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Lloyd Altamont Thomas Robinson recorded many songs as a singer first for Studio One in 1963 and later for many labels and Jamaican producers including Duke Reid,

Lloyd Daley, Sir JJ and more. Robinson was part of the duo Lloyd and Devon, whom had quite a few good songs under their belt including a hit for Derrick Morgan's Hop label,

"Red Bum Ball.". With Glen Brown, under the name Lloyd & Glen, he wrote and recorded many outstanding Rocksteady & early Reggae tracks, some quite heavily influenced by

Black Soul including the two sublime tracks featured here. He went on to record the big dancehall hit “Cuss Cuss” in 1984 on the Harry J. label.


Glenmore Lloyd Brown, began his career as a vocalist in Sonny Bradshaw’s jazz group before recording duets with Hopeton Lewis, Dave Barker, and Lloyd Robinson.

Later, Brown became the founder and owner of the Reggae/Dub labels Pantomine and South East Music. A sought after producer he worked with many with many

Reggae greats including U Roy, Gregory Isaacs, Big Youth, I-Roy, Prince Jazzbo, Johnny Clarke, Lloyd Parks, and Little Roy.

The heavy rhythms of his Dub productions resulted in his being known as "The rhythm master".



As “Lloyd & Glen”, they composed, sang and recorded together about 15 tracks, ranging from Ska to Rocksteady to Soul on a variety of labels between 1966 and 1968.



Most of these songs are outstanding, many are just sublime with a strong American Soul influence.

"The Shape Of Jazz To Come" - Ornette Coleman (as); Don Cherry (crt); Charlie Haden (b); Billy Higgins (dr)

It was John Lewis, pianist of the Modern Jazz Quartet, who brought Ornette Coleman to the renowned Atlantic label, having heard him play in Los Angeles. »Ornette Coleman is doing the only really new thing in jazz …« he reportedly said. The present initial Atlantic album was released just in time to coincide with the New York debut of the Coleman Quartet in November 1959. Lewis was sure that Coleman would open up new paths for jazz, and his opinion is reflected in the title of the album – "The Shape Of Jazz To Come". After the rather worn-out hard bop routine of the past years, this music was like a breath of fresh air. The fast numbers ("Eventuality", "Chronology") remind one of wildly hyped-up bebop. Other numbers ("Congeniality", "Focus On Sanity") juggle with catchy, almost folk like short motifs. This album contains two of Coleman’s most beautiful compositions: "Peace" and "Lonely Woman", which was later given lyrics and often heard in its vocal version. The Mulligan-Baker Quartet provided the model for the pianoless quartet – and when the band swings along once in a while with a moderato tempo, it is truly reminiscent of cool jazz. Be that as it may, the two wind instrumentalists just love the frenetic 'cry' and the intentionally 'imprecise' interplay. Clearly defined stanzas or traditional harmonic forms were not for them. The jazz musicologist Peter N. Wilson wrote: »A record, which is not unjustifiably so entitled« about this LP which was given 5 stars by the magazine Rolling Stone.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue

All royalties and mechanical rights have been paid.

Recording: May 1959 at Radio Recorders, Hollywood, CA, by Bones Howe

Production: Nesuhi Ertegun

Pianist McCoy Tyner was an acknowledged force of nature. On the aptly-named Expansions, Tyner fronts a remarkable band consisting of Woody Shaw on trumpet, Wayne Shorter on tenor saxophone, Gary Bartz on alto saxophone, Ron Carter on cello, Herbie Lewis on bass, and Freddie Waits on drums. Stand-out tracks in a program of four Tyner originals and one standard include the timeless masterpiece “Peresina” and the immersive opening track “Vision.” Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tapes, 180g audiophile vinyl reissues in deluxe gatefold packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI).

