Suche:la rock

Colemine Records freut sich, eine spezielle 10-Jahres-Jubiläumsausgabe von ,Sound of Sinning", dem bahnbrechenden Studioalbum von Monophonics, zu präsentieren. Seit ihrer Gründung im April 2015 tragen Monophonics stolz die Fackel der reichen Musikgeschichte und -kultur San Franciscos durch die Generationen bis in die heutige Musiklandschaft. Sie halten an Traditionen fest, sind aber keineswegs Puristen, sondern spielen ihre eigene Musikrichtung, die als ,Psychedelic Soul" bekannt ist. Auf ihrem vorherigen Album ,In Your Brain" ließ sich die Band von Acts wie den frühen Funkadelic, Sly and The Family Stone und den von Norman Whitfield produzierten Platten der Temptations beeinflussen. ,Sound of Sinning" markierte den Beginn des Wachstums der Band in allen Bereichen. Mit Einflüssen aus Northern Soul, Doo-Wop, Rock ,n` Roll, Psych Pop und Filmmusik zeigen Monophonics ihre Vielseitigkeit, bleiben aber ihren Wurzeln treu. Insgesamt ist es herzliche Musik mit Old-School-Vibes, ohne dabei die Gegenwart aus den Augen zu verlieren. Diese Musik ist geprägt von dem zeitlosen Gefühl, als man noch Songs schreiben und produzieren konnte, die man sich immer wieder anhören konnte. ,Sound of Sinning" wurde von Kelly Finnigan & Ian McDonald produziert und auf einem alten Tascam-Acht-Spur-1/4-Zoll-Bandgerät in den Transistor Sound Studios in San Rafael, Kalifornien, aufgenommen. Seit ,Sound of Sinning" hat die Gruppe das von Kritikern hochgelobte Album ,It's Only Us" (2020) und das Konzeptalbum ,Sage Motel" (2023) veröffentlicht, das sich über 10.000 Mal verkauft hat. Die Band tourt weiter, hat kürzlich eine Reihe von Shows mit dem legendären Lee Fields absolviert und steht vor einer internationalen Tournee für 2025.

Yawning Man return to the studio in 2025 with founding members Gary Arce and Mario Lalli with Bill Stinson. The new album on Heavy Psych Sounds Records "Pavement Ends" marks Arce and Lalli returning to a collaboration off the beaten path on some of the band's darkest and heaviest themes. Drenched in sonic tension and release, bleak and beautiful. The first track released titled "Bomba Negra" digs deep in the emotional undertow of Yawning Man's unique approach to rock music. The cover painting is the bands first collaboration with Joshua Tree artist Diane Bennett.

Transparent Orange Vinyl, limited to 350 copies. Yawning Man return to the studio in 2025 with founding members Gary Arce and Mario Lalli with Bill Stinson. The new album on Heavy Psych Sounds Records "Pavement Ends" marks Arce and Lalli returning to a collaboration off the beaten path on some of the band's darkest and heaviest themes. Drenched in sonic tension and release, bleak and beautiful. The first track released titled "Bomba Negra" digs deep in the emotional undertow of Yawning Man's unique approach to rock music. The cover painting is the bands first collaboration with Joshua Tree artist Diane Bennett.

Yamauchi Tetsu (Bass, Guitar, Vocal) / Eleanor Barooshian (Vocal) / Narita Masaru (Vocal) / Pipi Shibata (Guitar) / Ohno Katsuo (Keyboards) / Harada Hiroomi (Drums, Percussions) / Tsunoda Hiro
(Drums, Percussions) / Charlie (Percussions)

Strong groove and sharp guitar sound
Yamauchi Tetsu's first solo album recorded in Japan while still in Free
Yamauchi Tetsu, who became the bassist for the British band Free after playing for Mickey Curtis & Samurai, recorded his first solo album during a temporary return to Japan in 1972.
This is a full album with plenty to listen to, including the edgy guitars on "Wiki Wiki," the groovy funk rock on "First Time," "How To Cook," and "Orange Dog," and Eleanor's languid vocals
on "Alexander Stone," "Why," and "Baby Blue." Reissued with remastering by Makoto Kubota.

