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Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include "Son Of A Preacher Man," "So Much Love," "Breakfast In Bed," "Just One Smile," "I Don't Want To Hear It Anymore" and "Just A Little Lovin'".

Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians — collectively known as the Memphis Cats — include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

Analogue Production's reissue here is perfection. Mastered by Kevin Gray from the original analog master tape. Double LP cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a Stoughton Printing tip-on old style gatefold jacket.

After more than two decades of captivating fans with their signature harmonies and timeless love songs, 98 Degrees returns with Full Circle, an album that marks a new chapter in the group's storied career. This highly anticipated release features five brand new tracks that showcase the evolution of the band’s sound, while still staying true to the essence that made them icons of the '90s and 2000s. Collaborations with powerful vocalists Katrina Velarde and Janine Teñoso bring fresh, dynamic layers to the album, with each artist adding their unique touch to these modern pop-soul anthems. In addition to the new material, Full Circle includes five of 98 Degrees' classic hits, re-recorded and remastered for a new era. These beloved tracks have been given a polished, contemporary update, with richer instrumentation and renewed vocal energy, offering both longtime fans and new listeners a fresh experience of the band’s greatest hits.

From the soulful ballads to the infectious up-tempos, Full Circle perfectly blends the familiar smooth melodies that fans know and love with a more contemporary edge. The title Full Circle reflects the journey the group has taken—from their meteoric rise in the late '90s to their ongoing passion for making music together. With their signature harmonies stronger than ever, Full Circle is a testament to 98 Degrees' enduring legacy and their commitment to creating music that resonates across generations.

Growing up is painful, brutal, and sometimes beautiful _ something Brooklyn-based indie-rock band Bedridden knows all too well. The band's name is even a nod to that ineffable period between childhood and the jagged edges of the real world. "When I was 21, I kind of lost my home," says frontman/guitarist Jack Riley. "I was couch-surfing. I was having a hard time.The next iteration in the band's maturation, then, is their debut, LP Moths Strapped To Eachother's Backs, 10 fuzzed-out (and sometimes gnarly) ruminations on dating, drugs, and survival out April 11 on Julia's War. The title came from a mysterious missive Riley received on astrology app Co-Star. "Last year I was way too reliant on other people _ my partner at the time, my friends," he says. "I was strapped to them in a weird way _ and flying in circles. This album is about that time."The current incarnation of Bedridden encompasses a patchwork of styles, influences, and friends Riley accumulated over the years. A Chicago native who first started making music at age five on a thrift-store guitar emblazoned with Kurt Cobain's name, Riley moved to New Orleans for college where he dabbled in punk before falling in love with shoegaze. There, he launched the first version of Bedridden. Sebastian Duzian (bass) _ a jazz musician and Pasadena native _ linked up with Riley in NOLA along with his bandmate, drummer Nick Pedroza. Pedroza, from Claremont, grew up on rock, metal, and jazz, honing his style after joining the band. Wesley Wolffe _ a guitarist fed on a steady diet of New Wave and `90s alt _ rounded out the crew just a few months back. Bedridden's previous lineup released their first EP, Amateur Heartthrob, in 2023 _ a noise-washed blend of shoegaze, DIY, and indie that Riley says is a "coming-of-age EP _ these formative stories about not having a bed, dating, being kind of a jackass. I was making fun of myself a lot." That release caught the attention of Douglas Dulgarian from Philly Label Julia's War (and TAGABOW), who signed them for Moths."Some of these songs have been around for years," says Riley, adding that they were recorded last February at Studio G Brooklyn; the album was produced by Aron Kobayashi Ritch (Momma). "As opposed to Amateur Heartthrob, we attempted to blend more clean guitars into a driving sound to capture more clarity _ one that also sounds live_ and raw," Riley says. That rawness thrums through the record, which kicks off with the thrashed "Gummy," about an incident when Riley had to gently fend off a co-worker's unwanted advances while both drunk and high on an MDMA gummy. And then there's mournful rager "Etch," which sees Riley daydreaming about beating up a meddler in his personal life _ in the minor key.The annihilating "Chainsaw" revs in next, a lightning-fast Lemonheads-inspired track that recalls Riley moving in with new roommates who were unnaturally obsessed with purchasing a lamp. "For some reason that pissed me off," he laughs; that rage is evident in the album cover, which shows said power tool demolishing a lampshade. Heavy-shredding "Heaven's Leg" showcases the band's affinity for `90s mainstays like Smashing Pumpkins while telling the tale of a gig at a local church. "The lyrics are about a pastor I had met that had lost his leg," Riley says. "The church had signs about not cussing and I had a feeling that neither of us had anything to talk about without potentially offending the other."The band's not afraid to get confrontational, though, on the anger-fueled, drum-heavy "Philadelphia, Get Me Through," which deals with a dead-end relationship and the mistaken assumption that getting drunk in the titular city would be a balm against the pain. And the nasty, brutist, and short hardcore-adjacent "MainStage"? "It's about being disrespected at a show on New Year's and how I lashed out," Riley says. "I then began to take it out on other people, which was a quality that I despise."Things get contemplative and mournful from here on out _ the emo-edged "Snare" is about bringing flowers to a hospital room where you're not welcome, while the Smiths-inspired "Uno" wrestles with self-loathing. "I guess the big finale of that song was my response to dealing with this recurring experience of feeling like I wasn't good enough by getting really into whippets," Riley says. Nu-metal bop "Bonehead," then, recalls an embarrassing dinner that turned into an argument _ the name applies both to that incident and the delicious simplicity of the guitar parts.After all that turmoil and pain, the band caps everything off with their eyes to the future on the jangle-pop "Ring Size." "All my friends are getting married _ do I follow in their footsteps? Or is it all a waste of time?" Riley says of the song. "At the end, through it all, I guess that's what I've been trying to figure out _ how to grow up, how to move on. I'm trying to navigate things as an adult and I'm not very good at it. But this is just the first record. This is just the beginning."And, hey, at least now he has a bed.

