new energy and inspiration to their music. To say Hell Fire used the recent global downtime to dig within and fully refine their sound would be an understatement. It truly is a reckoning.

“This album is every aspect of our band amplified to its maximum potential,” says singer/guitarist Jake Nunn. “This is the record we've always wanted to make, and it feels like we're just getting started,” guitarist Tony Campos adds. “We wanted to push ourselves musically and capture some of our frustrations, anger, loneliness, and rage over being locked inside and dealing with life during a global pandemic in the days when no one really knew how to navigate,” says drummer Mike Smith.

With no touring on the horizon in 2020, the band hunkered down and recorded nearly a full album in preproduction home demos. “I set up a little studio in my garage to record guitar, bass, and vocal tracks,” Campos says. “While Mike bought an electronic drum set and we demoed every song so we were more prepared going into the studio.” Each of them found themselves practicing more on their own and ironing out every last detail and nuance before finally being able to once again play in a room together.

The band’s heightened professionalism also brings in guest bassist Matt Freeman (of Rancid and Operation Ivy fame) on the album after original bassist Herman Bandala departed the band amicably during the initial writing process. New bassist Kai Sun joined Hell Fire in Fall 2021. Reckoning was recorded and mixed at Atomic Studios in Oakland, CA with Chris Dugan.

The title track kicks things off with a slight nod to the layered melodies of acoustic and harmonized guitars of Metallica’s “Battery” before the band rips into its signature galloping guitar picks, soaring harmonies and blistering rhythms. It’s an anthem and a gauntlet thrown down with Nunn’s shimmering screams and guttural howls while dueling guitar solos and Smith’s relentless double bass drum shuffle bring home the point that Hell Fire is born anew. “Medieval Cowboys” hearkens to the epic attack of Iron Maiden’s Powerslave with glistening melodies and complexly interwoven musical shifts that showcase exactly how tight and precise the band has become. “Addicted To Violence” is blistering thrash and “Thrill Of The Chase” soars with rich harmonies while both songs lyrically reflect hard truths the band faced in isolation. The lush acoustic based ballad “A Dying Moon” shows the band effortlessly stretching out in new directions. “It Ends Tonight” is an epic anthem served as a mission statement to the band’s return wherein arpeggiated riffs, squealing pinch harmonics, group chant vocals and Smith’s octopus-armed beats will have legions raising their fists in the air in salute.

“It’s somehow the heaviest and most melodic work we’ve done, and I’m proud of the discipline it took,” Nunn says. “It’s a wild thing.”

BLACK VINYL REPRESS

ITS 25 YEARS Since the first Heads album was released.. .so.. for 2021..Rooster has decided to get the album back in print on vinyl.. but changing the artwork. With some silver foiling and bordering, the single sleeve has been boosted to a sweet gatefold, Rooster also got the Radio 1 sessions from the time remastered, and re-cut along with the huge b-side to their Television 7” “Jellystoned Park”.
So there you have it, a double vinyl silver jubilee reissue of a fantastic debut album!

From the original reissue sales notes:
“The Heads had self-released a couple of 7"', and then Cargo Uk's inhouse label Headhunter UK got to release a further 7", and then the Debut album in 1996. Amidst a world suffocating in Britpop smarm, the Heads cut a timely swathe with their unkempt rock psychedelique. The album contained 10 tracks of guitar driven, amp destroying rock, with cues taken straight from the US underground, Stooges, MC5, Mudhoney, Pussy Galore, early Monster Magnet too but with a disitinctly British stamp, some of the drone and fuzz from Loop / Spacemen 3, some of the attitude of the Fall, Pink Fairies and Walking Seeds and overlaid with the spaced rock of early Hawkwind. It was obvious that the four members of the Heads were music obsessives. The debut album was recorded at Foel studios (owned by Dave Anderson from Hawkwind) and engineered by Corin Dingley, it was mastered by John Dent at LOUD.”


We’ve asked for some new appraisal of the Heads for the Silver Jubilee edition from good friends....

Stewart Lee February 2021
“The Halley's Comet victory orbits of historic heavy artefacts from Detroit, like The Stooges or The MC5, leave grateful onlookers aghast. But, hidden away in Bristol, The Heads are still with us now, our homegrown acid-garage godfathers, an ongoing thirty-two year old concern with a back catalogue arguably more consistent than the super-dense psyche-rock groups that inspired them. The Heads arrived fully formed and have spent three decades becoming more like themselves, a musical black hole that sucks in all surrounding matter. I love The Heads “

Phil Alexander February 2021
“The Heads make music for freaks in the know. If you were there in 1996, you’ll know just what that means…

Back then, they were gloriously out of step with the pop-cheese of the time and geezerly lumpiness of Britpop. Theirs was an altogether different take on music – a take inspired by the glorious burn-out of the ‘60s, the sonic overdrive of the ‘70s and the axis of joy created by the combination of excess volume and repetition.

We could name-check some inspirations and kindred spirits: The Stooges, Hawkwind, Floyd, Loop, Sabbath, Amon Düül II, Spacemen 3, Walking Seeds, Mudhoney, Monster Magnet among them... But in all honesty, The Heads have always existed in a world of their own, surfacing as and when the mood takes them, before returning to their subterranean rehearsal room to jam their way through yet more mind-altering riffs and mood-altering rhythms.

