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“Orlando Furioso is a haunting, one-of-a-kind statement, from an important new voice in improvised music.” - Steve Lehman

“…imagining instruments that haven’t been invented yet: space harps, cosmic gamelan, Venusian banjo. It’s the purest distillation of Atria’s musical language, simultaneously grounded and unearthly.” - Stewart Smith for The Wire (November 2022)

“Making liberal use of microtonal harmony and hypnotic, ostinato rhythms – as well as the occasional stylistic smash-cut, reminiscent of John Zorn – Orlando Furioso announced itself on Wednesday as a punchy, creative force on the New York scene. (…) Atria’s rhythms had a welcoming, social propulsion, and the microtonality of his writing for keyboard proposed an individual – even insular – language.” - Seth Colter Walls for The New York Times.

Early European composers felt that their work reflected in its structure the divine nature of the material world. Via tuning, form, and contrapuntal alchemy, these musicians sought to illuminate and edify the complex and perfect order of existence. The music recorded here also reflects the contours of an ordered world, but it is no place any of us has ever visited. By assembling far-flung building blocks from the detritus of a 21st-century musical vocabulary, Orlando Furioso brings the listener into a bizarre new cosmos. The result is deeply expressive music that speaks not with the voice of a narrator or memoirist, but with that of a cartographer.

Like a science-fiction Dante, the listener is taken on a tour of many diverse and colorful provinces of an alien world. Though each composition references its own set of real-world musical locales (from the Andes to Indonesia to Italy to New Orleans), they are bound by stylistic consistency into a coherent, continuous geography. Permeating this world is an uncompromising commitment to microtonal harmony, rhythmic intensity, and an ability to deploy the esoteric (Nicola Vicentino's notorious 31-tone temperament) and the head-smackingly obvious (a surprise djent breakdown) with equal conviction. Though Vicente's compositions are steering the ship, serious recognition is due to all the players on the record for their ability to meet these demands.

Our omnivorous musical diets offer real abundance. They enrich our craft by providing access to limitless approaches from which to choose - more masters to study, traditions to absorb, and techniques to hone than is possible in multiple lifetimes. They can also inflict heavy and often contradictory burdens of influence. When every corner of the map has been charted, it becomes difficult to find a new direction in which to travel. One solution I hope to see more often is the one pursued on this record: breaking down distinct musical worlds into component parts and reassembling them into a language. When completed with precision and with no stone left unturned, the seams between the pieces vanish and the listener is deposited somewhere beautiful and strange, left to assign their sensations meanings of their own. - Mat Muntz

Orlando Furioso is led by Vicente and features David Acevedo, David Leon, Andrew Boudreau, Alec Goldfarb, Daniel Hass, Simón Willson, and Niña Tormenta. Orlando Furioso celebrated its release at Roulette Intermedium in Brooklyn, NY, as a part of Wet Ink Ensemble's 24th Season opening concert, a performance which The New York Times heralded as "virtuosic", "punchy, creative" and "even revelatory."

Winner of the Deutscher Jazz Preis: Best International Debut Album 2023

NOTE. WITH THE PURCHASE OF THE VINYL YOU WILL ALSO RECEIVE THE TRACKS OF THE TOTAL 23 DIGITAL VERSION AS A DIGITAL DOWNLOAD. THE DOWNLOAD CODE CARD CONTAINS ALSO ALL TRACKS OF THE CD.

Okay, you’re listening to the 23rd edition of Kompakt’s annual compilation series TOTAL… hold on… 23??? It’s impossible to look at this number without thinking of William S. Burrough’s Captain Clark anecdote, the Illuminatus trilogy and the Justified Ancients of Mu Mu. But don’t you worry, we’re not giving in to eikositriophobia. We’re enlighted folks, after all.

