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James Brown hatte das Apollo. Jimi Hendrix hatte das Monterey Pop Festival und Prince hatte den Carrier Dome in Syracuse, New York - den Auftritt der "Purple Rain Tour", der per Satellit live an Millionen von Menschen übertragen und im für den Grammy Award nominierten Konzertfilm "Prince and The Revolution. Live" für die Nachwelt festgehalten wurde, und seitdem als eine der kultigsten Live-Aufnahmen in die Pop/Rock-Geschichte einging. Zum ersten Mal wurde dieser kraftvolle Auftritt von Prince und The Revolution von den originalen 2"-Multitrack-Masters komplett neu abgemischt, das Bild wurde auf Blu-ray Video mit wählbarem Stereo-, 5.1-Surround- und Dolby-Atmos-Sound neu restauriert und der Ton wird zum ersten Mal physisch verfügbar gemacht. Die neue Version von "Prince and The Revolution. Live" ist erhältlich als: 2CDs+1Bluray und auf schwarzem Triple-Vinyl - beide Versionen enthalten Booklets mit noch nie gezeigten Fotos der Purple Rain Tour und neue Linernotes. James Brown a son Appolo Theatre, Hendrix son Royal Albert Hall, Prince c'est le concert à Syracuse: la tournée Purple Rain de 1985. L'artiste et son groupe légendaire The Revolution au sommet de leur art. Retrouvez tous les tubes de la période Purple Rain de Prince, tels que ''Purple Rain'', ''When Doves Cry'' et ''Little Red Corvette'', en live avec une image restaurées en HD pour la première fois sur le Live in Syracuse.

LIMITED TO 500 COPIES // HIGH-QUALITY TIP-ON COVER // INCL. DOWNLOAD CODE

OFFICIAL RE-ISSUE, DONE IN COOPERATION WITH THE FAMILY OF BOBBY COLE !!!

If you lived in New York during the 1950s through the 1990s and liked jazz, you knew about Bobby Cole. He played piano, sang, composed, arranged and, in 1967, released an album of original compositions titled "A Point of View" (Concentric Records). He had fans but avoided becoming mainstream. He stayed contemporary without becoming current. Jazz, folk, rock, modern dance scores…he wrote and performed them all. He smoked too much, drugged too much, drank too much. He was also cerebral, curious, a prodigious reader of poetry, philosophy, theology, and an uncommonly intelligent and literate lyricist.

On a December night in 1996, he had a heart attack while walking to work. An ambulance brought him to New York Hospital where, a few hours later, he died. Bobby Cole performed throughout Manhattan for forty years, but he spent most of the 1960s headlining at Jilly's, the midtown bistro owned by Frank Sinatra and his friend Jilly Rizzo. Sinatra called Bobby "my favorite saloon singer."

Bobby Cole caught the attention of Judy Garland, who visited Jilly's one night in 1964. She was hosting a weekly television show, and in the midst of a feud with her special materials arranger, Mel Torme. Three weeks later, Mel was out, and Bobby was in. He performed on Judy's show with his Trio. Bobby was scarcely 30 years old and it was his first time on television, but he was unruffled, sophisticated, and so damn cool. After Judy's show ended, Bobby occasionally arranged and conducted for her until she died.

Today, Jilly's is called the Russian Samovar and the piano is in the same spot. My husband and I ate there a few years ago. As we enjoyed our meal, I talked about Jilly's in the Sinatra era. Jilly had an apartment on the upper floor. I pointed up to the apartment and the balcony, where Jilly and Frank would sometimes drop water-balloons on unsuspecting pedestrians below. Another story described Jilly's as "tough, and you had to be tough to work there. Bobby Cole was tough. Frank and Jilly used to throw firecrackers at him to see if they could rattle him, but nothing rattled Bobby Cole. He ignored them and kept on playing." In the 1980s, Bobby headlined at a club called the Café Versailles. His daughter sometimes visited with her friends. She recalled that when she and her father would exit the club after work, a panhandler would be waiting for him. Bobby, who fought his own losing battle with the bottle, would slip the guy twenty dollars and wryly admonish him, "Be sure not to spend it on food." The night my husband and I visited the Russian Samovar there was a guy playing piano there, very young, and trying hard. I talked to him a little bit between his numbers about Bobby and the history of Jilly's and he was sweet, but I could tell he didn't care. I felt like one of those old people who bore young people to death with stories about things that happened before they were born – which, let's face it, is what I was. Nonetheless, when we were ready to leave, I put twenty dollars in his tip jar and said, "This is with compliments from Bobby Cole." After we left my husband said I should have added, "Be sure not to spend it on food."