Hey, hard rock and metal fans—ready for another classic, early ‘90s album that never before made it to vinyl here in the States? Did we hear you say “Yeah!?” Then may we present Tyketto: Don’t Come Easy! This is another great, rockin’ record that got lost in the grunge craze that swept the music industry, and, just like our recent reissue of Wildside’s Under the Influence, it’s the debut release from a band that should have blown up much bigger than they did. You no doubt remember their single “Forever Young;” but the rest of the album offers melodic hard rock of the highest order, especially on tracks like “Burning Down Inside” and the power ballad “Standing Alone.” Excellent vocal work from former Waysted frontman Danny Vaughn, too. Remastered for vinyl by Mike Milchner at Sonic Vision…teal with white swirl vinyl, complete with printed inner sleeve!

LA's Elbow Grease label takes a sharp left turn from dance floor-finessing singles to their first full-length
release via the elusive yet illustrious band KAMM, who return in extra fine form for their third and
presumably final album offering, following the sudden tragic death of core member Alland Byallo last
year. Surviving bandmates Marc Barrite aka Dave Aju, Kenneth Scott, and Marc Smith chose the
inspirational higher ground, finishing off what they had begun with Byallo prior to his passing, resulting in
this sublime musical love letter of an LP.
In keeping with the band’s broad influence canon, we are treated to a blend of sonic flavors from
across the genre spectrum with Barrite and Byallo’s jazz upbringings ringing true at the center, then
branching out through golden era hip-hop feels, phased-out psych funk, warm smokey soul, and of
course generous helpings of intricate electronic layers and innovative treatments, as all band members
have become notorious for in their respective solo bodies of work.
While highly personal by nature, including otherworldly cover art based on Byallo's last paintings, the
musical content contained on the album is also widely universal - from opener “Crystalline Dreams”
serpentine tones turned slo-mo funk bomb, to the triptych Bossa boom-bap of “No Deal”, the timely
political calls of uptempo jazz burner “Your Honor”, the intimate upright-led tribute tales of “Angels
Flight”, to the sleek electro rhythm changes of mid-set breather “How Long?”, a deeply felt take on our
mobile-reliant fate in “S.I.M.”, the expansively expressive depth of “Coordinates”, then closing it out with
the title track featuring a grand finale chorus of Byallo’s best friends and fam from around the world
joining in the “Let The Light In” chant, with as much uplifting intention as possible to capture on record.
A loving collective embrace and very welcome reminder to help lighten these darker days

12" EP. Azmari is thrilled to announce the release of their fourth opus, 5-track EP 'In Oculis'. The EP is a reflection of the band's collective desire to reinvent themselves. With a more minimalistic approach, the four musicians have created an eclectic, intense, and vibrant body of work, recorded during various residencies in Belgium and abroad. The result is a fusion of genres that range from powerful grooves to cinematic jazz, from floating melodies to entrancing soundscapes.