With A Little Help From My Friends captures one special night on November 21, 2020 when Steve Lukather, Joseph Wil-liams and David Paich appeared with the new line-up of Toto for a global event originating from Los Angeles, CA. Join-ing Lukather, Williams and Paich for this next chapter in their indelible history are new band members bassist John Pierce (Huey Lewis and The News), drummer Robert "Sput" Searight (Ghost-Note / Snarky Puppy), and keyboardist / back-ground vocalist Steve Maggiora (Robert Jon & The Wreck). Keyboardist Dominique "Xavier" Taplin (Prince, Ghost-Note) and multi-instrumentalist / vocalist Warren Ham (Ringo Starr) segued over continuing their tenure in the ensemble. This marks the fifteenth incarnation of the Toto line-up in consideration of band members or sidemen who joined or exited.
The track listing features “Till The End,” “Hold The Line,” “Pamela,” “Kingdom of Desire,” “White Sister,” “You Are The Flower,” “I Won’t Hold You Back,” “Stop Loving You,” “Home Of The Brave,” “Rosanna,” and “With A Little Help From My Friends.” In the DVD and Blu-ray releases, a documentary is featured alongside the performance, featuring thoughts from all members of the band that appeared that evening.
Steve Lukather a.k.a. Luke shares, “When the music is performed by great musicians it honors TOTO. The documentary featured on the DVD and Blu-ray offers great insights in to our thoughts looking forward. David, who stands with us, alongside Joe and myself, desire to keep this music alive. And Paich could pop in any time for a show as a special surprise. When it came to plan this specific set list, we picked an eclectic group of songs for this one night only show.
The album will be released on June 25, 2021 on transparent 180 grams vinyl, CD+DVD and CD+Blu-ray.
The DVD is region-free, and playable worldwide. DVD audio track: PCM 2.0

The track is already on the ‘Filoxiny’ album so Skinshape extended the mix and backed it with a dub version for the flip. Skinshape is the project of British musician William Dorey. The sound has roots in many genres but in particular 1960s Funk, Soul, Reggae, Psychedelic Rock, Afrobeat and Folk. Aside from the Skinshape project Dorey was bassist for the band Palace from 2014-2017 and also runs a reggae label called Horus Records based in North London. About I Didn’t Know from Dorey himself: “This is the most 'pop' song I've possibly ever made, and possibly the most 'modern' sounding. It is about being in a difficult relationship and not knowing how to deal with it and making mistakes as a result. I wrote and recorded most of the song around the drum pattern, and created some (terrible sounding) digital orchestral parts temporarily whilst I created the body of the song. I recorded the strings and horns in the last part of the recording process before doing the final mixes. The horns were recorded separately with the help of my long-time friend (since school) and master arranger Jon Moody (of the group Franc Moody).”

Indie/Psyche/Jazz/Soul/Dub. Originally released in 2014 and available for the first time on CD. CD only bonus tracks 'Surf Rider' and 'Rainy Dub' Written, recorded, mixed and produced by Will Dorey, Skinshape's self-titled debut album showcases the talents of the then 23 year old. Recorded in bedrooms, lounges and 'The Arch' studio in North London the trademark 'Skinshape' sound was already starting to emerge. Everything from psychedelia and rock to indie and dub is explored. A stunning debut for a now much loved artist.

“Any other singer can sing a love song and the audience will think about lovers lost and found. When I sing a love song it is a metaphor for the yearning of a subjugated people to be free.”

Miriam Makeba’s ‘Keep Me In Mind’ was her last album for Reprise and reflected major changes in both her own personal life and politically within the USA. After becoming a national star globally following the success of ‘Pata Pata’ in 1967, she had fallen out publicly with her mentor and ‘Big Brother’, Harry Belafonte. Makeba made the decision to return to Africa following an invitation from President Sékou Touré of Guinea. In Conakry, Makeba met Stokely Carmichael, President of civil rights organisation the SNCC and they would later marry. “With the Vietnam War, the student protests and the riots in the ghettos, everyone is scared,” Makeba said. “Everyone is afraid that there will be a great black uprising.” Makeba’s concerts were widely cancelled and both her and Carmichael were followed relentlessly by the FBI.
Reprise also terminated her contract but brought in producer Lewis Merenstein for her final recording for the label, best known for his work with Van Morrison on ‘Astral Weeks’. Merenstein suggested two Van songs for Makeba to cover, ‘Brand New Day’ from the ‘Moondance’ sessions and ‘I Shall Sing’ and further songs were added to reflect both the political climate and Makeba’s own memories including Stephen Stills’ ‘For What It’s Worth’ and Lennon & McCartney’s wistful ‘In My Life’. New compositions by Makeba and her daughter Bongi included ‘Lumumba’, a personal tribute to Congolese independence leader, Patrice Lumumba. Reflective of the times, the album is infused with a palpable despair but, as in all of her music, a quiet determination still shines through.
This new reissue of ‘Keep Me In Mind’ is presented in its original artwork and features rare photos and new extensive liner notes by Francis Gooding of The Wire. Remastered from the original tapes by The Carvery.