Marie Hegeman (December 2021)

Two and a half years after the inception of Shall Not Fade's bass-focused sub-label, and a year since its last edition, Time Is Now is proud to present Allstars Vol.3.

For most, the artists featured on the compilation need little introduction. This will almost certainly be true for the Leicester duo who kick off proceedings with a fresh garage cut. "Pick Me Up" is Y U QT's second contribution to the Time Is Now catalogue and sees them rep the Midlands sound with their take on UKG, complete with a 4x4 speed garage switch-up, sure to energise any dancefloor.

Next up, proving that all good things come in twos, is Manchester duo Cortese who first blessed the label with the warmth of their tuneful concoctions in June last year. This time around is no different: "Regatta" is a real summertime banger, with sunny piano stabs and arpeggiating synths that drift above.

Keeping things soulful is Dublin producer PROZAK who hots things up with the buoyant 4x4 garage track "Next To You" - his third release on TIN.

Yosh sees in the compilation's B-side with "To Me" - a track that captures the London badman's ability to keep you on your toes with stuttering breaks that catch you off-guard.

Next up, and repping Copenhagen for the third time on the label, is Main Phase with the aptly-named "Pull Up Tool"- a thumping 4x4 UKG track which gives a healthy dose of ruffage before Groovy D closes proceedings with speed garage banger "Wun4Me". Set closer business.

Benefits are an issues-based music collective from Teesside in the
North East of England. They write songs about the urgencies that
concern them, and they play them loud.

Forming in 2019 and consisting of Kingsley Hall on vocals, Robbie
Major and Hugh Major on synths and noise, and Jonny Snowball
on drums, they quickly evolved from a standard shouty punk rock
outfit into a minimalist, overtly political band that merges noise,
hip-hop and industrial rock, creating an effect that feels urgent,
darkly hilarious and unsettling all at once.

Thus far, Benefits have been completely DIY yet, via a succession
of digital singles and accompanying videos through 2021, they
built a following that enabled them to complete a sold-out headline
UK tour in March 2022. They also gained fans in high places,
including Sleaford Mods, Black Francis, Garbage and Elijah Wood
and Steve Albini.

James and Ryan of Yard Act were also instant admirers and that’s
where their label Zen F.C. comes in. Using their ill-gotten major
label gains Zen F.C. are pressing Benefit’s single ‘Flag’ (backed
with ‘Empire’) on vinyl.

On working with Yard Act, Kingsley comments: “I think Benefits
come at some of the same subject matter that they talk about but
from a slightly different angle (and by ‘slightly different’ I really
mean ‘more frequent swearing’, though we've never said the C
word in a song unlike...ahem). We appreciate every bit of help
we’ve had off them, we just wish we could somehow repay that
kindness (not monetarily mind, we're totally skint).”

Yard Act’s James Smith says of the release: “Lots of bands are
saying all this stuff so what makes Benefits so special? Why do I
need to be told what I already know over and over again by a
shouty man from Teesside? Well, because no one else is saying it
with such physicality they sound like their voice box is about to
leap from their throat and eat your eyeballs. With that little bit of
influence we’ve garnered and the small fortune of money we now
have kicking about, I’m so glad we can play a part in spreading the
word on Benefits, because I think they’re well on their way to a
classic debut album, and I’m going to fucking love being able to
brag about how important I was in making it all happen.”