Total 23 kicks off in a disco mood with a well tempered double punch from label co-founders Michael Mayer and Jürgen Paape. Jörg Burger calls out a trippy new genre named Cinematic Dance before C.A.R. and Patrice Bäumel resurface with a club mix of their early 2023 single ‘Four Down’. Sofia Kourtesis’ sultry remix of Perel ‘Matrix’ finally gets a well deserved vinyl release. ‘Ice Cream Cake’ by Cologne’s newcomer M.A.P.E. helps cooling things down a bit before another debutante, Argia from Madrid makes her first entry to the Kompakt catalogue. Gui Boratto’s recent single ‘Drink In Paris’ raises the energy levels just in time for Reinhard Voigt’s ruthless closing track ‘Endlich XXL’, an ode to some of the best things in this world: Beer and techno.

Okay, du hörst die 23. Ausgabe der jährlichen Kompilationsreihe TOTAL von Kompakt. Moment mal… 23??? Man kann diese Zahl unmöglich betrachten, ohne an William S. Burroughs’ Anekdote über Captain Clark, die Illuminatus-Trilogie und die Justified Ancients of Mu Mu zu denken. Aber keine Sorge, wir erliegen nicht der Eikositriophobie. Immerhin sind wir aufgeklärte Leute.

Total 23 beginnt in Discostimmung und einem wohltemperierten Doppelschlag von den Mitbegründern des Labels, Michael Mayer und Jürgen Paape. Jörg Burger ruft ein psychedelisches neues Genre namens Cinematic Dance aus, bevor C.A.R. und Patrice Bäumel mit einem Club-Mix ihrer Single ‘Four Down’ aus dem Frühjahr 2023 wieder auftauchen. Der tropisch-schwüle Sofia Kourtesis Remix von Perels ‘Matrix’ erhält endlich eine verdiente Vinyl-Veröffentlichung. ‘Ice Cream Cake’ von M.A.P.E., einem Newcomer aus Köln, sorgt für etwas Abkühlung, bevor mit Argia aus Madrid eine weitere Debütantin ihre ersten Spuren im Kompakt Katalog hinterlässt. Gui Borattos aktuelle Single ‘Drink In Paris’ steigert rechtzeitig das Energielevel für Reinhard Voigts gnadenlosen Schlusstrack ‘Endlich XXL’, eine feierliche Ode an einige der besten Dinge dieser Welt: Bier und Techno.

A Tele Music CLASSIC from 1972, Pierre-Alain Dahan's Continental Pop Sound is of those library albums with something for everyone. Breaks? Check. Fuzz guitar? Check. Slower, jazzy stuff? Double check. It's a stunning collection of psychedelic rock, soulful funk and retro pop stylings that's currently going for over £200 on Discogs. And with good reason. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou and Sauveur Mallia) and Jef Gilson Septet. So, you know this Be With reissue is nailed on essential.

Skip the by-numbers opener "Rock Extra" and head straight to the deeeeeep, minimalist groove of "Slowrama", a humid masterclass in low-slung, creeping crime funk with weighty breaks and beefy bass complimented by hypnotic wah-wah and warm electric piano. Sensational. It was sampled by Prince Po in 2004 for his "Love Thang" track. The galloping "Latin Pop Sound" is a percussive, Santana-esque tour de force featuring fantastic guitar shreds over a bassline to die for. "Morning Melody" is a lightweight amble whereas the brief but deliciously psych-rock heavy "Islam Blues" is a must for your mixes when requiring short segue tracks. The A-Side closes out with "Phasing Drums N° 1, 2 & 3", all completely ace. For us, N° 3 is the pick of the bunch, with particularly slooooow and deliberate drums underpinned by a droning, sinister organ. Hip-hop, before hip-hop, no less.

The genuine monster "Pacific Rock" blasts out the gate to usher in Side B, a thrilling and unrelenting pop-rock instrumental that really drives. "Quasimodo Pop" contains great slow mo funk breaks and scratchy guitars that alternate with pretty heavy riffing to create a compelling base track. "Carmel Beach" is as beautiful as the location it's named after, as insouciant guitars glide over super slo-mo beats and dramatic organ before it breaks down to a laconic, reflective electric piano showcase. Sumptuous. "Auto Moto Rallye" is a brief driving funk gem, as you might expect, complete with revved up guitars tuned and played to emulate the irresistible sound of growling race cars.