Relaxing With The Heads is their first defining statement. It is also possibly their most straight-forward release, the sound of a band attempting to find structure in their playing rather than abandoning themselves to their wildest impulses. That would come later…

And yet, 25 years on, this album blasts forth like few records from that time, its slacker charm welded to super-fuzzed riffs that propel its 10 tracks ever onwards. Righteous is probably the only word for it…”

Standout favorites of RidingEasy Records’ Brown Acid compilation series, White Lightning’s stellar discography of rare and under-appreciated heavy psych, proto-metal rock gets a vital revival for new generations to learn how swinging, swaggering and often blazingly fast rock’n’roll is done.White Lightning was formed in Minneapolis, MN in 1968 by guitarist Tom “Zippy” Caplan and bassist Woody Woodrich after leaving garage psych band The Litter (themselves popular standouts from the Nuggets and Pebbles series of garage rock rarities.) Originally a power trio, the band later expanded to a 5-piece in 1969 while shortening its name to Lightning. The quintet’s brilliant and rare 1970 self-titled album on Pickwick International’s P.I.P. imprint provides 6 of the 10 tracks on Thunderbolts of Fuzz.The original White Lightning trio only released one 45-rpm single “Of Paupers and Poets” during their existence (on local Hexagon label in 1968, later reissued by major label ATCO Records in 1969.) A long out-of-print posthumous album released in 1995 gathered unreleased recordings, 3 of which are found here. This rounds out this collection of recorded highlights from the band’s rocky history.
Taking their name from a particularly potent type of LSD, White Lightning laid out from the start that it was not cute and cuddly 70s rock. In fact, the band’s aggressive tempos are like punk rock way before punk. However, their dirty blues groove and musical prowess shows the band was more than unrefined ne’er-do-wells, they had true versatility.
Drummer/lead vocalist Mick Stanhope later relinquished his drum throne to take center stage as lead singer of the expanded lineup. Throughout its initial 1968-1974 run, the band had 10 different lineups, with Caplan, Woodrich and Stanhope the most consistent members — though the band points out that no one member has played in all 11 incarnations of the group. For more facts and information visit thelitter-lightning.
Album opener “Prelude to Opus IV” is a wailing rocker with blazing double-kick drum, sizzling melodic riffs and Jim Dandy howls jam packed into an epic 4 minutes that serves enough testament to the band’s greatness, nothing more need be heard or said. However, the would-be hits keep coming as the Led Zeppelin meets Black Oak Arkansas thwack of “Hideaway” and “Born Too Rich” come screaming out of the speakers. “When A Man Could Be Free” shows the band could also reign in the fury, at least a little bit, for a warm Southern rock style ballad. “Borrowed and Blue” echoes the stately poetry of Electric Ladyland-era Hendrix with a dash of The Who’s rollicking psychedelia. “1930” is, quite simply, insane. Searing twin guitars with incredible fuzz-drenched tone, a warm and buzzing bass line bounce atop drummer Bernie Pershey’s unrelenting bass drum triplets while Stanhope ravages his lungs with soulful abandon. The album closes with the aptly titled “Before My Time” a barnstorming boogie rock instrumental the proves the band vanished long before receiving their due.

"Ésta sí es salsa!" is one of the most sought-after records in the impressive catalog of the Discos Fuentes tropical all-star group Los Corraleros de Majagual. The record is high on collectors' want lists for many reasons: excellent sound quality, diverse and highly danceable repertoire infusing its grooves, and the inclusion of the Cuban genres of descarga and charanga. The album includes outstanding cover versions of '60s New York salsa but featuring the unusual sound of the accordion and the heavy bass playing of Julio Estrada. First time reissue. "Ésta sí es salsa!" is one of the most sought-after records in the impressive catalog of the Discos Fuentes tropical all-star group Los Corraleros de Majagual. It was released in 1970, nine years after the band was first conceived by Alfredo Gutiérrez, Calixto Ochoa and label boss Don Antonio Fuentes as an orchestra to play mostly typical folkloric Colombian genres like porro, cumbia and paseo and the occasional guaracha or pachanga, but with a fully orchestrated big band sound that combined the accordion with a complete rhythm and brass section. The record is high on collectors' want lists for many reasons, not least of which is its excellent sound quality and the diverse repertoire infusing its grooves, ranging from expected coastal tropical Colombian rhythms like paseaíto, paseo and pasebol (all related to cumbia and vallenato), to more exotic modes like sonsonete, casatschok, and the Cuban genres of descarga and charanga. There was never any doubt with the label's intentions of introducing this "new" genre of salsa on this LP, albeit as seen through the lens of Colombian musicians only recently converted to the movement, and indeed, the title unequivocally proclaims: "¡Ésta sí es salsa!" ("This is definitely salsa!"). The proof is in the fascinating (and long) cover versions of Nuyorican artists from the burgeoning Big Apple salsa scene that are the centerpiece of the album. Two massive dance tracks on the record are 'Ocho días' and 'Amanací tomando', but neither was inspired by exposure to New York salsa, as they are very "typical" Colombian numbers. First time reissue.

For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone Records.

“Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”

Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry.

Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.

Following the release of the first two parts of
CAN’s live series, Mute and Spoon Records
reissue a ‘Monster Movie’ on blue vinyl.

With the sounds of Jimi Hendrix, Captain
Beefheart and The Velvet Underground ringing in
their ears, Holger Czukay and Irmin Schmidt left
behind their careers in academia to form the
influential group in the late 60s.

Together with Michael Karoli, Jaki Liebezeit and
American singer Malcolm Mooney, they recorded
their debut album, ‘Monster Movie’, in a castle
near Cologne in 1968.

The record was then remastered in 2004 from the
original master tape for a CD release. It was
overseen by Holger, Irmin and Jono Podmore to
refine it to how it was always intended to be heard.