Commentary: Shinichi Ogawa
Remastering: Makoto Kubota

Hiroki Tamaki (vocals, violin, mandolin, A.Piano, strings ensemble, Oberheim, vocoder) / Eiji Shimamura (drums) / Yuichi Tokashiki (drums) / Akira Okazawa (bass) /
Kenji Takamizu (bass) / Ken Watanabe (bass) / Ken Yajima (E.Guitar) / Fujimaru Yoshino (E.Guitar) / Toshiaki Fuefuki (A.Guitar) / Koichi Tani (A.Guitar) / Yonosuke Segami (percussion) /
Fumitaka Anzai (A&E.Piano, synthesizer) / Keiko Yamakawa (Harp)

A psychedelic spiritual trip led by multiple vocals and synthesizers

A musical picture scroll of ecstasy depicting a world of harmony on a celestial scale

Violinist, composer and arranger Hiroki Tamaki was inspired by the lectures of Indian religious philosopher Bakwan Shree Rajneesh to create a magnificent musical picture scroll.
Tamaki's own vocals are layered on top of each other, and the music is mysterious and harmonious, woven together by synthesizers by Fumitaka Anzai (TPO, Urusei Yatsura music director).

Includes the progressive rock approach of "Poem of Mahamudra" and "Meditation," as well as "River" and "Beautiful Song," which were selected for "Nippon Acid Folk 1970-1980"
(Time Capsule) and are being re-evaluated as hidden gems of acid folk.

When Harmonia made an album, it was about more than just music – it was about a vision. Released in 1975, Deluxe was the band’s second album. Compared to their debut, it focused more on structure, melody, and rhythm. Harmonia showed a more accessible side without losing their depth.

Now, 50 years later, Deluxe returns in a special anniversary edition: a high-quality gatefold with previously unreleased photos and orange vinyl inspired by the original artwork. This edition is for collectors and anyone curious why artists like Brian Eno and David Bowie considered Harmonia a major influence – and why Deluxe remains a blueprint for electronic music today. Brian Eno once called Harmonia “the world’s most important rock band”¹ – a quote that captures just how visionary their music was, and still is.

High-quality gatefold sleeve with unreleased archival photographs

50th anniversary reissue

orange colored vinyl, inspired by original artwork

To celebrate its 25th Anniversary, Familiar to Millions is re-released on 2CD and 3LP formats with the vinyl being made available for the first time since its original release in 2000. Released on November 13th, 2000, Familiar to Millions was Oasis’ first live album and was recorded at their landmark Wembley Stadium show in July that year.

Das fünfte Studioalbum von Goose und die zweite Veröffentlichung der Band im Jahr 2025 knüpft an den Erfolg von ,Everything Must Go" aus dem April an. ,Chain Yer Dragon" entführt die Zuhörer in eine reichhaltige, vollendete Welt aus Musik und vertrauten Charakteren und lädt sie ein, den Lichtern und Klängen durch schmuddelige Bars und lange Nächte auf der Straße zu folgen, die in der Klarheit eines frischen Morgengrauens verschwinden. ,Chain Yer Dragon" zeigt die Vielseitigkeit von Goose und präsentiert Rock-Songs im Stil der 70er Jahre, die sich vertraut anfühlen und durch Improvisation zum Leben erweckt werden. ,Chain Yer Dragon" spielt mit der Form und wird durch einen natürlichen Produktionsstil getragen, der dem Album das rohe, freizügige Gefühl der elektrisierenden Live-Shows der Band verleiht. Mit Titeln, die Gooses musikalische Karriere umspannen, dient ,Chain Yer Dragon" als Bindeglied zwischen einigen der frühesten, sehr beliebten Songs der Gruppe und ihrer aktuellen Entwicklung als Vierergruppe. Mit Live-Klassikern wie ,Echo of A Rose", ,Empress of Organos", ,Rockdale" und Fan-Favoriten wie ,Factory Fiction" greift ,Chain Yer Dragon" die Ursprünge der Band auf. Der Albumauftakt mit neuen Tracks wie ,Madalena" und ,Royal" konkretisiert das Universum der Night Rays Band und erweitert Ideen, die Gitarrist und Sänger Rick Mitarotonda und sein Songwriting-Partner Matt Campbell bereits 2011 entwickelt hatten. ,Es gibt eine Welt, die sich aufbaut und die sich wie die treibende Kraft dieses Albums anfühlt", sagte Mitarotonda. ,Viele dieser charakterorientierten Songs stammen aus einer Zeit und einem Ort, an dem wir unsere musikalische Stimme gefunden haben, und es ist sehr befriedigend, sie nicht nur aus der Perspektive unserer heutigen Identität und unseres heutigen Standorts wieder aufzugreifen, sondern auch weiterzuentwickeln. Diese Songs haben eine Reise hinter sich, und es fühlt sich richtig an, dass sie nun endlich ein Zuhause gefunden haben." ,Chain Yer Dragon" bietet Persönlichkeiten, Schauplätze und Musik, in denen man sich verlieren kann. Lyrische Rückgriffe und strukturiertes Storytelling erzählen eine Geschichte, die zwar nicht linear ist, sich aber dennoch zusammenhängend anfühlt. Das Album treibt den ständig wachsenden musikalischen Katalog von Goose voran und erinnert gleichzeitig daran, dass man manchmal, um voranzukommen, die Vergangenheit annehmen muss.