The upbeat, piano-led rock stomper "V.S.O.P Rock" is all well and good but, what you might really be here for is the trio of tracks that ensure the LP ends on an almighty high. The three most famous tracks “Rythmiques 1, 2 & 3” all come complete with *ultra*-dope breaks. N° 2 is probably our favourite, with the shuffling bassline and breaks combo augmented by the wonderful cowbell. Though on any other day, it could be N° 3! This album is often considered as the “baby brother” to Tele Music's Rythmiques, and this triptych is all the proof you need. Outstanding.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Continental Pop Sound has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl

Wow! Pierre-Alain Dahan & Mat Camison's Rythmiques is another iconic release in the hallowed Tele Music catalogue. First appearing in 1973, it features tense funk, blunted jazz and heavy breaks all the way. Considered the rightful sequel to Continental Pop Sound, it's a vital album for producers and DJs; and you can probably guess that RHYTHM is central to the record's presentation. And you can really taste what's rhythm, to borrow a phrase. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet whilst his partner here, Mat Camison, was a pioneering synth LORD. So, you know this Be With reissue is absolutely crucial.

The album picks up from where Continental Pop Sound left us, opening with the tense, stabbing thriller-funk of "Rythmiques N° 4". The dubbier "Rythmiques N° 5" is no less electric and definitely has a spacey air of wonky funk about it with the slightly off-kilter rolling piano. "Rythmiques N° 6" is more percussive-focussed with a brilliantly hypnotic opening that really stretches the drama out. “Rythmique N° 7” alternates between fast-paced, skipping drums and slo-mo funk, always with the clavinet high up in the mix. Wicked. The dope jazz of “Rythmique N° 8” truly mesmerises with licks of electric piano, funky bass flourishes and varied percussion. “Rythmique N° 9” has great, sloppy-yet-hard intro drums which sound like something Daft Punk could've pilfered circa Human After All, punctuated by a guitar rock refrain that repeats til the end but is never overdone. The A-Side closes with the beautiful, melancholic "Piano + Piano", a reflective jazzy piano track which could easily open a wide-ranging set this autumn and many after it. Stunning.

Opening Side B, "Auto Rythmiques" is a hectic yet compelling funk workout but it's all about the frankly devastating breakbeats on “Rythmiques N° 10 & N° 11” with effortlessly twisted funk bass lines over open drum breaks and enough tension and rhythmic switch-ups to keep your neck-snapping and your mind lifted. Downright essential. Taking leave from the heavy funk break action, the pastoral "Océan Horizon" is perhaps an unfairly overlooked highlight. A gorgeous, softly-aquatic, ambient gem, it's gently percussive with warm, floaty keys decorating the mellow rhythmic bed. The mercifully brief "Super Carrousel" is harmless fun-fair-funk but perhaps best skipped over whilst the intriguingly titled "Gay Shopping" is another throwaway exercise in inexcusable jaunt whilst. To close out this memorable set, thankfully, we're left with "Suspense N° 1" to get us back on course with its unsurprisingly tense mix of urgent stringed instruments that flirt with rhythm and melody yet the longer the track goes on. Deep.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Rythmiques has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Wayne Shorter’s 1967 album Schizophrenia found the legendary saxophonist at the pinnacle of post-bop with a sextet of like-minded musical explorers including James Spaulding, Curtis Fuller, Herbie Hancock, Ron Carter & Joe Chambers performing Shorter originals like ‘Tom Thumb’, ‘Go’, and ‘Miyako’.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Enter the realm of Illa J, the musical force shaking the foundations of the industry. His latest offering, 'No Traffic', is a testament to his boundless talent and versatility, showcasing his singing, production and rapping abilities on 19 tracks written and produced entirely by Illa J himself. This album marks his debut on BBE Music and a new chapter in his musical journey. Meet Illa J: a musical prodigy raised in a family of talented musicians. With a jazz bassist father and a gifted singer mother, it's no surprise that Illa J was destined for greatness. He's best known as the younger brother of hip-hop legend J Dilla and has made a name for himself as a former member of Detroit's iconic hip-hop group, Slum Village. With a lifetime of exposure to quality music and top-tier musicians, Illa J is a force to be reckoned with. Created amidst the chaos of the pandemic, Illa J's 'No Traffic' serves as a beacon of hope, a roadmap for creatives seeking their path. He enlists the help of Detroit legends Amp Fiddler, Frank n Dank, British soul sensation Harleighblu, and introduces the rising stars of Detroit, Serious, Joz B, Maine Soul, and more, all matching Illa J's energy and passion on the tracks. The focus track of the album, "Star Struck", is a prime example of Illa J's signature style. The astral pentatonic soundscape and precise drum programming transport you to new heights, while Illa J's beats, melodies, and bars will leave you in awe. 'No Traffic' is a musical journey that takes you to a place where Illa J's playful and versatile sound reigns supreme. The album is expertly mastered by Grammy-award nominated The Carvery Studio and is a refreshing experience of a true artist reveling in their artistry. Don't miss out on this once-in-a-lifetime opportunity to delve into Illa J's musical realm."