“‘Monster Movie’ is an amazing debut” - Pitchfork

“‘Monster Movie’ sounds like nothing else released
in 1969 - and still acts as a template for the future” - Sound Affects

“Had Can’s debut album, ‘Monster Movie’, been
their only one, it would have assured their place in
the history of German music and of rock as a
whole” - Shindig Magazine


Includes digital download code.

Repressed , please note price increase, all orders have been cancelled, please re-order! Pre-Revolution Psychedelic Rock from Iran: 1972 - 1979

Now-Again Records is proud to present Back from the Brink, the only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh’s Pre-Revolution recordings were thought lost after Islamic fundamentalists took control of Iran. They weren’t: Kourosh had protected them – along with key ephemera from the 70’s. Their collection here - spread over two CDs, a 3-LP and a 4x7” box set - bolstered by Kourosh’s first person recollections of Iran’s 70s rock scene and its death after the Revolution, tells the story of an immensely talented artist’s desire to persevere in the face of terrible adversity.
Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran’s musical landscape in the late 60’s and early 70’s. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them. Later, inspired by the unlikely duo of Elton John and James Taylor, Kourosh’s music took a sophisticated turn, and he churned out funky, progressive rock that is as imminently enjoyable as it is impossible to categorize.
His star on the rise was knocked off course by the Revolution, and its backdrop of Islamic fundamentalists burning record companies and harassing musicians. But while most Pre-Revolution musicians – including his brothers – fled Iran in 1979, Kourosh stayed, loyal to the country of his birth. He has suffered a performance and recording ban for twenty-two out of the last thirty-two years. Yet he remains stoic and resolved to continue bolstering Iranian musical tradition.
Kourosh still lives in Tehran and is pleased that his story – and his glorious 70s recordings – will finally spread the world over.

Seit ihrer Gründung 1968 haben Deep Purple weltweit über 100 Millionen Alben verkauft und mit Songs wie 'Smoke On The Water', 'Highway Star', 'Space Truckin', 'Hush', 'My Woman From Tokyo', 'Perfect Strangers' oder 'Knocking At Your Backdoor.' Klassiker geschaffen, die unzählige Bands beeinflusst haben und immer noch beeinflussen. Acht Jahre nach ihrem letzten Studioalbum "Rapture Of The Deep", eine Zeit in der die Band unzählige Shows gespielt hat und exzessiv getourt ist - die letzte Tour im Herbst 2012 hat alleine in Deutschland über 60.000 Tickets verkauft - hat sich die Band entschlossen ein neues Studioalbum einzuspielen. Ian Gillan sagt dazu: " Vor 2 Jahren wäre es falsch gewesen, vor 5 Jahren wäre es falsch gewesen! The time is NOW. Wir hatten das Gefühl es ist an der Zeit was Neues zu sagen und das haben wir getan. NOW What ! ist eine der wichtigsten Aufnahmen, an der ich jemals in meinem Leben beteiligt war.'

Mit Produzent Bob Ezrin, der sich neben diversen Kiss oder Alice Cooper Alben auch für die Produktion des legendären "The Wall" von Pink Floyd verantwortlich zeichnet, ist es Deep Purple gelungen ein Album einzuspielen, dass die Perfektion und Eleganz von - Perfect Strangers' hat und die wilde Freiheit von - Made in Japan' widerspiegelt.

1970 was a time for heady experimentation in popular music, but very few records—and even fewer on major labels—come close to matching the stylistic ground covered by William S. Fischer’s album
Circles.
African American composer/arranger/keyboardist/saxophonist Fischer grew up woodshedding with the likes of Ray Charles, Fats Domino,
Muddy Waters, and Percy Mayfield…and then took a sudden left turn by studying electronic music in Vienna during the mid-‘60s. There, he met Joe Zawinul, and ended up penning five of the six tunes on Zawinul’s groundbreaking 1968 album The Rise and Fall of the Third Stream. Fischer went on to arrange for Herbie Mann, who signed him to his Embryo imprint for Atlantic Records; Circles was Fischer’s one and only release for the label. And he didn’t waste the opportunity; an utterly mindblowing mix of Sly Stone funk, heavy Hendrix-y metal, Southern soul, jazz fusion, and Stockhausen-esque explorations on the Moog synthesizer, Circles enlisted the same band (bassist Ron Carter, guitarists Eric Weissberg and Hugh McCracken) that Fischer had worked with while acting as Musical Director on Eugene Daniels’ underground classic Outlaw, complemented by drummer Billy Cobham and a five-piece cello section. With a line-up like that, it’s little wonder that the artistic reach of Circles is breathtaking, but it somehow manages to cohere according to its own internal, crazy logic; it remains one of the most adventuresome and collectible releases of its day. For this, its first-ever vinyl reissue, we’ve pressed 2000 copies in “black ice” vinyl, preserved the original “circle” cut-out stencil cover, and added liner notes by Peter Relic that feature quotes from Fischer himself. For the intrepid listener!

There's something perversely fabulous about the thought of this warped masterwork wandering into 60,000 unsuspecting British homes in 1973. Faust's second-and-a-half album hit the shops to celebrate their signing to the nascent Virgin Records, who were looking to take advantage of the zeitgeist for German music at that time. Undeterred by the fact the band's unwillingness to engage with the commercial landscape had seen them dropped from Polydor, Branson and co cooked up a suitably spectacular marketing strategy, selling the LP for 49p, the bargain price of a single. Shoppers flocked in their thousands to grab a copy, raced home and then spent the next forty five minutes checking their tracking, banging the speakers and blowing the needle, all to no avail. Do not adjust your set - This is Faust.