Los Angeles artist and musician Shlohmo returns with a vinyl repress of two of his defining albums: "Bad Vibes" and "The End". From the first sounds of Henry Laufer"s early work, it was clear he was forging a new path in electronic music - melding hazy textures, emotive melodies, and fractured beats into a sound both intimate and expansive. Bad Vibes introduced Shlohmo"s lo-fi, slowmotion approach, crafting emotive atmospheres that would influence a generation of West Coast producers. The End, a cinematic journey of chaos and calm, cemented his status as a visionary, blending apocalyptic tension with moments of quiet reflection, made with drum machines, vintage synths, and improvised recording techniques.

Old-time and traditional music stay exciting for their contrasts. Exacting instrumentation honed through mentorships and late-night jams at fiddler's conventions tangles with a community-sourced inventiveness that influences variants and new sounds. Joseph Decosimo is a master of this genre for this very reason, blending deep technique with an openness and curiosity that keep his music crackling with life. A "marvelous fiddler" (No Depression) and banjo player who braids "exultation and veneration" (INDY Week) into his music, on his third solo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musical career to infuse his interpretations of fiddle and banjo pieces with a contagious communal joy. As an artist working with traditional music from the South and Appalachia, Decosimo chooses songs based not only on historical significance and lineage but also his own sensory approach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcing from field recordings such as Virginia fiddler Luther Davis' hypnotic version of "Shady Grove" while amping up the music's psychedelic potential. On the middle Tennessee banjo composition "Flowery Girls," a VHS of bluesman Abner Jay inspired Decosimo to rig up a pickup inside a fretless banjo and play it thr ough a tube amp to capture some of Jay's edge and funkiness. But to round out the sound and keep it kinetic meant galvanizing a genre-eschewing crew to jam out - and not in a "spaced-out drooly" kind of way, he laughs, but as a sort of "responsive conversation." Decosimo has always been a community-minded artist. He began playing as a seventh graderin Tennessee, fostering relationships with older players at jams and in homes, a learning mode natural to his inquisitive nature and desire for musical connection. A folklorist by intuition, he later became one by profession, studying with old-time legend Clyde Davenport, teaching in East Tennessee State University's renowned bluegrass program, and receiving his PhD at the University of North Carolina with a dissertation titled "Catching the `Wild Note': Listening, Learning, and Connoisseurship in Old-Time Music." In North Carolina, Decosimo kicked about in the verdant environment of Durham and Chapel Hill's folk and indie scenes, collaborating with artists including Alice Gerrard, Hiss Golden Messenger, and Jake Xerxes Fussell. This community has influenced his own music, including his "sublime and strangely heartening" (Bandcamp Daily) 2022 release While You Were Slumbering and Beehive Cathedral, Decosimo's 2024 "Appalachian mountain music treasury" (New Commute) trio album with Luke Richardson and Cleek Schrey for Dear Life Records. Continuing on this path, Fiery Gizzard is home base for a loose outfit of mostly Tarheel-based musicians from within and beyond traditional music. Inspired by a tour with fiddler Stephanie Coleman (Nora Brown), guitarist Jay Hammond, and synth builder and multi-instrumentalist Matthew O'Connell, Decosimo assembled studiomates based on close friendships and comfort. Coleman, O'Connell, and Hammond contribute to Fiery Gizzard, along with bassist and producer Andy Stack (Helado Negro, Wye Oak), horn player Kelly Pratt (Beirut, David Byrne), Mipso and Fust's Libby Rodenbough, Joseph O'Connell (Elephant Micah), and trad/experimental artist Cleek Schrey. Decosimo's fiddle and banjo work is virtuosic, intricate and simple simultaneously, a testament to his many years of study. On some tracks, his playing or lovely, plain-hearted singing is the centerpiece, such as on his interpretations of Texan street preacher Washington Phillips' 1929 recording "I Had a Good Father and Mother" or the Eastern Kentucky fiddle barn-burner "Glory in the Meetinghouse," famously played by Luther Strong for Alan Lomax. But there's also a trusting open-door policy, like where Southern Appalachian tune "Ida Red" relaxes into Coleman's sweet, confident fiddling and Hammond's loping guitar. As a bandleader, Decosimo's confidence and enthusiasm for the music reveal the heart of traditional music and how it can come to life through community. Fiery Gizzard is Joseph Decosimo as a powerful champion of traditional music - a sponge who soaks up as much as he squeezes out, a responsive artist who makes his genre accessible, and a magnet who can bring musicians of all sorts into his orbit with his same passion.