As frontman of The Rifles, Joel Stoker has released a host of acclaimed albums, the most recent two of which achieved the highest chart positions of their career, as well as playing numerous riotous sold-out tours, and picking up famous fans including Madness and Paul Weller. Now he introduces a completely different side of his creativity with the news that he will release his debut solo album ‘The Undertow’ on September 1st via Cooking Vinyl. The first taste of the album is provided by its lead single ‘My Own War’.

Debut full length pressed on vinyl

A group of five talented musicians from the northeast, led by the songwriting genius of Alan Hull. Lindisfarne were formed in 1968 when Hull joined Simon Cowe on guitar, Ray Jackson on mandolin and vocals, Rod Clements on bass and Ray Laidlaw on drums. Building a fearsome live reputation, by 1970 they had been signed to Tony Stratton Smith's Charisma label.
Their first album, Nicely Out Of Tune, contained Lady Eleanor and set up an eager audience for Fog On The Tyne, an album of tremendous light and shade. Known for the Rod Clements- written, Ray Jackson- sung Meet Me On The Corner, and Alan Hull's anthemic title track. The album succeeds in creating a mythical, twilight northeast, from the cover design inwards; of city lights, ragmen, sausage rolls, tattered tweeds and having a "wet on the wall." Fog On The Tyne is the sound of a band at both a commercial and creative peak. The musicianship is second to none, watertight, yet relaxed and freewheeling, recorded at London's Trident Studios by Bob Dylan and Leonard Cohen producer Bob Johnston and Bowie engineer Ken Scott.

This release presents the very best performances from the legendary 1961 Village Vanguard sets by the Bill Evans Trio. It would be the last recording by this formation of the group, with Scott LaFaro on bass, and Paul Motian on drums, as LaFaro died ten days later in a car crash, on July 6, 1961, at the age of 25. Evans, who loved LaFaro's playing, would take a long hiatus before forming a new trio.

The record is both a wonderful evolution in Tom's songwriting, and perhaps his most personal, heartfelt work so far. Inspired by pivotal moments, the album examines everything from family strife to heartbreak and abandonment, and exhibits some of the most confident, refined songwriting of his career. Set against lush soundscapes of beautifully textured guitars, agile strings and bright piano notes, these songs delve into the wonders of new love; reach out to a beloved sister; celebrate a close friend's good news. "I've touched on things in this record that I've never spoken about before," he says. "It's without doubt my most personal to date."Title track 'Love & Light' is dedicated to Speight's older sister, Cathy. Like "Tomorrow", it reaches out to a loved one with an emotional acuity that is startling for its candour. "My sister was the one who gave me my first guitar," he explains. "She used to pick me up from school... sometimes she'd forget and be a bit late, but I didn't mind." The song (like the album) is full of unconditional love, powerful enough that it stays with you long after the final note.