What I Breathe is the debut album from Mall Grab AKA Jordon Alexander. The Australia-born London-based powerhouse reaches within to create the most comprehensive demonstration of his style to date – loudly defining the raw energy that has become synonymous with the moniker.

“This album is deeply personal and an exploration of all influences, sounds and sides of the Mall Grab project. It follows my journey of the last 6 years from a university dropout in Newcastle (Australia), making music as a source of happiness and expression.”
While glances of what Jordon gravitates towards in dance music can be heard in the record label imprints he steers—Looking For Trouble and Steel City Dance Discs—it's with What I Breathe that he elaborates on and articulates his diverse ear for music. Through collaborations with Brendan Yates of Turnstile, Novelist, D Double E and Nia Archives, the Mall Grab repertoire of emotive electronics is used to traverse his love of hard-to-define energies that exist between genres like Hardcore, Hip-Hop and Soul.
“I have been lucky enough to work with some of my favourite artists which have really been the glue that keeps the project coherent. There are a lot of familiar sounds on this album that my listeners and followers have become accustomed to and joined me in the deep dive. Elements of emotional but hard and pumping club music are intertwined with House, Jungle, Rave and Grime. My adopted home city of London has been a huge inspiration to how my music has evolved and progressed, and on What I Breathe I wanted to create a body of work which not only had something for everyone who has been with me the past 6 years, but also those who aren’t yet aware of what I’m about or the music I make.”
Jordon’s long-standing penchant for all things DIY blossoms in tracks like Lost In Harajuku and Without The Sun which feature his own original lyrics and vocals. As the album twists and weaves from one song to the next, gleaming melodies flare up into club-ready anthems such as Metaphysical and Breathing. The kinetic flow of the music as a whole can be attributed to the many years of cutting his teeth as a DJ, a skill that can be testified by anyone who has witnessed a Mall Grab set.

“As I was a DJ for many years before I delved into producing electronic music, I had a wide appreciation and love for all types of music, predominantly gravitating towards ‘band' music when creating my own projects, before evolving into a fully-fledged electronic producer – however always retaining the influence and love for all things live and genre-fluid.”

Even with a stack of very well-received projects already under his belt, What I Breathe can be seen as the first deep breath in and a fierce declaration of what’s to come for Mall Grab.

“I’m grateful for everything and everyone in my life, those I love and those who support my music, through all the ups and downs. I live and breathe this shit. I cannot do anything else. I will continue until there is nothing left for me to say.”

Sub Pop debut by accomplished Greek artist Σtella, produced by Redinho (Swet Shop Boys).
‘Up And Away’ is an eclectic, compelling modern pop album showcasing Σtella’s skilled songwriting and the influence of classic love songs, Greek folk, and contemporary electronic-music production.

Σtella makes her Sub Pop debut with the mesmerizing ‘Up And Away’, an oldschool pop paean to the pangs and raptures of love. From the Greek folkinflected get-go, we’re swept up in Σtella’s world - and it’s quite the captivating place to be.

The singer songwriter joined forces with artist and producer Tom Calvert (aka Redinho), and it was a match made in Athens; the results are heavenly. Tom caught one of Σtella’s gigs on a visit to the city. He reached out, they started hanging out, and the pair soon clicked creatively. Both mention chemistry when asked about their collaboration and it’s clear, from what we hear, they had it in spades. The meld is seamless.

Σtella’s songs have always riffed on American and Greek mid-century pop but ‘Up And Away’ doubles down on the vintage aesthetic. Tom says he styled the record “as if it was a rare gem from the ’60s found in a box of records in Athens,” and Σtella notes she was ready for a more “deeply Greek touch - it felt comfortable and right, smoothly fusing with the pop.” The bouzouki appears on a full five tracks played by Christos Skondras who, she says, “was brilliant at improvising,” while Sofia Labropoulou on the kanun “brought an insane amount of dreaminess to the last two songs. Having these amazing musicians play for ‘Up And Away’ - I couldn’t be more grateful.”

While not exclusively a confessional artist, Σtella is always intimate - when she sings, it’s personal. She writes “about things I feel passion for. Stories about me, about others, about all that’s there in love and war.” Σtella was “in a very emotional state at the time, which came through in the lyrics and vocals.” And it’s true, her honeyed voice - layered in those unmistakable harmonies of hers - thrillingly runs the gamut from tender to terse, by turns bracing and smitten, aching and forlorn. But it’s the lyrics that feel key. Across her output, Σtella has proven herself a strong storyteller, and ‘Up And Away’ is no exception (the guise of the medieval bard she assumes on the cover is telling). Past releases have been studded with gem-like vignettes - a diverse array of stories set tightly together to form non-linear narratives unified by emotion. Her latest feels singular in that it seems to trace a longer-form tale across songs, with each track escalating the record’s erotic arc.

By the end of the album, ‘Up And Away’s core concerns are clear: the conflicting and conflicted emotions inherent in love, that live on in ways we can’t always understand or control. Love is like this record: when it’s over, you still feel it for time to come.
Loser Edition LP pressed on blue vinyl.