Seit 2016 schmettert die Band aus Niedersachsen ihren Fans fette, treibende Rockmusik um die Ohren. Die eingängigen Metaleinflüsse und die unverwechselbare Stimme von Frontmann Christoph prägen dabei den rauen Sound der Band. Bei ihren Live-Shows bringen sie nicht nur ungebremste Energie, spürbare Freude und echte Emotionen auf die Bühne - sie reißen ihr Publikum mit und hinterlassen einen bleibenden Eindruck, der noch lange nach dem letzten Ton nachhallt. Mit Ihrem neuen Album "Zerrissen" legen sie noch einmal eine Schippe drauf! In einer Zeit, in der Hass auf den Straßen lauter wird und rechte Parolen wieder salonfähig erscheinen, setzen Sie ein klares Zeichen: Wir stehen zusammen - gegen Rassismus, gegen Ausgrenzung, gegen rechte Hetze. Unser Projekt ist mehr als nur Musik. Es ist ein Aufschrei, ein Widerstand, ein kollektives ,FUCK YOU" gegen Intoleranz und Ignoranz. Wir geben der Wut eine Stimme - und der Menschlichkeit ein Gesicht. Mit kraftvollen Texten, ehrlicher Emotion und unmissverständlicher Haltung. Als CD im Digipak mit 16-seitigem Booklet oder LP 180gr schwarzes Vinyl, 300 Stück handnummeriert mit Einleger

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' exit in 2022, this reunified version of Pelican allowed the band to tap back into those influences and build something distinctly new with Flickering Resonance. While longtime Pelican fans will find an updated version of the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, I'm willing to acknowledge all the suits we're wearing." On Flickering Resonance, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes.

After completing his nationwide run with Ice Nine kills, the rocker has been hard at work prepping Cruel World. The collection of songs includes several notable features, including the likes of From First To Last, as well as Ice Nine Kills. The 9-song minialbum is chock full of TX2's well-known hard-hitting sinister sound, and he's bringing an added dose of heavy with these new songs as well. Fan-favorite track "MAD," which has seen 10,000+ video creates on TikTok and has created an unstoppable buzz around the project. Rising out of the shadows of a small town known for music, Fort Collins; TX2 brings an unmatchable intensity in his music through the form of powerful raw lyrics and explosive performances. After struggling for so many years as an artist, TX2 used his pain as fuel and finally found his sound. As a result, his music went viral on TikTok and he now has ~800K followers on the platform. TX2 has since begun a movement known among his fans known as the "X Movement", which is all about bringing awareness to mental health and creating a safe space for those in need to talk. The rules are simple, any member can vent and share how they are feeling, while other members are encouraged to push other members' self-esteem up. The movement is currently growing every day, providing a platform to speak about mental health, vent, and support one another. TX2 wants everyone to know they are not alone in their struggles. The nine rack minialbum is available on CD & LP!