The final U.S. show, a triumphant and blistering bookend to the storied career of one of the most influential bands in rock music, featuring a unique and expansive eighty-five minute set list that spans Sonic Youth’s nearly three decade catalog. Mixed from multitrack by longtime live engineer Aaron Mullan and mastered and cut by Carl Saff. On August 12, 2011 Sonic Youth played their final US show on an outdoor stage overlooking the East River at the Williamsburg Waterfront in Brooklyn. Fitting that their storied career would bookend with a panoramic view of New York City where it all began 30 years before, having left in their wake one of one of the most powerfully influential careers in rock music. Following incredible sets from Kurt Vile and Wild Flag, the band took the stage. As the sun went down over the city, Sonic Youth ripped through a 17 song set that spanned from deep cuts off their first studio album and highlighting many other albums all the way through to their last, like a band with everything to prove. Or as Brooklyn Vegan’s Andrew Sacher said at the time: “While most bands who are thirty years into their career are either fading away or living off of the nostalgia of their older material, Sonic Youth continue to sound and perform as fresh as ever.” Steve Shelley explains the uniquely career spanning set list of Live in Brooklyn 2011 and how it came to be, as well as the importance of outdoor NYC summer shows in Sonic Youth’s legacy: “This show was a culmination of a run of really special outdoor summertime shows in New York City for us, starting in ’92 with Summerstage in Central Park when we played with Sun Ra. For the Williamsburg Waterfront show I wrote out the set list to present to the band and it was a lot of material we hadn’t played in a while, a lot of deep cuts, so I wasn’t sure if everybody would feel like doing it. After worrying about which songs the band might say yes or no to, I threw those concerns out the window and I just made a list of songs that I thought would be a great set. We practiced the week of the show at our space in Hoboken and put the set together. First we’d try and make sure we had a guitar in the song’s tuning, then we’d try to remember the arrangement and try and put it together, sometimes re-learning bar by bar. In the end I think the whole song list made it through. Even as early as ’86 and ’87 we stopped playing ‘Death Valley 69’ and ‘Brave Men Run’ with any regularity. We’d just get excited about new material coming into the set and songs would get ‘retired’ and wouldn’t get played again for years. So on this particular night in Brooklyn a lot of those retired songs and deep cuts got dusted off and played for this show. It turned out to be a pretty special event with a really special song list.” The band would go on to fulfill a contracted festival run in South America a few months later but, by then, the group’s center was severed beyond repair and the festival appearances didn’t hold the same kind of weight. “The stage was facing the East River from the Williamsburg, Brooklyn waterfront, and I recall the sun going down in the west during our set. It was a pretty magical, if kinda weird day. Fitting, somehow, that our ‘last show’ should be in New York City, our home and where it all began…” Lee Ranaldo The Williamsburg Waterfront show would fondly become referred to as ‘The Last Show’ by fans and band alike, equally for its triumphant high energy performance, its unique and expansive set list and locale. Newly remixed and remastered, Live in Brooklyn 2011 is presented for the first time on 2xLP, 2Xcd, August 18, 2023.

repressed !

Undesignated remixes is an expansive project containing 12 remixes of tracks from dgoHn’s iconic 2020 full-length by some choice artists from in and around the Love Love sphere. Remixes that take dgoHn’s unique razor-sharp original productions and send them through a loop and round the twist, some stripped down, some messed up, most but not all maintaining the speedier tempos that dgoHn likes to work around. The result is a collection of seriously futuristic electronic music with some stylistic leanings towards labels like braindance or drumfunk or jungle but completely genre-eluding as a whole, reshaped from the minerals of the original LP by some absolute dons of their craft.