A question popular among followers of Thrash Metal is undeniably this, “Which is considered the fastest Thrash Metal album of all time?”. There would be a high percentage of answers supporting “Reign In Blood”, Darkness Descends” or “Pleasure To Kill”. Now here’s a startling reality. Wehrmacht’s debut album makes those albums sound as if they were meant to be listed under progressive Metal. The sheer ferocity of these guys is enough to convince you why they were considered the fastest Heavy Metal band in the underground. So what is it that makes this record worthy of being called an underground classic? Right from production to musicianship, the concoction of several different ideas results into one colossal and inevitably unique style of their own. Many of you would probably wonder that there might just be a natural leaning towards sloppy playing especially considering my description of their astoundingly fast nature earlier. But the major surprise here is that all the musicians are extremely tight and precise with no single riff, solo or beat falling out of place. Tito Matos is one of the most versatile Thrash singers one has ever heard till date. His clarity of words and ability to keep up with the rest of the band with his lightning fast singing is simply commendable. The songs in here are all ridiculously speedy pieces of Thrash Metal with practically little or no remorse for the listener. The title track with that brilliant rendition of the famously eerie “Jaws” theme kicks off the onslaught with a tearing main riff that shreds away with speed and precision. Teutonic, Bay Area and a few east coast Thrash Metal bands have been instrumental in forging the whole genre altogether but taking the intensity a couple of notches higher was undoubtedly achieved by bands like Cryptic Slaughter, Soothsayer and finally Wehrmacht. For a year that was 1987, “Shark Attack” was way ahead of its time and has been highly regarded as the release that influenced many a band in the Grindcore and Black Metal genres. To testify this statement of mine, U.K Grindcore pioneers Napalm Death have covered Wehrmacht on one of their studio compilations, thus proving the exemplary effect this band had in the years to come. Yet the irony still stands out as to why only the most devoted of Thrash Metal/Crossover freaks know about this band. As for some of you guys, quit wasting your time listening to the senseless offshoots of Grindcore and shitty Black Metal and get a hold of this classic instead.

Inspiration can strike anyone at any time, and more often than not from somewhat peculiar quarters. Rarely more so than when Sam Grant - thus far best known as guitarist and producer of Pigs Pigs Pigs Pigs Pigs Pigs Pigs - finally set about work on a solo project that had been pursuing him for some years. “I want people to imagine that feeling of rubber - its physical memory, the unnatural vibe of it. It’s so tactile but alien. It’s an odd analogy, but that’s what this music is for me.”A specific gravity is one more property that rubber has going for it, and that much is certainly true of Rubber Oh’s debut album ‘Strange Craft’, the result of his elasticated fixation, and his debut album of deliriously tuneful sci-fi tinged psychpop. It’s a unique soundworld in which an emphasis on beguiling melody marries a kaleidoscopic grandeur. Widescreen gems like the warped interstellar voyage that is Children Of Alchemy and the unshakeable earworm Hyperdrive Fantasyare all vibrant colour and celestial energy, setting their psychic stall out somewhere between the incandescent headspace of a ‘70s sci-fi TV show and the red-light-fever of the overheated ampstacks Grant has been historically more familiar with.Ultimately, for Grant as well as everyone else, Rubber Oh amounts to one strange trip - “Many of the lyrics are about alchemy, journeying and vessels, as interchangeable metaphors for knowledge and wisdom” he says. “I wanted to mesh the land and sea, the cosmos and the psyche across the tracks as one single plane” Mission accomplished, in short. This Strange Craft is fuelled up and ready to accept all comers on a ride into extensions through dimensions01

"Worthy re-issue of obscure Trouble in Side, which is a one-off studio project entirely written, sung and arranged by Luigi Della Ragione. "Zulu Rap" represented a surprising alternative to the typical Italo-Disco sound perceived in Naples and around in the early 80s. This little-known production has some interesting arrangements, mostly in the short version, where the drum work out raised below, reminiscent of "Love Hangover" by Diana Ross. Actually at that time the Dance Music Report, in its 'Import' column wrote that the "intro" of the 'Alcoholic Version' was reminiscent of Madonna's "Holiday". while the 'Chinese Version' was inspired by a song from the Tears For Fears. Some of this news may pique the curiosity of DJs and collectors and provide enough motivation for the current reissue which faithfully reproduces the three 1984 versions as well as the original noteworthy cover artwork. If that wasn't enough: the B side of the original record had an extra track not listed, with the hand drums on a slower and unrelated "Zulu Rap" drum beat which is around 120 BPM, while the drums of the bonus track is about 113 BPM. A little more inside info... the beautiful Maria Chiara Perugini (aka Clio) is part of the choir vocals. She was part of the Airport label for the recording of her first solo song "Eyes". A historical re-release"