An enthralling weave of cathartic, introspective spirituality and thrumming, industrial darkness; The Wounded Healer is the first full-length from PREYRS, the new incarnation of Irish singer-songwriter Amy Montgomery and her band as one formidable entity. From the fourpiece's new janiform name; a twisting, conflicting play on the tenderness and innocence of prayer and the deadly dance of prey and predator to the band's fiercely independent journey, PREYRS is a project already steeped in story. After breathtaking album opener `Humble Eyes', lead single `Wave of Wisdom' immediately lays this concept bare as Amy's incandescent delivery of uncertainty, "lesson learned / don't know how / but here I am again / stronger than before", soars over a defiantly discordant clash of alt-folk slide guitar and Mormecha's pummeling industrial percussion. Elsewhere, the high-octane `Zeros, Ones & Lies' wrestles with the spiritual toll of being fed constant footage of atrocity and catastrophe by a media that accepts no responsibility for their part in the global race to the bottom. As such, the track bursts into furious life with urgent, double-time drums met by guitars distorted to the brink of destruction before the song all but caves in on itself as Amy quietly asks of us "Can you feel it? / like a river / it flows so silently / it flows so violently". By contrast, `Bring Ur Bruises' radiates resplendent, self-empowering positivity. Centred once again on the concept of the wounded healer, `Bring Ur Bruises' implores the listener to welcome their trauma in, to own it and wear it as a paradoxical means of ultimately letting it go as triumphant, reverb-soaked guitars soar ever higher. If it wasn't already clear, PREYRS are no strangers to doing things differently and, across every iteration, the band have always taken a DIY approach to every aspect of their existence. From covering themselves in paint and rolling over every single early album cover to, until recently, booking all of their own shows and festivals as diverse as Glastonbury, Green Man (UK), Blizzarrrd Rock (GER) and Bloodstock (UK), last year the band found themselves touring the UK as Amy Montgomery in support of musical heroes and British post-punk legends New Model Army. In November 2025 they will be joining New Model Army again on tour across Europe, but this time as PREYRS performing tracks from The Wounded Healer, the same four people but an entirely different beast. FOR FANS OF Nine Inch Nails, Chelsea Wolfe, Sonic Youth, Julie Christmas, Alanis Morissette, My Bloody Valentine, Siouxsie and The Banshees, Melvins

An enthralling weave of cathartic, introspective spirituality and thrumming, industrial darkness; The Wounded Healer is the first full-length from PREYRS, the new incarnation of Irish singer-songwriter Amy Montgomery and her band as one formidable entity. From the fourpiece's new janiform name; a twisting, conflicting play on the tenderness and innocence of prayer and the deadly dance of prey and predator to the band's fiercely independent journey, PREYRS is a project already steeped in story. After breathtaking album opener `Humble Eyes', lead single `Wave of Wisdom' immediately lays this concept bare as Amy's incandescent delivery of uncertainty, "lesson learned / don't know how / but here I am again / stronger than before", soars over a defiantly discordant clash of alt-folk slide guitar and Mormecha's pummeling industrial percussion. Elsewhere, the high-octane `Zeros, Ones & Lies' wrestles with the spiritual toll of being fed constant footage of atrocity and catastrophe by a media that accepts no responsibility for their part in the global race to the bottom. As such, the track bursts into furious life with urgent, double-time drums met by guitars distorted to the brink of destruction before the song all but caves in on itself as Amy quietly asks of us "Can you feel it? / like a river / it flows so silently / it flows so violently". By contrast, `Bring Ur Bruises' radiates resplendent, self-empowering positivity. Centred once again on the concept of the wounded healer, `Bring Ur Bruises' implores the listener to welcome their trauma in, to own it and wear it as a paradoxical means of ultimately letting it go as triumphant, reverb-soaked guitars soar ever higher. If it wasn't already clear, PREYRS are no strangers to doing things differently and, across every iteration, the band have always taken a DIY approach to every aspect of their existence. From covering themselves in paint and rolling over every single early album cover to, until recently, booking all of their own shows and festivals as diverse as Glastonbury, Green Man (UK), Blizzarrrd Rock (GER) and Bloodstock (UK), last year the band found themselves touring the UK as Amy Montgomery in support of musical heroes and British post-punk legends New Model Army. In November 2025 they will be joining New Model Army again on tour across Europe, but this time as PREYRS performing tracks from The Wounded Healer, the same four people but an entirely different beast. FOR FANS OF Nine Inch Nails, Chelsea Wolfe, Sonic Youth, Julie Christmas, Alanis Morissette, My Bloody Valentine, Siouxsie and The Banshees, Melvins