- Definitive edition of Miriam Makeba’s final album for Reprise in 1970
- Remastered by The Carvery from original reel to reel tapes
- 1LP and 1CD feature brand new sleeve notes by Francis Gooding of The Wire + rare photos

'Aquatic Flowers', the fourth full-length from beloved Nashville songwriter Tristen, brims with incisive pop-folk tracks ruminating on the ways we attempt to feel in control in a chaotic world, the past that informs us, and how to let go in order to grow. Making rock and roll music in Nashville, the mononymous songwriter has established herself as a prolific and introspective musician over the past decade. With a knack for crafting “hooky arrangements that tickle the ear and won’t leave your brain alone” (NPR), she has collaborated with artists like Vanessa Carlton (she co-wrote Carlton’s latest album 'Love is an Art') and Jenny Lewis (playing in the 'Voyager' touring band), and opened to critical acclaim for artists ranging from Robyn Hitchcock to Television. Tristen and her husband Buddy Hughen recorded and produced the record in their home studio Tight Squeeze. “I had a real desire to not overcomplicate things for this record, to get really close to what I have given in the past to my demos, which for me is the most inspired time of making something, right in the beginning, feeling it the most at that moment because you just wrote it and it’s on your mind.”

Squid announce their debut album, ‘Bright Green Field’, already one of 2021’s most highly anticipated releases.
Produced by Dan Carey, ‘Bright Green Field’ is an album of towering scope and ambition, it is deeply considered, paced and intricately constructed. With all band members playing such a vital and equal role, this album is very much the product of five heads operating as one.
Some bands might be tempted to include previous singles on their debut - and the band already released two more in 2020 via ‘Sludge’ and ‘Broadcaster’ - but instead ‘Bright Green Field’ is completely new. This sense of limitlessness and perpetual forward motion is one of the key ingredients that makes Squid so loved by fans and critics alike, from 6 Music, who have A-Listed previous singles ‘Houseplants’, ‘The Cleaner’ and ‘Match Bet’, to publications such as The Guardian, NME, The Face, The Quietus and countless others. The band was also on the longlist for the BBC Music Sound Of 2020 poll.
‘Bright Green Field’ features field recordings of ringing church bells, tooting bees, microphones swinging from the ceiling orbiting a room of guitar amps and a distorted choir of 30 voices, as well as a horn and string ensemble featuring the likes of Emma-Jean Thackray and Lewis Evans from Black Country, New Road.
Squid’s music - be it agitated and discordant or groove-locked and flowing - has often been a reflection of the tumultuous world we live in and this continues that to some extent. “This album has created an imaginary cityscape,” says Ollie Judge, who writes the majority of the lyrics and plays drums. “The tracks illustrate the places, events and architecture that exist within it. Previous projects were playful and concerned with characters, whereas this project is darker and more concerned with place - the emotional depth of the music has deepened.”
For all the innovative recording techniques, evolutionary leaps, lyrical
themes, ideas and narratives that underpin the album, it’s also a joyous and emphatic record. One that marries the uncertainties of the world with a curious sense of exploration as it endlessly twists and turns down unpredictable avenues.