John Ondolo spent his life traveling between Tanzania, where he was born, and Kenya, where he recorded a string of singles for independent labels in the late 1950s and early 60s. Unlike most guitarists from the region, Ondolo used open tuning (a favorite of American blues guitarists), creating a hypnotic drone over which he laid down endless rhythmic variations on his main themes. Inspired by the exploding pop music scene in Nairobi, the newest rock and roll imports from the US, and the Abakuria tribal music of his youth, Ondolo transposed traditional instruments and rhythms to his guitar, playing it more like a traditional harp at times, and inventing a sound totally unique in the recorded history of African guitar. This album brings together John Ondolo's rare early 78rpm recordings in the first-ever overview of this innovative but overlooked artist. The music traces Ondolo's creative output, from the resonant acoustic guitar masterpiece Tumshukuru Mungu to the relentless guitar and flute (!) interplay of Kenya Style to his later electric guitar, bass, and drum recordings with the Jolly Trio, all tied together by Ondolo's unique rhythmic sense and vocal style. The breadth and variety of Ondolo's recordings may be a result of his sporadic recording history. Unlike more famous artists, Ondolo wasn't sucked into the Nairobi nightlife scene of the early 60s, instead traveling from his farm in the foothills of Kilimanjaro on occasion to record. An outsider and devout Catholic whose music was sometimes at odds with the style of the times, he later left music entirely, shifting to film and driving a mobile cinema van for the Tanzanian government, introducing socialist and Pan-African films to the countryside. An accident in his mobile cinema led to the loss of his left arm, though he continued his travels. He died in 2008 in Dar Es Salaam, leaving behind two wives and 11 children. Over a decade in the works, Hypnotic Guitar of_ includes an insert with lyrics and translations, as well as notes by Tanzanian musician and historian John Kitime. Expertly restored and mastered by Michael Keiffer and pressed on 160gm black vinyl at Smashed Plastic in Chicago. Licensed from the Ondolo family in Tanzania.

180g audiophile vinyl reissue of Mary Lou Williams' highly sought after
1976 LP 'Free Spirits', featuring bassist Buster Williams and drummer
Mickey Roker
The First Lady of jazz, Mary Lou Williams (1910 - 1981) was the evolution of jazz
itself. Starting her professional career as pianist/composer/arranger in the 20s,
her style was swing but in the '40s she adopted the bop and later on she even
ventured into the realm of avant-garde jazz. Yet she never lost her blues feeling
which is evident in this long-awaited LP.
She contributed compositions and arrangements for many famous big bands
such as Andy Kirk, Benny Goodman, Earl Hines, Duke Ellington and Dizzy
Gillespie. In the late '60s and the '70s she was more focused on composing
sacred music. And one of her jazz masses was choreographed by Alvin Ailey.
Around the time of this recording Mary Lou in her mid-60s was still active in the
New York jazz scene performing regularly at the Cookery with the group recorded
here. SteepleChase was proud to have the opportunity of recording one of the
most significant artists of jazz of this century.

Ltd Autographed Black & Pink Vinyl Version of 2021 release on New
West.Lately is a record I wrote to share some of where I've been with you
Whenever songs happen for me, they are like photographs of time.Last year was
tough. That's an understatement for certain. I have always felt lonely, but the irony
of that is, I was not alone at all in that space. Everyone had lost something. As a
means of keeping sane, I started to write songs. The inspiration was occurring
from simple moments. I missed my friends. I missed my family. I felt unified in
knowing that I was not on my own in that mentalityI realized that my heart was
full of everything I loved and that would carry me forward for the time being.
Eventually we would all get back to one another. Now that we are beginning to, I
will be thrilled to share and play these songs for you. Love, Lilly HiattPackaging:
LP This is a split black and pink LP. It's a single pressing. No other pressings.
Autographed

Renowned for their distinctive songwriting, unique sound with beautifully
produced recordings, onstage chemistry and electrifying live shows,
European and British blues award nominees the Starlite Campbell Band
are Suzy Starlite and Simon Campbell who fell in love on stage and
married following a whirlwind musical romance
With their fresh taste of original '70s British rock and British blues, the husband
and wife duo have been on an exciting roller-coaster of a musical ride following
the release of their debut album 'Blueberry Pie' to rave reviews worldwide and a
prestigious nomination for Best Album in the European Blues Awards.The band's
exciting and highly anticipated second album 'The Language of Curiosity' is
released on November 5th, 2021 and supported by a European tour.
'The Language of Curiosity' is a collection of stories about different facets of
post- modern real- life experiences from working for the man, attitudes towards
lust, passion and casual sex, space travel, social systems and abuse by power
and money, war and the global refugee crisis, gatekeepers in the music industry,
people giving up and growing old before their time and feel good '70s inspired
British rock and British blues; it's like looking at different sides of a Rubik's cube.
From full-on rock 'n' roll tribal drums, thunderous bass, badass dirty guitar riffs,
drunken echoes of slide and lap steel, melting melodies and vocal harmonies
combined with old school valve guitar amps and analog tape machines, Starlite &
Campbell have a very British sound! With a vibe and feel reminiscent of the mid
'60s to early '70s British rock & British blues; think Peter Green, Faces, Deep
Purple, Led Zeppelin but not like those really... more like Starlite-Campbell!