Opening the album Equinox does a fantastic job highlighting the lushness of ‘Puppet’ layering sky-high sunshine pads before sliding into Meat Beat Manifesto’s heavy sci-fi acid dub version of ‘Daisy Takes Two’. A woozy remix of ‘Lucky Gonk’ by Macc & dgoHn marks the first new material from them as a duo since ’09 and Wisp also makes a rare appearance bringing his inimitable post-rephlexian vibes on an agonisingly wonderful, melody-heavy remix of 'Electryon'. Skee Mask’s choice of remixing ‘Robin’s Windmill’ turns the original into a bundle of writhing rhythms organically unfolding with swelling ambient tones. Homegrown heroes Rognvald & Scrase both opt for pumped up post-breakcore in unconventional time signatures while Djrum emphatically provides the LP’s dose of peak jungle choppage, tempering the drum breaks of ‘Ninnyhammer’ with a blistering amen. Also featured on the LP are crisp and beefy drum workouts courtesy of Coco Bryce and Forest Drive West, visceral and apocalyptic half-time bass from Activia Benz affiliated duo Quavis and virtuosic noir-jazz tearout from fellow East-Anglian Carl Brown.

Rare Jazz-Funk album from 1978 by Headhunters founder.
Featuring an all-star line-up including Herbie Hancock.
Originally released in 1978 on Tobisha EMI Japan.
First vinyl reissue outside of Japan released in collab w/Totown Records. Comes with double side insert.

Paul Jackson (born in Oakland, California in 1947) needs little introduction. Paul began playing bass at the age of nine and was considered by many of his teachers to be a musical prodigy. Jackson was known as a “Musician’s Musician” and shaped a sound that launched a new direction in contemporary music: the so-called ‘Pulse Playing’, a trademark sound of close-meshed funk grooves combined with sensational rhythms. With this innovative approach, he influenced entire generations of jazz and funk musicians to come. Paul’s compositions were sampled by big acts from the likes of Prince, TLC, Mobb Deep and NWA…just to name a few.

Paul Jackson was a founding member of the Headhunters under Herbie Hancock (THE group responsible for their ground-breaking fusion and jazz-funk compositions that took the world by storm in the 70’s). The solid union between Hancock and Jackson has been especially evident in the many international tours they have made together…not to mention that he participated on most of the Headhunters albums and Herbie’s solo albums.

Paul has also worked as a producer and as a studio/live musician alongside acts such as Santana, Sonny Rollins and The Pointer Sisters. He was a frequent guest performer at renowned international festivals such as the Montreux and Newport events. Jackson’s composing has not gone without recognition and was nominated for Grammy Awards in 1974, 1975 and 1976. Like other highly talented, creatively motivated engineers of music, Paul has expanded his career to other mediums such as playing on blockbuster movie soundtracks such as “Death wish” and “Dirty Harry”.

Paul Jackson also wrote five solo albums worth listening to – including the monster of an album that is known as “Black Octopus” which is considered to be a kind of lost Headhunters album.

His debut album “Black Octopus” saw the light of day in 1978 and is a total piece of art filled with abstract sticky funky grooves, floating electric piano playing, strong thumping bass lines, raw heavy drums and amazing vocal acrobatics (Jackson himself takes vocals in 3 out of 5 songs, and his soulful singing voice strikes an emotional chord that does not go unnoticed).

On “Black Octopus” you’ll also find some of the best all-star musicians from the likes of Alphonse Mouzon (Roy Ayers, Betty Davis, Azar Lawrence)…and last but not least fellow Headhunters Bennie Maupin and Herbie Hancock himself.

With “Black Octopus” Paul Jackson wrote the book on how a jazz-funk-fusion album should sound like. The fact that the album was only distributed in Japan at the time (Jackson resided in Tokyo since the late 70’s, where he passed away in 2021) continues to increase its reputation as an album that is VERY hard to find. This is a must-have gem…not only for fans of jazz, funk and rare grooves, but also for DJs and collectors around the globe.

The show, which rolled over the open-air stage of the Greek Theatre night after night in the late summer of 1963, attracted fans as if on a pilgrimage to the mountains of Hollywood. Many who could not get hold of a map climbed the surrounding trees to be able to admire the Calypso man at least from a distance.

Also on the lookout and with sound equipment at the ready were the people of the company RCA, which released the eagerly awaited album the following year. Some of the songs like the wriggling "Zombie Jamboree", "Look Over Yonder" and the wonderfully dripping Schmonzette "Try To Remember" were previously only available as studio versions. Most of the other numbers were brand new and sounded for the first time in a sparkling live atmosphere, which is authentically reproduced on this record.