Miriam Makeba's 'Keep Me In Mind' was her last album for Reprise and reflected major changes in both her own personal life and politically within the USA. After becoming a national star globally following the success of 'Pata Pata' in 1967, she had fallen out publicly with her mentor and 'Big Brother', Harry Belafonte. Makeba made the decision to return to Africa following an invitation from President Sékou Touré of Guinea. In Conakry, Makeba met Stokely Carmichael, President of civil rights organisation the SNCC and they would later marry. "With the Vietnam War, the student protests and the riots in the ghettos, everyone isscared," Makeba said. "Everyone is afraid that there will be a great black uprising." Makeba's concerts were widely cancelled and both her and Carmichael were followed relentlessly by the FBI. Reprise also terminated her contract but brought in producer Lewis Merenstein for her final recording for the label, best known for his work with Van Morrison on 'Astral Weeks'. Merenstein suggested two Van songs for Makeba to cover, 'Brand New Day' from the 'Moondance' sessions and 'I Shall Sing' and further songs were added to reflect both the political climate and Makeba's own memories including Stephen Stills' 'For What It's Worth' and Lennon &McCartney's wistful 'In My Life'. New compositions by Makeba and her daughter Bongi included 'Lumumba', a personal tribute to Congolese independence leader, Patrice Lumumba. Reflective of the times, the album is infused with apalpable despair but, as in all of her music, a quiet determination still shines through.

Toronto’s Ducks Ltd. will release their debut EP, Get Bleak on May 21, 2021 via Carpark Records. Composed of friends Evan Lewis, on lead guitar, and Tom Mcgreevy, on vocals and rhythm guitar, the band built a reputation in their hometown for their bright, sinewy, guitar sound while sharing bills with artists like Rolling Blackouts Coastal Fever, Weyes Blood, The Goon Sax and Juan Wauters. They have earned accolades from Pitchfork who praised the band’s “lilting, throwback jangle pop,” and acclaim from outlets like NPR, Paste, NME, Apple Music 1, and more.

The opening track, “Get Bleak” sets a thematic tone for the EP, one of cultural self-awareness and satiric critiques of society’s pressures and the often ridiculous demands – and prices we pay – to exist. Chiming with breezy indie guitar sounds akin to those of Flying Nun and Sarah Records acts, the track, that features a contribution from Laura Hermiston of Twist, pokes fun at the idea that moving from city to city will fix the problems in your life. Following suit is “Gleaming Spires”, a track that zeroes in on the cities we live in and the push-pull relationships that we so often share with them. “Anhedonia”, via it’s tightly-wound rhythm and nostalgia-inked guitars, shifts focus to the times when one is unable to wring any joy out of the things that they find important in life.

Bringing the band’s characteristic restless bounce, thoughtful lyricism and penchant for orchestration, the tracks explore topics like troubled friendships (“It’s Easy”), self-destructive desires (“Oblivion”), and living with decline (“As Big As All Outside”) while maintaining the balance of earnest self-reflection and humor that endeared audiences to the original release.

Full of the unbridled radiance of jangle-pop, the debut EP from Ducks Ltd.’s Get Bleak celebrates their strengths while expanding their thematic and compositional horizons, and providing an intriguing glimpse of what’s to come.

Forest Green Vinyl

Toronto’s Ducks Ltd. will release their debut EP, Get Bleak on May 21, 2021 via Carpark Records. Composed of friends Evan Lewis, on lead guitar, and Tom Mcgreevy, on vocals and rhythm guitar, the band built a reputation in their hometown for their bright, sinewy, guitar sound while sharing bills with artists like Rolling Blackouts Coastal Fever, Weyes Blood, The Goon Sax and Juan Wauters. They have earned accolades from Pitchfork who praised the band’s “lilting, throwback jangle pop,” and acclaim from outlets like NPR, Paste, NME, Apple Music 1, and more.

The opening track, “Get Bleak” sets a thematic tone for the EP, one of cultural self-awareness and satiric critiques of society’s pressures and the often ridiculous demands – and prices we pay – to exist. Chiming with breezy indie guitar sounds akin to those of Flying Nun and Sarah Records acts, the track, that features a contribution from Laura Hermiston of Twist, pokes fun at the idea that moving from city to city will fix the problems in your life. Following suit is “Gleaming Spires”, a track that zeroes in on the cities we live in and the push-pull relationships that we so often share with them. “Anhedonia”, via it’s tightly-wound rhythm and nostalgia-inked guitars, shifts focus to the times when one is unable to wring any joy out of the things that they find important in life.

Bringing the band’s characteristic restless bounce, thoughtful lyricism and penchant for orchestration, the tracks explore topics like troubled friendships (“It’s Easy”), self-destructive desires (“Oblivion”), and living with decline (“As Big As All Outside”) while maintaining the balance of earnest self-reflection and humor that endeared audiences to the original release.