Anyone who knows Duke's music, will immediately smile at the first few
seconds of the opening track "Here I'm Is" from the new album 'They
Called It Rhythm & Blues', available on 180g black vinyl from Stony Plain
Records
It's that joyous jump-blues shuffle sound that Duke has been perfecting since the
late 60s. Indeed, every song on this album is about the groove, master
musicianship, great understated taste and a perfect band mix that always
complements the pulse and the singer. Duke's guitar is at the center and brings it
all together.For a lifetime Duke Robillard has been playing the jazzy corners of the
blues. He was a founder of Roomful of Blues in the early 1970s, and replaced
Jimmy Vaughan in the Fabulous Thunderbirds in the 1990s and was a core
member of the New Guitar Summit through the 2000s, in addition to releasing an
astounding 37 albums on his own. He has won the W.C. Handy Award as Best
Blues Guitarist an astounding four times, and been nominated for two Best Blues
Album Grammy Awards. He is credited with taking the blues to a new level for
multiple generations of blues guitarists

French pianist, jazz vocalist and songwriter Matthieu Boré grew up surrounded by music and the arts. While his great-grandfather loved to give impromptu renditions of famous opera arias, his father's tastes were more modern and Matthieu's childhood was punctuated by the sounds of Eric Clapton, Bob Marley and the Stray Cats. At age 7, Matthieu began taking piano lessons, focussing predominantly on classical repertoire. In the 1990s he took his first steps into the music profession, singing in various punk and trip hop outfits, before pursuing his love of 1930s and 40s jazz. In early 2000, the young singer-pianist began playing the Parisian jazz club circuit and a year later, released an entire album of Fats Domino covers. In keeping with his fascination of 1950s R&B music, he issued Doo Wop in 2003. Sometimes on My Own (2007) is inspired by his idols Irvin Berlin, Hoagy Carmichael and Gershwin. 2009 saw the release of FriZZante!!, an album featuring a blend of covers and his own originals, with full orchestra. Matthieu Boré has performed at festivals and concert venues in both France and around the world, including the Montreal Festival, the Jarasum Festival (Korea), the New Morning and the Olympia. In 2011, he released a live album recorded at Paris's iconic Duc des Lombards. Roots (2012) was a surprising cocktail - a strong dose of New Orleans funk, from with Matthieu draws his own nonchalant style, combined with a predilection for acoustic sounds and syncopated grooves. In 2015, grammy-nominated Leo Sidran produced Naked Songs which explores the idea of pearing back songs to their defining elements. In Gumbo Kings (2019), Matthieu pays tribute to Allen Toussaint and The Meters through twelve original songs whilst his most recent release Till The Morning Light(2022) combines Jamaican ska and 60's garage rock influences.

Thomas Dinger (1952-2002) war der jüngere Bruder von Klaus Dinger. Zusammen waren beide bei Neu! und La Düsseldorf aktiv. Entnervt von Streitigkeiten mit seinem dominanten Bruder, flüchtete Thomas Dinger im Jahr 1978 nach Südfrankreich - mitten während der Produktion zum zweiten La-Düsseldorf-Album "Viva". Dort entstand die Idee zu einem Soloalbum. Er wollte endlich mal was ganz Eigenes machen, etwas "Für mich". Gemeinsam mit dem Ex-Bandkollegen Hans Lampe als Co-Produzenten nahm er 1981 im bandeigenen Studio sechs Tracks des Albums auf: instrumentale, melancholische, elegische, von flächigen Synthesizer-Sounds dominierte Stücke, die eher an Musik von Wolfgang Riechmann oder Michael Rother erinnern als an den typischen La-Düsseldorf-Sound: Nur einmal ist der charakteristische 4/4-Dinger-Beat zu hören, zwei Stücke kommen sogar als Walzer daher.

BBC 6 MusicAlbum of the Yearas chosen by

DJ Craig Charles

★★★★Mojo

★★★★★Blues & Soul

★★★★★UK Vibe

9/10 DJ Mag (Single I Miss You)

"One of the very best soul voices I've heard for a very long time"

Craig Charles (BBC 6Music)

"Delivered with a vocal dripping with yearning and desperation"

4/5 Mojo

"A high octane soul masterpiece"

Blues & Soul,5/5Album of the Month

"Undoubtedly the album of the year"

5/5 UK Vibe

Burundian soul singer JP Bimeni is set to release his first music since his BBC 6 Music award winning album Free, from 2018. Give Me Hope is a slice of horn heavy, Afro tinged, Stax inspired soul and is the first taster of a new album set for release in early 2022

Give me Hope is the title track from his new album, featuring his band The Black Belts, set to drop on February 4thon Lovemonk Records.

A supremely funky number it boasts bassline and powerful horn arrangements, and gives a taster to a new work that dots between classic '60s Motown, psychedelia and Afro-funk.

Wokrs from 1993-2004. Compilation of Taras Bulba, a German studio group that could be labelled Tribal? Trance? Pop? Folk? Ambient? ... or something else.

'Kickstart The Sun', das ganze neun Monate Studiozeit in Anspruch nahm und teilweise in den legendären RAK Studios in London aufgenommen wurde, legt die Messlatte zu den vorherigen Alben noch einmal höher. Das vertraute Team aus Produzent/Gitarrist und Hauptsongwriter Greg Hart und Engineer Ian Caple haben 15 epische AOR-Nummern aus der taufe gehoben die eine Gesamtspielzeit von über 60 Min. haben. Das Album enthält einige ganz besondere Gäste, die bestätigen, dass die Band ihre musikalischen Grenzen bis zum absoluten Maximum ausreizt.

Der legendäre Pedal-Steel-Spieler B.J. Cole (Elton John, Humble Pie, Gerry Rafferty, Stranglers, John Cale, Uriah Heep u.v.a.) gehört dazu wie auch der australische Virtuose Ian Cooper, oder Emily Lynne und Lara Smiles die normalerweise bei The Australian Pink Floyd im Chor singen.