Here a laugh as a receipt for a casual saying, there a rumble of boards, then again concentrated silence of a spellbound listening audience - something like this only happens on stage.

For Belafonte connoisseurs, these recordings are regarded as the crowning glory of the artistically highly productive phase of the years 1959 to 1963. Of the many good albums, this is one of the best.

Personnel: Harry Belafonte (voc); Howard Roberts (cond); William Eaton (clavietta); Ernest Calabria, Jay Berliner (g); John Cartwright (b); Percy Brice (dr); Ralph MacDonald (perc), choir and orchestra

There are different ways to celebrate an anniversary. We can look back and reflect on where we've been and how far we've come. Or we can look forward towards future possibilities. Alternatively, we can simply pause for a moment and be present - right here, right now. Rather like we are aware and mindful of what is happening at this very moment when we're enjoying superb music, excellently recorded and played.

That's how Clearaudio is celebrating its 45th anniversary. To mark the occasion, Clearaudio are delighted to present an album of music that embodies their passion for perfection, for nuanced and detailed sound, and for an intimate marriage of creativity and technical finesse. In other words, an album that reflects the key principles by Clearaudio.

"Take the best, make it better - only then it is just good enough." This well-known quote is as valid today as it was 45 years ago, and has inspired a host of colleagues and collaborators along the way. Ever since the release of Delta and Sigma speakers in 1978 and the development of the first moving coil cartridges, not a day has passed when Clearaudio didn't strive to set new standards for higher fidelity. This mindset continues to underpin their work to this day.

No matter where you've come from or where you are going, if your heart beats to the drum of truly authentic sound, then you'll find Clearaudio spirit, will and drive in every single one of their products - from the most towering turntable to the smallest cable.

While some creators may be content with merely looking closely, Clearaudio has always looked and listened closely. Very closely - and at both ends of the spectrum, from top-quality record engineering to excellent playback. So the early stages of every Clearaudio musical recording begin with questions like: "Does it sound exactly like in a concert hall?" and "Does the music feel as was intended when it was written and composed?"

In addition to their own recordings, a number of their favourite legendary productions from Deutsche Grammophon have also found their way onto this album. So why not take a pause, "take five," and enjoy these moments of exceptional music, lovingly produced? And join Clearaudio in celebrating 45 years of loving music!

Next on Allchival is a compilation tracing the musical pursuits of Cork’s (via Belfast) Finbarr Donnelly and his trilogy of bands – Nun Attax, Five Go Down To The Sea? and Beethoven - before his untimely death by drowning in London’s Hyde Park in 1989. From the post punk of the first band via the discordant indie of the second to the chaos of Beethoven’s short lived existence this compilation shines some light on one of Irelands most enigmatic frontmen over a ten year period. Released on 18th April Record Store Day on a 15 track LP and an expanded CD version with 24 tracks. Featuring tracks released on Setanta, Creation, Kabuki & Abstract plus previously unreleased Fanning Sessions, the LP also comes with a fanzine with detailed liner notes and ephemera.

Nun Attax, formed in the late 70s, are synonymous with the Downtown Kampus at Cork’s Arcadia Ballroom, the lynchpin of the city’s post-punk music scene. Their live performances being the stuff of Southern legend - unforgettable, incendiary events, examples of which can be heard on the tracks here White Cortina, Reekus Sunfare. In the early-80s the band changed its name to Five Go Down To the Sea? and recorded the Knot A Fish EP 7’’ for London–Irish label Kabuki Records and soon after the band left recession-ridden Cork for the UK capital.

Squatting south of the River, working on building sites and collecting welfare under several aliases recording and gigs were sporadic but by 1984 they had hooked into the early Creation scene, and played gigs at Alan McGee’s Living Room club. Working with The Mekons Jon Langford they release The Glee Club on Edward Christie’s Abstract Sounds label. Following it up with the last of their three releases as Five..on Creation itself the band’s chaotic existence led to its demise only re-emerging in 1988 as Beethoven. Down to two original members – Donnelly and guitarist Ricky Dineen – plus two new additions their only release – a 12” on the fledgling Setanta records – features a cover of “Day Tripper” backed with original tracks and was NME’s Single of the Week in the summer of ‘89 when such things carried weight. The planned second single doesn’t go ahead after Donnelly’s death.