For this new project, Azmari teamed up with a long-time collaborator, Guillaume Souffrice (alias Mosso Mosso), who had already been Azmari's guitarist in the band's early days. Souffrice's expertise as a music therapist and multi-instrumentalist, combined with his passion for cross-cultural rhythms and melodies, adds a new depth and dimension to the band's sound.

Souffrice's extensive travels have taken him from Iranian Kurdistan, where he studied the daf (a large frame drum used in Sufi ceremonies), to northern India, where he immersed himself in the modal subtleties of the shehnai (Indian oboe). His love for psychedelic guitar tones and the classic wha-wha pedal remains at the heart of his musical approach, creating a fusion of tradition and experimentation.

The EP opens with 'Night Plants Can Run,' a track that starts with a rhythmic loop on the Berimbau, a Brazilian percussion instrument traditionally used in Capoeira. The song offers a steady, groovy journey between Rio de Janeiro and Sarajevo, with a guitar theme doubled by the saxophone, all underpinned by a deep 4/4 groove. The middle part of the track introduces a lot of percussion (an Azmari signature move) that gives a sense of urgency and chase, inspired by the band's experience playing the track in the studio, imagining a pursuit through the depths of the Amazon.

Next, 'Disassembling the Matrix' takes listeners on a 9/4 march that feels both elusive and powerful. Born from a jam session where an arpeggiator loop wouldn't stop, the band decided to continue with it, highlighting the beauty of a spontaneous creation once again. 'Lizzard's Dream' is a guitar-driven trip that gradually intensifies in energy. The song surprises with a sudden groovy break - a moment that was initially the core of the track - before returning to its soft and introspective theme, closing out the A-side of the vinyl.

The fourth track, 'Eyelights,' was born from the shores of Vevey Lake in Switzerland. It reflects the result of a long period of mental observation and rhythmic exploration. Three different time signatures were used to create the song's intro, which comes together as they go along. The melody loops with a peaceful and nostalgic vibe, creating a dreamlike atmosphere. Under the direction of Frederik Segers, who produced the EP, 'Eyelights' takes on a cinematic feel, with classical upright piano sounds that are a first for Azmari.

The EP closes with "17th Tiger Print," which takes us to the banks of the Ganges. Souffrice's shehnai leads the track into a hypnotic, hallucinatory dimension, where the interplay between his instrument and the baritone saxophone creates a textured, mystical atmosphere. This track encapsulates the essence of Azmari, a sound that bridges cultures and emotions in a minimalist yet highly effective way.

'In Oculis' marks another milestone in Azmari's musical evolution, blending the band's signature style with new influences and experimentation. Whether you're a longtime fan or new to their sound, this EP promisesto take you on another ride around the world.

On the occasion of the 40th anniversary of its original release, this limited edition Black vinyl is reissued in an exclusive version, created using the Original Master Tape to ensure an authentic and faithful sound to the original recording. The high-quality mastering process ensures optimal sound performance, enhancing every detail of the production, from the depth of the bass to the clarity of the highs. Pressed on 180g Black vinyl, this product is marked with the SIAE trademark to guarantee authenticity and has been carefully crafted to provide a flawless listening experience.

This limited edition also includes an autographed photo from the band, making it even more personal and collectible.

This limited edition, available in a limited run of only 250 copies, is designed for true collectors and enthusiasts. Each copy of the 40th Anniversary Limited Edition Black Vinyl pays tribute to an album highly appreciated by Italo-Dance music lovers.

Originally released in 1985, the album challenged the conventions of the time with an alternative and innovative sound, standing out in the Italo Disco scene. The album received international praise, especially from the most demanding audiophiles, for its pioneering production and ability to distinguish itself from mainstream sounds. The remastering process from the Original Master preserves the authenticity of the original sound, delivering superior quality.

With the included removable OBI, this special edition gains an additional distinctive touch, completing its design and reinforcing its status as a cult item. Don’t miss the opportunity to own this unique vinyl, perfect for those who appreciate authentic music and wish to enrich their collection with a rare and valuable piece.