2025 Repress

“UR wonders” What happens to jazz if combined with the current electronic sound tools used to make Detroit techno now?
What might Jazz sound like if the inspirational pioneers of fusion ie; Return to Forever, Astral Pirates or Weather Report had access to the music production technology available now or in the future?
The artform called Jazz was a unique reflection of “The African American experience here in the United States.Unfortunately by the 90″s it had been compromised by major record companies and made “smoother” for mainstream consumption and more profits.
Born in America’s rural black south Rock & Roll had suffered the same fate years earlier. Original artists eventually replaced by well studied clones and corporate mega profits!! Also happening the original artform of jazz appeared to be caught, processed & throughly EXPLAINED by people who sought to intellectualize “struggle & human emotion” into mere words and then benefit immensely financially by being authorities on the subject.
Hmm sound familiar?

As you watch the current intellectual colonization of the urban inner city African American art forms house music, hip-hop, Jungle & Detroit techno get studied, bent, twisted renamed and turned into EDM profit formulas.

There stands records like Nation 2 Nation that defy these definitions and inspire the next generation of Pioneers who continue the undefined exploration of Jazz like Derek Jamerson, Jon Dixon, Raphael Merriweathers, Desean Jones, Timeline, Galaxy 2 Galaxy, Raphael Statin & Ian Finkelstein. Mother to daughter, Father to son,

Nation 2 Nation a work inspired and that inspired what’s next.

NOW Music proudly presents the next release in our “NOW That’s What I Call An Era” series – NOW That's What I Call An Era - Disco: 1973-1980 – a dazzling celebration of the golden age of disco.



This stunning 3LP set, pressed on blue, violet and pink vinyl, showcases 48 essential tracks that lit up the dancefloors, charts, and airwaves at the height of disco fever — an era when glittering anthems, euphoric grooves, and iconic vocal performances defined nightlife around the world.



LP1 opens in iconic style with Chic’s monumental ‘Le Freak’ followed by Sister Sledge’s equally legendary ‘We Are Family’, and Gloria Gaynor’s empowering #1 ‘I Will Survive’. Anthems follow from Sylvester with ‘You Make Me Feel (Mighty Real)’ and Chaka Khan with ‘I’m Every Woman’, ahead of the timeless ‘Young Hearts Run Free’ by Candi Staton and the first side finishes with production by Chic’s Nile Rodgers and Bernard Edwards on massive hits for Diana Ross with ‘Upside Down’, and Sheila & B. Devotion with ‘Spacer’. Flip the LP over for Amii Stewart’s version of ‘Knock On Wood’ followed by The Three Degrees, Eruption and the first smash from Boney M., ‘Daddy Cool’. The Village People topped the chart with ‘YMCA’ which has become an enduring party favourite, which leads to the infectious ‘Let’s All Chant’ from the Michael Zager Band, Lipps Inc. with ‘Funkytown’ and to close the first LP, sci-fi disco from Dee D. Jackson with ‘Automatic Lover’.



LP2 begins with Donna Summer’s epic version of ‘MacArthur Park’, before Earth, Wind & Fire with The Emotions bring pure euphoria on ‘Boogie Wonderland’, and McFadden & Whitehead with the floor-filling ‘Ain’t No Stoppin’ Us Now’. Great vocals from Marvin Gaye and Harold Melvin & The Blue Notes come ahead of George McCrae’s ‘Rock Your Baby’, one of the collections’ earliest and inspirational moments. UK artist Tina Charles hit the top with ‘I Love To Love’, and Andrea True Connection complete the side with the ear-worm ‘More More More’ whilst over on the other side legends Frankie Valli & The Four Seasons hit dancefloor gold and the #1 spot with ‘December, 1963 (Oh, What A Night)’, ahead of The Trammps with their era-defining ‘Disco Inferno’. A Taste Of Honey, Grace Jones and a second appearance from Diana Ross are up next – before the LP closes with an enduring classic, ‘Follow Me’ from Amanda Lear, Patrick Juvet’s ‘I Love America’, and Frantique with ‘Strut Your Funky Stuff’.