Willie ist zurück mit seinem 72. Solo-Studioalbum. Ein spannendes Album mit neuem Studiomaterial, das mit seinem langjährigen Mitarbeiter Buddy Cannon produziert wurde. Es erscheint zu Willies 89. Geburtstag und zeigt, wie produktiv er nach wie vor ist, denn das Album enthält einige seiner besten Songs und Performances seit Jahren! Die 14 Tracks beinhalten 5 erstaunliche neue Willie Nelson/Buddy Cannon Kompositionen, neue Songs von Chris Stapleton & Rodney Crowell (die erste Single "I'll Love You Till The End Of Time") und einer Reihe von Top-Songwritern aus Nashville, sowie einige Coverversionen von Leonard Cohen ("Tower Of Song") und den Beatles ("With A Little Help From My Friends"), die von Willie gekonnt interpretiert werden.Le jour de son 89ème anniversaire c'est Willie Nelson qui nous fait un cadeau avec son nouvel album studio. Parmi ses nombreux charmes musicaux, A Beautiful Time présente une variété de futurs classiques popcountry, dont cinq nouvelles compositions de Willie Nelson/Buddy Cannon et des contributions de certains des meilleurs auteurs-compositeurs contemporains de Nashville. L'album présente également des reprises convaincantes de «Tower of Song» de Leonard Cohen et de «With a Little Help from My Friends» des Beatles.

Come Away With Me, released in 2002 by a young, unknown singer on a traditionally un-pop label, was a unique blend of jazz, blues, country, folk and pop – and lifted off beyond imagination. To date, the album has sold nearly 30 million times, and has garnered multiple awards, including no less than eight Grammys®. This coming February marks this landmark album’s 20th anniversary and, to celebrate, Blue Note/UMe has worked with the artist and her team on a special collection that will reveal for the first time the full story of the making of this now-classic album.

• New remastering of Norah’s legendary debut album

• 22 unreleased tracks: demos, session outtakes, alternate versions & mixes

• Norah’s earliest demos—the tracks that got Blue Note’s attention, and the demos she recorded for the label—some of which were released on the promo-only EP First Sessions

• The full previously-unreleased original version of the album—including 11 unreleased cuts—produced by Craig Street and now newly-mixed by Tony Maserati, with alternate versions of well-known tracks and unheard performances

• Premium packaging with an extensive booklet featuring new liner notes by Norah, rare session photos and detailed track annotations.

"Combining steppy dance music, lush detail and a diaristic tone, Jack Chrysalis’ debut album dials between music that is destined to catch the ear of the club-goer and the heart of the dreamer, his signature propulsive mutations of organic techno and UK garage sounding strongly in tracks like Another Year and Coldharbour.

Between these, Chrysalis threads in more introspective moments. Tracks formed by running a hand along piano keys in improvisation, or made in recollection of Koji Kondo’s clear bright musical palette for Zelda. They lend a sense of atmosphere and a deeper running mood to the album’s overworld, heightening endorphin hits from the garage swing and affording a little more bittersweetness to its textures and secrets.

Whether in rush or retreat, each track on this album emerges with its own emotional resonance. There’s a sense of seasons turning, or a twilight quality that’s hard to fully pin down. “Owl music” became shorthand for Jack’s tunes, a way for Mana to capture a prescient, nocturnal flight within their environment."

Out of the primordial chaos of pandemic and two years since their last full-length outing SUPERSAN, those sassy purveyors of World Dance of the highest calibre return with a bang. Duo's 3rd studio album soon to be released by Boom Selectah Records promises to turn heads and perk ears of the aficionados of Afro House but also has a potential to spill out from the niche and conquer the hearts of wider audiences.The album titled 'Little Dakar' is' the labour of love of two long time collaborators from Greece, Kostas and Valantis. This time their quest for musical purity and honesty is enriched and enhanced by stirring alliances. Scattered inside the audio-tapestry of this exotic wax flower you will find the vocals from 'the voice of Senegal' Jefree, and enchanting strumming from the fret of George Koltsiou. While rich traditions of Senegali music are particularly evident (and reflected in the album title), 'Little Dakar' goes far and beyond the sounds of a steamy Dakar Disco dancefloor. Finely tuned ear is in for a treat and could easily travel the distances between Senegal, Angola, Ghana, Uganda and Mali to name but a few. But you don't have to be an expert to fall in love with this album. The multidimensional colours of African musical heritage are easily accessible to a novice too as the references to better known House and Funk traditions could be heard loud and clear throughout the record.