Mit 'Ten Crowns' schlägt Andy Bell (Erasure) ein neues Kapitel auf - kraftvoll, verspielt und zutiefst persönlich. Das Soloalbum umfasst zehn brandneue Songs, in denen Bell seine Liebe zu tanzbarem, emotionalem Pop voll auslebt. Gospel-Vibes treffen auf Dancefloor-Glitzer, mitreißende Hooks auf feinfühlige Melodien - eine berauschende Mischung, die sich gleichzeitig frisch und vertraut anfühlt.

Produziert vom Grammy-prämierten DJ, Remixer und Produzenten Dave Audé (u. a. Beyoncé, Lady Gaga), entfaltet 'Ten Crowns' eine strahlende Klangwelt, die Andy Bells Stimme in all ihrer emotionalen Bandbreite glänzen lässt. Audé war dabei nicht nur für den Sound verantwortlich, sondern auch als Co-Autor tief in den kreativen Prozess eingebunden.

Ein besonderes Highlight: Die Kollaboration mit Andy Bells langjährigem Idol Debbie Harry - ein generationsübergreifendes Pop-Treffen mit Gänsehautmomenten.

Andy Bell ist seit Jahrzehnten eine der markantesten Stimmen des internationalen Pop. Mit Erasure, einem der erfolgreichsten und einflussreichsten Synthpop-Duos aller Zeiten, hat er Musikgeschichte geschrieben. Über 25 Alben, unzählige Hits wie 'A Little Respect', 'Always' oder 'Love To Hate You' - und ein 40-jähriges Bandjubiläum, das 2026 gefeiert wird. Mit 'Ten Crowns' beweist Bell nun erneut, dass große Popmusik keine Frage des Alters, sondern der Haltung ist.

We are proud to present the first official reworks of the disco/jazz-funk masterpiece Trip To Your Mind - now available for the first time with a picture cover featuring a classic shot of composer Reginald Hudson on the front.

For decades, Trip To Your Mind was celebrated as a Brit Funk classic, though its true origins remained a mystery. While recorded at London's Advision Studio, Hudson People were neither local nor British - a fact first uncovered with its official 2022 reissue on Backatcha Records. In interviews with label owner DJ Scientist, Reg Hudson revealed that the backing band behind his composition was Body Heat, a GI group based in Germany. The recording, believed to date back to around 1977, remained shelved for some time. By the time it was finally released in 1979, Body Heat was on the verge of disbanding, leading to the track being credited to Hudson People. Since then, Trip To Your Mind has been heavily bootlegged and compiled since the late '90s, cementing its status as an in-demand classic.

For our rework release, the A-side features a brilliant DJ-friendly edit by Delfonic, based on the original Hithouse mix. Unlike the later Ensign Records remix, this version starts with an 8 bar intro crescendo that was missing from subsequent reworks. When we approached Delfonic about reworking the track, he was immediately hooked - especially since he had already started an edit years ago but never completed it. His version builds tension through an extended intro before leading into the beloved vocal line: "Take a trip through your mind, surprises you will find." Delfonic's masterful editing ensures the track keeps listeners engaged until the very end.

The B-side features a rework by Italian DJ and producer Luca Trevisi, aka LTJ Xperience. His version is based on the Ensign remix of "Trip To Your Mind" by Chris Hill and Robbie Vincent. Some may recall a slightly different, clubbier version of this rework, which was released by a UK label in 2010. That version became a sought-after gem - however, Hudson never received any payment from the label. When we reached out to Trevisi about an official re-release, he generously revisited his edit, resulting in a more organic and dynamic mix. His version will appeal not only to disco and funk lovers but also to house and club DJs. The new mix was mastered by Frederic Stader on an EMI TG124 - an iconic mixing desk, famously used at Abbey Road Studios.

Both edits preserve the psychedelic essence of the original while making it more compatible with modern listening habits. Pressed on a high-quality, loud-cut 12", this release is a must-have for any DJ's collection. It follows our label's GI-related releases by Grand Slam and "Shake It - Make It Loose" by J.D. Puma Lewis - another project that composer and keyboardist Reginald Hudson was involved in.