LP3 bursts to life with the international smash and UK #1, ‘Yes Sir, I Can Boogie’ from Baccara, before a huge hit cover from Belle Epoque with ‘Black Is Black’. Next; Alicia Bridges, Rose Royce and UK chart toppers The Real Thing, ahead of funk-infused disco brilliance from Kool & The Gang and Barry White – whilst the side closer is Yvonne Elliman’s ‘If I Can’t Have You’, from the Saturday Night Fever soundtrack and over on the final side there’s a stellar run of Disco nuggets: kicking off with Elton John’s irresistible ‘Are You Ready For Love’, originally released in 1979 and a #1 in 2003 along with ‘Boogie Nights’ from Heatwave, The Emotions with ‘Best Of My Love’, and LaBelle’s influential ‘Lady Marmalade’. The anthemic ‘Got To Be Real’ from Cheryl Lynn is next ahead of the trio of closing tracks: Odyssey with the sublime ‘Native New Yorker’, Thelma Houston’s Grammy-winning ‘Don’t Leave Me This Way’, and fittingly, Donna Summer’s iconic ‘Last Dance’, ending the collection in perfect style.



An unforgettable journey through the songs that defined the dancefloor: NOW That’s What I Call An Era – Disco: 1973-1980 — the definitive celebration of disco’s golden age.

Die Rückkehr von DOZER - Drifting In The Endless Void, ein glühendes, dröhnendes und wummerndes Werk! Gegründet in der verschlafenen Stadt Borlänge, Schweden, führten DOZER die erste Welle des europäischen Stoner/Desert Rocks an, eine beeindruckende Fusion aus Proto-Metal, Riff-Rock und Punk, die als Antwort auf den sonnengetränkten Fuzz und die tektonische Wucht der amerikanischen Bands Kyuss und Fu Manchu entstand. Mehr als ein Jahrzehnt nach ihrem letzten Album sind Dozer wieder aufgewacht und melden sich mit einem leidenschaftlichen, wummernden Album zurück. Drifting in the Endless Void ist eine Gravitationsmasse, vollgepackt mit dichter Instrumentierung, arena-tauglichen Melodien und kontemplativer Zurückhaltung. Dozer bringen immer noch die stürmischen Grooves, die langjährige Fans erwarten, aber sie beziehen auch massiven Sludge, fuzzigen Doom, raumgreifende Grooves, Psychedelik mit geröteten Augen und alles, was sich sonst noch in den riesigen kosmischen Weiten findet mit ein. DOZERSs Rückkehr in die musikalische Landschaft, welche sie mitgestaltet haben, ist Grund genug zum Feiern, aber das explosive Spiel und die feurige Zielsetzung machen Drifting in the Endless Void zu einem wirklich unverzichtbaren Erlebnis.

When Straight Ahead hit the shelves in 1974, it marked another bold chapter for Brian Auger’s Oblivion Express. The band—Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas— was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory.

Critics took notice, with Billboard praising the album as “excellent in development and inventiveness, ” and it found its way onto multiple charts at once.

The journey begins with “Beginning Again, ” a lively opener built on Langton’s congas and Ferrone’s muscular groove. Auger’s electric piano sparkles here, immediately setting the album’s adventurous tone. Then comes their take on Wes Montgomery’s “Bumpin’ On Sunset. ” Darker in mood and drenched in atmosphere, Auger stretches out into improvisation while still honoring Montgomery’s spirit. The interpretation struck such a chord that, years later, Wes’s widow wrote to Auger to tell him it was her husband’s favorite version of his much-loved tune.

The title track, “Straight Ahead, ” shifts gears into funk, showcasing the group’s ability to slide effortlessly between genres. “Change” pushes further, blending rock’s raw energy with jazz’s improvisational freedom, driven by Auger’s command of the Hammond organ. To close, “You’ll Stay in My Heart” brings the tempo down with a tender, soulful ballad—an intimate ending to an album full of bold explorations.

At the time, reviewers hailed the record as a gem. One called it “a minor masterpiece of incredibly engaging and melodic keyboard-centric jazz-rock fusion. ” Another singled out “Bumpin’ On Sunset” as “the best reason to own this recording.”

Half a century later, Straight Ahead still resonates. It captures that fertile moment in the 1970s when jazz, rock, and funk were colliding, and artists like Auger were busy redrawing the map. To this day, it stands as proof of Auger’s fearless curiosity and his knack for breaking boundaries—music that looked forward then, and still feels ahead of its time now.