Dedicated to Nora Forster, John Lydon's wife of nearly five decades, who passed away on April 5th 2023! Public Image Ltd. (PiL) announce their 11th studio album and first album in 8 years, End of World, to be released on 11th August 2023 on PiL Official via Cargo UK Distribution, followed by a 37-date UK and European Tour. The band began writing and recording End of World in 2018, during their 40th anniversary tour.

After The Great Pause, the band regrouped in the studio and "there was just this massive explosion of ideas," Lydon says. The result finds PiL set to release 13 of the best tracks they have ever written. The announcement comes with the release of new single Penge, which John describes as, "something of a mediaeval Viking epic." Earlier this year, PiL released Hawaii, the most personal piece of songwriting and accompanying artwork that John Lydon has ever shared. The song is a love letter to John's late wife, Nora, who had been living with Alzheimer's since long and sadly passed away on April 5th this year.

A pensive, personal yet universal love song that has resonated with many since its release in January, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. The powerfully emotional ballad is as close as John will ever come to bearing his soul. "It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most," John says. "It's also a message of hope that ultimately love conquers all. As I say in the song, all journeys end and some begin again, but this is the beginning of a new journey with us. And, oddly enough, as bad as Alzheimer's is, there are great moments of tenderness between us. And I tried to capture that in the song." Celebrating their 40-year anniversary in 2018, the band is widely regarded as one of the most innovative and influential bands of all time. PiL's music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums.

With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub - Lydon guided the band from their debut album First Issue in 1978 through to 1992's That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now_ in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now_ was self-funded by PiL and released on their own label 'PiL Official' via Cargo UK Distribution.

In 2018 PiL celebrated their 40th anniversary with a career-spanning box set and documentary, both called 'The Public Image Is Rotten', and a 32-date UK/Europe tour, plus dates in Japan. John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive. PiL will be touring the UK and Europe in September and October 2023.

Dedicated to Nora Forster, John Lydon's wife of nearly five decades, who passed away on April 5th 2023! Public Image Ltd. (PiL) announce their 11th studio album and first album in 8 years, End of World, to be released on 11th August 2023 on PiL Official via Cargo UK Distribution, followed by a 37-date UK and European Tour. The band began writing and recording End of World in 2018, during their 40th anniversary tour.

After The Great Pause, the band regrouped in the studio and "there was just this massive explosion of ideas," Lydon says. The result finds PiL set to release 13 of the best tracks they have ever written. The announcement comes with the release of new single Penge, which John describes as, "something of a mediaeval Viking epic." Earlier this year, PiL released Hawaii, the most personal piece of songwriting and accompanying artwork that John Lydon has ever shared. The song is a love letter to John's late wife, Nora, who had been living with Alzheimer's since long and sadly passed away on April 5th this year.

A pensive, personal yet universal love song that has resonated with many since its release in January, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. The powerfully emotional ballad is as close as John will ever come to bearing his soul. "It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most," John says. "It's also a message of hope that ultimately love conquers all. As I say in the song, all journeys end and some begin again, but this is the beginning of a new journey with us. And, oddly enough, as bad as Alzheimer's is, there are great moments of tenderness between us. And I tried to capture that in the song." Celebrating their 40-year anniversary in 2018, the band is widely regarded as one of the most innovative and influential bands of all time. PiL's music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums.

With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub - Lydon guided the band from their debut album First Issue in 1978 through to 1992's That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now_ in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now_ was self-funded by PiL and released on their own label 'PiL Official' via Cargo UK Distribution.

In 2018 PiL celebrated their 40th anniversary with a career-spanning box set and documentary, both called 'The Public Image Is Rotten', and a 32-date UK/Europe tour, plus dates in Japan. John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive. PiL will be touring the UK and Europe in September and October 2023.