'Kickstart The Sun', wird neben der einfachen CD-Version auch als limitierte Doppel-RED MARBLE-Vinyl mit Booklet, als YELLOW MARBLE-Vinyl mit Booklet und als Super-Deluxe-Doppel-CD inklusive einer 10-Track-Bonus-CD mit exklusiven Aufnahmen und alternativen Mixes erhältlich sein.

'Kickstart The Sun', das ganze neun Monate Studiozeit in Anspruch nahm und teilweise in den legendären RAK Studios in London aufgenommen wurde, legt die Messlatte zu den vorherigen Alben noch einmal höher. Das vertraute Team aus Produzent/Gitarrist und Hauptsongwriter Greg Hart und Engineer Ian Caple haben 15 epische AOR-Nummern aus der taufe gehoben die eine Gesamtspielzeit von über 60 Min. haben. Das Album enthält einige ganz besondere Gäste, die bestätigen, dass die Band ihre musikalischen Grenzen bis zum absoluten Maximum ausreizt.

Der legendäre Pedal-Steel-Spieler B.J. Cole (Elton John, Humble Pie, Gerry Rafferty, Stranglers, John Cale, Uriah Heep u.v.a.) gehört dazu wie auch der australische Virtuose Ian Cooper, oder Emily Lynne und Lara Smiles die normalerweise bei The Australian Pink Floyd im Chor singen.

'Kickstart The Sun', wird neben der einfachen CD-Version auch als limitierte Doppel-RED MARBLE-Vinyl mit Booklet, als YELLOW MARBLE-Vinyl mit Booklet und als Super-Deluxe-Doppel-CD inklusive einer 10-Track-Bonus-CD mit exklusiven Aufnahmen und alternativen Mixes erhältlich sein.

• Esther Marrow began singing professionally in the early 60s. Her big break came in 1965 when she was asked by Duke Ellington to take part in his ground-breaking Concert of Sacred Music at the Grace Cathedral in San Francisco. Marrow toured with the Duke Ellington Band as well as Harry Belafonte and came to the attention of Bob Thiele who recorded and released this debut album on his Flying Dutchman label in 1969.

• Musically, it’s a compelling mix of funk and soul, occupying similar terrain to Alice Clark’s great album that was released on Mainstream in 1972. For example, Jesse Stone’s ‘Money Honey’ is given a crunching funk arrangement and is one of three tracks that tempt collectors to pay big money for an original copy; ‘Walk Tall’ and ‘Chains Of Love’ are the other two. ‘Chains Of Love’ was originally recorded in Detroit by J.J. Barnes and became a Northern Soul classic. ‘Walk Tall’ is one of the album’s highlights and features music originally written by pianist Joe Zawinul and performed by Cannonball Adderley, with lyrics by James Rein and Morrow. It has become something of a jazz standard, but no version ever bettered this original track.

• Add to the mix the lush string driven power of ‘Peaceful Man’, ‘Mama’ and a tilt at the classic ‘What A Wonderful World’ and you have a truly wonderful album.

• Pressed on 180gm vinyl, we have remained faithful to the original pressing replicating the Flying Dutchman label style and gatefold sleeve.

In celebration of the band's self titled 10th anniversary, and new for 2022, WHITECHAPEL "Whitechapel" available for the first time on "marbled" Vinyl. Originally released in 2012, "Whitechapel" has sold upwards of 60,000 units in the U.S., but has offer very limited pressings on LP. Grab these while you can and see WHITECHAPEL ON TOUR in June / July throughout North America

Das Talking Therapy Ensemble, das neue Projekt von Emma-Jean Thackray, die 2021 ihr gefeiertes Debütalbum 'Yellow' veröffentlichte, liegt irgendwo zwischen Free-Jazz-Wahnsinn und Groove, Komposition und Improvisation, dem Öffentlichen und dem Privaten. Durch den kathartischen Prozess der Improvisation finden es Befreiung von Stress und Leid, seine Sprachtherapie, inspiriert durch Blues, Crusty Punk, die bekennenden Dichter der 1950/60er und Künstler wie Art Ensemble Of Chicago, Sun Ra Arkestra, Albert Ayler, Irreversible Entanglements. Aufgenommen in den Abbey Road Studios im Zuge der Abbey Road x Pitchfork Studio-Session-Serie.

+++ Braindance Alert +++ RTR delivering an energetic and diverse album full of infectious acid and breakbeat injected tunes. Flirting with Squarepusher and Luke Vibert influences '61 Cygni' will sound familiar, yet still fresh, adventurous and bubbly!

'Azur' is the fourth album from California's best kept secret, Triptdes - a marvellous pop band from
Bloomington, Indiana and now relocated in LA. Their shiny and hazy songs are perfect anthems for a
nascent summer. This ten-song collecton explores the full spectrum of sensatons you can go through
on a hot day - from laziness to happiness, 'Azur' is a trip to California without actually having to move
an inch. Sit down and relax, take a fresh soda and enjoy the sun.
'Sublime psychedelic 60s dream-pop with true warmth and vibrancy. Too damn good to be a mere
pastche.' - Norman Records - 9/10

The second 7" in the Konduko series reissues this mega-rarity, Noel Williams aka King Sporty's own version of Bob Marley's Concrete Jungle. The connection between Marley and Williams was long-standing, both living in the tenements of West Kingston and gaining their musical foundations as part of the Studio One, that would reach fruition when they later co-wrote Buffalo Soldier together.

Clement Dodd's organisation was more than a label, running a sound system, studio, pressing plant and its own distribution. As Deejay on the system and later releasing his debut single on the label, William's learnt his craft, taking this knowledge to Miami and replicating much - expanding the Konduko label to encompass studio, plant and distribution.