Full of the unbridled radiance of jangle-pop, the debut EP from Ducks Ltd.’s Get Bleak celebrates their strengths while expanding their thematic and compositional horizons, and providing an intriguing glimpse of what’s to come.

Dry Cleanings fiebriger Post-Punk klingt wie kein anderer Sound zurzeit. Bassist Lewis Maynard, Drummer Nick Buxton und Gitarrist Tom Dowse kennen sich schon eine kleine Ewigkeit und hatten schon diverse gemeinsame Bandprojekte zusammen. Die neue Band der Londoner entstand 2017 nach einem Karoke-Abend, bei dem sie Florence Shaw kennenlernten. Shaw, die vorher nie gesungen hatte, wurde zur Stimme der Band. Binnen weniger Monate entstanden die ersten Songs; die Texte handeln von Neurosen, seltsamen YouTube-Kommentaren und den normalen Dingen des Lebens. Shaw ist eine gute Beobachterin und eine Archäologin des Alltags. Der ungeschminkte Sound von Dry Cleaning bietet Shaws Geschichten dabei eine berauschende Klangkulisse. 2020 waren nach zwei EP-Veröffentlichungen und Touren durch englische Clubs Konzerte in den USA und Europa geplant, aber wegen der Pandemie saß die Band stattdessen im britischen Lockdown. Die Zeit nutzte man, um weitere Songs zu schreiben und das Debütalbum mit John Parish als Produzent in dessen Rockfield Studios aufzunehmen. "New Long Leg" wird die Musikwelt im Sturm erobern.

Originally released on Will Dorey’s own Horus label back in 2013 the 7” was limited to 300 copies. Now on Lewis Recordings it’s backed with the original A-Side of ‘Riddim Box Dub’ by Stally & The Breadwinners.

Yellow Vinyl

Includes postcard and poster.
Part of the Optic Sevens 3.0 Reissue Series.
Formed in Olympia, Washington in 1982 by Calvin Johnson, Heather Lewis and Bret Lunsford. This 4 track single was originally released in 1987 on 53rd & 3rd records and appears here for the first time on 7”

This first volume of Wagram's Wanted: Jazz series is a high quality mix of the great Jazz artists. Including Charles Mingus, Dizzy Gilespie, Art Blakey and more!

Bob Mintzer has the knack. Whether he developed it during his brief
association with the Thad Jones-Mel Lewis Orchestra, his two years with the Buddy Rich Big Band, or his time with Jaco Pastorius’ Word of Mouth Big Band is unclear.
What is certain, however, is that the great tenor saxophonist has continued to perfect his instincts for orchestration and counterpoint over the years.
With ‘Soundscapes’, the maestro now returns as leader of the WDR Big Band with ten newly arranged pieces. “At WDR, there is, after all, a tradition that the chief conductor implements a project of his own writing at some point during his tenure,” he explains. “So I pulled together some of the things I’ve written for the band over the last five years, as well as a number of brand new numbers, for this recording.”
‘Soundscapes’, an amalgam of moods, grooves and complex textures, not only showcases Mintzer’s work for this widely acclaimed ensemble, but he does double duty. After all, he is also featured as the main soloist on tenor saxophone and the Electronic Wind Instrument (EWI), while spotlighting other outstanding soloists - such as long-time WDR members Paul Heller on tenor saxophone, Karolina Strassmayer and Johan Horlen on alto saxophone, Ruud Breuls
and Andy Haderer on trumpet, and Andy Hunter on trombone. Recorded in December 2019, the album is certainly among the very best of Mintzer’s long career.

A trip through the productions of pioneering genius Joe Meek. Here we have a mix of hits that have appeared on comps before and real out-there obscurities. Designed to be highly listenable. Never a dull moment amongst these songs that cover subjects close to Joes' heart such as vampires, love (and the lack of it), death, outer space, the human soul, Buddy Holly, and more. Artists featured are The Blue Rondos, The Blue Men, Jason Eddie and the Centremen, The Sound Offs, The Moontrekkers, Johnny Leyton, The Cryin' Shames, Mike Berry, The Outlaws, Chick Lewis, Glenda Collins and even Joe himself warbling out a tune. One time very small pressing so please don't sleep.