"A powder keg of bangers primed to shake the rat race to its core" - The Guardian Australia (Best of 2023) "Simultaneously chaotic and precise, no matter whether the palette is fierce rap, punk energy or slinking beats." - Rolling Stone Australia (Best of 2023) London/Melbourne rap duo Teether & Kuya Neil release their long-awaited debut album YEARN IV. YEARN IV captures the brooding and vivid world of two musical outsiders. Raised by the internet, the pair find their voice amid a sea of clashing cultural experiences and sonic histories, finding solace in the isolation of contemporary urban Australia. Recorded in Melbourne and completed in London, the album captures the duo's hyper local yet globally influenced rap sound at its core. Kuya Neil's drum heavy production collides with Teether's surreal and immersive storytelling, blending thrash metal and club music aesthetics with the echoes of the early internet. Lead single `ZOO' plays with the silent throes of cultural diversity over a paranoid trap instrumental, 'BLUSH' is a blissed out digital love letter wuth shimmering autotuned hooks and rave inspired breaks. `CHANEL' (featuring Indigenous Australian songwriter Alice Skye) is a guitar driven lament for Australia's myopic cultural landscape, fading out with "I'll never reach my full potential here". Teether & Kuya Neil released their first mixtape GLYPH via Chapter in 2021, receiving airplay from NTS, Dublab and Australian radio, plus writeups via Brooklyn Vegan and NME. Four tracks from `GLYPH' were featured in the iconic Australian Netflix series 'Heartbreak High' the following year. 2023 mixtape STRESSOR charted in the Australian Independent Top 10 and made it into end of year best of lists for The Guardian, Rolling Stone and NME Australia. The mixtape was nominated for Best Hip Hop Album at the 2024 Australian Independent Music Awards and named Album of the Week by 3RRR and fBI Radio. Teether & Kuya Neil have performed around Australia and New Zealand. They have played alongside international peers MC Yallah & Debmaster and They Hate Change as well as supported veteran alt-rap outfit Shabazz Palaces and Chicago Footwork pioneer RP Boo. As a solo artist, Teether has collaborated with New York rapper Billy Woods and toured with his outfit Armand Hammer in Australia in 2022. In 2024, he opened for the legendary Kim Gordon. Kuya Neil is an active producer in underground dance music, releasing tracks on UK labels Chinabot and Moveltraxx and has toured South East Asia as a DJ and promoter.

**RSD 2025** - Record Store Day exclusive pressing comes on Blue vinyl with heavyweight sleeve

Seminal album from cult Ghanaian musician Alhaji K. Frimpong, recorded in 1976 and considered to be one of the best highlife albums ever recorded.

Features the masterpiece Kyenkyen Bi Adi M’awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more.

Backed by Vis a Vis - one of the most influential bands to come out of the Ghana Highlife / Afro Rock movement.

Unique avant garde sound that blends traditional highlife percussion and horns with synthesizers

Original copies of the album are extremely rare. The album was reissued in limited quantities in 2011 and has been unavailable since - even reissue copies sell for high prices on the second hand market.

**Gangster Music Vol.3: The Most Gangster Music Trilogy of All Time Comes to a Triumphant Close**

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before.

Gangster Doodles himself puts it best:
"It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

As always, the cover art is a vital piece of the puzzle. This time, Bootleg Garfield & Friends take center stage, bringing the same playful irreverence that has defined Gangster Doodles’ artwork for years. Fans are encouraged to engage, remix, and make the cover their own, staying true to the spirit of interactive creativity that has always fueled the series.

After years of meticulous curation, countless DMs, emails, and behind-the-scenes wrangling, Gangster Music Vol.3 is here to complete the trilogy in legendary fashion. Expect boundary-pushing beats, next-level lyricism, and a lineup that celebrates hip-hop in all its many forms.

“Thanks to everyone who’s actively supported and continues to tap-in. Believe & trust when I say I've got more dope stuff cookin’. STAY TUNED!! GANGSTER DOODLES 4EVER. 1LUV."

Gangster Music Vol.3 is out April 7th on All City. Stay tuned, stay tapped in, and get ready for the most gangster music experience yet.

"""Disguise In Love"" released in 1978, is the debut album of British punk poet John Cooper Clarke. Renowned for his quick-witted delivery and sharp humor, Clarke fuses punk rock with spoken word, resulting in a one-of-a-kind sonic experience. The album includes tracks such as ""I Don't Want To Be Nice,"" ""Valley of the Lost Women,"" and ""(I Married a) Monster from Outer Space,"" highlighting Clarke's talent for social commentary and dark comedy. Produced by Martin Hannett, known as (one of) the creator(s) of the ‘Manchester sound’, the album captures the unrefined energy of the late '70s punk scene. Other notable artists produced by Hannett include Joy Division, Magazine, New Order, Orchestral Manoeuvres in the Dark and Happy Mondays. ""Disguise In Love"" stands out not only for its incisive, observational poetry but also for its stripped-down and edgy musical accompaniment, solidifying its status as a pivotal work in Clarke's career and a significant contribution to the punk genre. The album comes as a limited edition of 500 copies on translucent blue coloured vinyl."