First recorded with Lee Perry, Marley's 1971 original was famously rerecorded for The Wailers move to Island Records and their 1973 album, Catch A Fire. Here, a rare Williams' vocal is backed with horns atop a reggae-funk groove. The songs message of struggle is universal and everlasting, even with a touch of Miami swing.

This is backed by Young Girl, a single in its own right, from the same period. A rocksteady, breakbeat shuffle bely the songs roots in late 60s soul, with a powerful counterpoint vocal from wife and partner, Betty Wright. A collector's item itself, together they are essential.

”Im Frühjahr 2020 haben wir eine Liste mit unseren Lieblingssongs von Brian erstellt - eine sehr lange Liste. Wir haben die Songs ohne Rücksicht auf ihre Chart-Performance ausgewählt. Die obskuren treffen uns genauso hart wie die populäreren Songs - und alle sind reif für eine Neuinterpretation, eine Neugestaltung, eine Neuerfindung. Brian schreibt Lieder über Schönheit, Einsamkeit und Verletzlichkeit besser als jeder andere - und indem er sie neben populären Liedern über Zuversicht, Liebe und Spaß aneinanderreiht, entsteht ein vollständigeres Bild des Lebens auf der Erde.”


- Zooey Deschanel und M. Ward
She & Him - das gefeierte Duo M. Ward und Zooey Deschanel - sind bekannt für ihre stilvollen Arrangements, raffinierten Interpretationen und scharf gezeichneten Originalkompositionen, die sie in ihrer
14-jährigen Zusammenarbeit über sechs Alben hinweg perfektioniert haben. Jetzt, mit „Melt Away: A Tribute to Brian Wilson“, ihrem siebten Album, hat das Duo einen Liebesbrief an den südkalifornischen
Pop der 60er Jahre verfasst. Produziert von M. Ward und abgemischt von Tom Schick (Wilco, Norah Jones, Iron and Wine), ist „Melt Away: A Tribute to Brian Wilson“ das erste Album des Paares seit sechs
Jahren und enthält eine Fülle von klug ausgewählten Wilson/Beach Boys-Kompositionen - Ward und Deschanel bringen ihr unheimliches gemeinsames musikalisches Gespür in diese Pop-Noir-Kostbarkeiten ein und interpretieren sie für die heutige Zeit neu.

”Im Frühjahr 2020 haben wir eine Liste mit unseren Lieblingssongs von Brian erstellt - eine sehr lange Liste. Wir haben die Songs ohne Rücksicht auf ihre Chart-Performance ausgewählt. Die obskuren treffen uns genauso hart wie die populäreren Songs - und alle sind reif für eine Neuinterpretation, eine Neugestaltung, eine Neuerfindung. Brian schreibt Lieder über Schönheit, Einsamkeit und Verletzlichkeit besser als jeder andere - und indem er sie neben populären Liedern über Zuversicht, Liebe und Spaß aneinanderreiht, entsteht ein vollständigeres Bild des Lebens auf der Erde.”


- Zooey Deschanel und M. Ward
She & Him - das gefeierte Duo M. Ward und Zooey Deschanel - sind bekannt für ihre stilvollen Arrangements, raffinierten Interpretationen und scharf gezeichneten Originalkompositionen, die sie in ihrer
14-jährigen Zusammenarbeit über sechs Alben hinweg perfektioniert haben. Jetzt, mit „Melt Away: A Tribute to Brian Wilson“, ihrem siebten Album, hat das Duo einen Liebesbrief an den südkalifornischen
Pop der 60er Jahre verfasst. Produziert von M. Ward und abgemischt von Tom Schick (Wilco, Norah Jones, Iron and Wine), ist „Melt Away: A Tribute to Brian Wilson“ das erste Album des Paares seit sechs
Jahren und enthält eine Fülle von klug ausgewählten Wilson/Beach Boys-Kompositionen - Ward und Deschanel bringen ihr unheimliches gemeinsames musikalisches Gespür in diese Pop-Noir-Kostbarkeiten ein und interpretieren sie für die heutige Zeit neu.

Acid Rooster were described by ‘Le Guess Who Festival’ as a ‘wet dream for heads who cram their record collection with Amon Düül, Spacemen 3, Wooden Shjips, Tangerine Dream’ – a statement we wholeheartedly endorse.

Ad Astra was recorded live in July 2020 in a private garden with a field recorder in front of a small audience of friends during the lockdown in the middle of the corona pandemic. The two long jams were the opening and the closing track of a completely improvised concert and are a spontaneous snapshot of Acid Roosters approach to free floating consciousness expanding psychedelic music.
So 2 tracks and 46 minutes of Acid Rooster digging deep into the well of far-out psychedelic rock that is one mind-expanding journey to the innermost limits of your mind.

Zu den Sternen was the intro and is a slow-burn trip where you ride wave upon wave of ecstatic highs until you eventually hit the peak in freak out territory as Acid Rooster merge with the cosmos and then ride the golden afterglow home into an eternal locked groove.

Phasenschieber rides that afterglow of galactic intensity – a place where you can just let go as the music created drifts and pulses away. It is a Beautiful, hypnotic, spaced out, blissful state where Acid Rooster takes you beyond the Astral Planes.
Released by Cardinal Fuzz (UK), Sunhair Music (EU) and Little Cloud Records (US) in an edition of 600 (300 x Galaxy and 300 x Black)
Artwork by our beloved Chris Kröber