Double black vinyl LP, compiling the rare Home Recordings of Sandy Denny. Never pressed to vinyl and in partnership with the Sandy Denny estate. Twenty-seven 1960s recordings of pre-Fairport Sandy Denny – nearly all making their vinyl debut! This essential collection includes two different demos of her classic “Who Knows Where the Time Goes” (and other songs penned by her – some later recorded by Fairport), plus heartfelt covers of songs by Jackson C. Frank, Fred Neil, and traditional folk songs. The definitive collection of Denny’s home demos and authorized by her estate.

“This 45 marks the label's 100th 45 and what better way to celebrate it than with a 45 from arguably our most prominent artist, Durand Jones & The Indications. This mix of "Power To The People" was the first new recording by the band after their self-titled album had been released. I distinctly remember hearing it for the first time and just feeling like we were hearing the next phase for the guys. I was behind the counter at Plaid Room, with my laptop plugged into the speakers so we could listen. There was no one in the store, just Bob and I. And when it finished playing Bob said, "Where can I pre-order?" So what you're hearing on this 45 is the original demo mix that was sent to us, with little to no reverb on Durand's vocals, a marching band kick drum in the mix, and no synth. Something about the dry falsetto vocal of Durand's voice made it feel like he was right in your ear. Such a special recording to all us."

Reigning Sound’s Memphis in June is a document of Greg Cartwright and the original Memphis lineup of his garage/soul group in the pocket and on their home turf. Live from the Harbor Town Amphitheater, right on the river, they forcefully knock out a dozen songs across the band’s catalog with their friends, many of whom appeared on 2021’s A Little More Time with Reigning Sound. The live album is pressed on neon orange vinyl, exclusively for Record Store Day 2022.

Demon Music is proud to bring together a selection of popular and exciting classic Northern Soul Anthems on a new 2LP thirty-three track collection. These are the original recordings by some familiar names and one or two that may have passed you by.

As the Sixties came to a close and the initial success of labels like Atlantic and Motown began to wane, there remained a dedicated fanbase of Soul devotees who would rather be out on the floor than wearing flowers in their hair. They continued to seek out new and previously overlooked releases, many on small labels that had never enjoyed chart success, making surprise hits of a few in the process.

Northern Soul could easily have passed into music history as a fad, something on the fringes of mainstream popular music; instead its popularity has remained and even grown. It is no longer the preserve of venues in the north of England (who had always attracted coachloads of devotees from across the nation), with Soul clubs opening in Europe, Asia, Australia and even - in perhaps the ultimate example of "coals to Newcastle" – America

Every few years Northern Soul enjoys a resurgence in popularity and welcomes a new generation of younger fans, keepers of the faith. This collection is for those with a passing interest and fans both old and
new - music fashions may change but the quality, the infectious excitement and the urge to get up and dance has endured in these fantastic records.

Mondo, in partnership with Walt Disney Records and Lucasfilm, are proud to present an all new 4XLP expanded edition soundtrack to 2016's ROGUE ONE: A STAR WARS STORY.

In anticipation of its 5th anniversary, Michael Giacchino unearthed nearly over an hour of previously unreleased music and recording sessions from the film.

Featuring all-new original artwork by John Powell, new liner notes by Michael Giacchino, mastered for vinyl, and pressed on 180 gram black vinyl, this collector's set is essential for Star Wars fans.

Composed by Michael Giacchino and John Williams

Artwork by John Powel

Repress on colour vinyl for Good Morning – Prize / Reward

Simon comes from Belfast in Northern Ireland, a place that resonates of the best music traditions like Gary Moore, and Stiff Little Fingers. His biography tells the story of his band touring with no sound engineer, driver, roadie, playing 30 shows in 35 days and catching the attention of the record label. By the way, Ian Gillan from Deep Purple thinks he is one of the best guitar players in the world! And he also was the main guitarist on Don Airey’s solo tour. Recorded at the legendary Chameleon Studios in Hamburg, this album has everything a good rock album needs. The songs on “The Fighter” boast big riffs, they’re catchy, multifaceted AND are full of energy where needed. This album is in a class of its own – serious.