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

The Pinnacle of Japanese Jazz, Finally Returns on Vinyl for the First Time!

The original (private press) was released in a very limited run of only 200 copies and has been highly sought after by collectors since the early 2000s, during the resurgence of Japanese jazz. Revered by both collectors and piano trio enthusiasts, this rare item is truly a gem. Tracks like the tense and exhilarating bop tune “Strode Road” and the wildly rhythmic and groovy “Love For Sale” are must-listens!

Recorded: March 3rd, 1978
Original Label: SMILE (SML002)
Faithfully Reproduced Original Jacket
Vinyl Edition Project/Producer: Koji Hanawa (JUDGMENT! RECORDS)

Members:
Toshiyuki Sekine (Pf)
Kei Narita (Bs)
Takashi Kurosaki (Ds)

Get Heavy, released in 2002, is the debut album by Finnish hard rock and heavy metal band Lordi. Known for their theatrical personas and monstrous costumes, Lordi burst onto the scene with this high-energy, anthem-packed release. The album features fan favorites like "Would You Love a Monsterman?" and "Devil Is a Loser," blending catchy melodies, heavy guitar riffs, and powerful vocals from lead singer Mr. Lordi.

Produced by T.T. Oksala, Get Heavy showcases the band’s ability to combine hard rock with a horror-inspired aesthetic, making it a standout debut that immediately captured attention. The album’s infectious energy and memorable hooks laid the foundation for Lordi’s unique style, setting them apart in the heavy metal scene. For fans of theatrical rock and unforgettable anthems, Get Heavy remains a must-listen and an essential part of Lordi’s legacy. Get Heavy is available as a limited edition of 666 individually numbered copies on black & white marbled vinyl.

"Released in 2011, Revelator is the debut studio album by the Tedeschi Trucks Band, a powerhouse blues-rock ensemble led by Susan Tedeschi and Derek Trucks. The album blends blues, rock, soul, and jazz, showcasing the band's rich, full-bodied sound. Standout tracks like ""Midnight in Harlem,"" ""Come See About Me,"" and ""Bound for Glory"" highlight Tedeschi’s soulful vocals and Trucks’ masterful slide guitar work. Produced by Jim Scott and Derek Trucks, Revelator received critical acclaim for its organic musicianship, heartfelt songwriting, and dynamic arrangements. The album won the Grammy Award for Best Blues Album in 2012, solidifying the band’s reputation as one of the finest acts in contemporary blues and rock. For fans of blues-infused rock with deep soul influences, Revelator is an essential listen, capturing the magic of a band that seamlessly blends technical brilliance with emotional depth. Revelator is available as a limited edition of 1500 individually numbered copies on red coloured vinyl."

What it is, is funky! When the acid jazz scene ruled the world it looked for its inspiration in places that other jazz fans tended to overlook. The soul jazz of the late 60s and early 70s. The music of lounge bars and small clubs that fuelled the night life of black America. This compilation brings together ten examples of the sound and is a high quality listen from start to finish.

In the post-bebop world jazz was often condemned as an intellectual music aimed at the head not the feet, but a strain of the music was always for dancing, coming straight from the legacy of the big bands, and always tipping its head to what was going on in the R&B charts. The tracks included here all stay true to that legacy.

So whether we have Lonnie Liston Smith’s plea for 'Peace & Love' with its Bob Marley echoing horn lines, or Joe Bataan as band leader covering Isaac Hayes’ ‘Theme From the Men’, this is music allied with the contemporary sounds of the day. Oliver Nelson's synth heavy 'Skull Session' or his TV hit 'Theme From The Six Million Dollar Man' covered by Richard ‘Groove’ Holmes show this. At the heart of these recordings are the rhythms − and as such Bernard Purdie is the star either as a solo artist or simply as the man behind the kit with Harold Alexander.

This is Funky Jazz is an entry ticket to a party that everyone should want to be invited to.

Die beliebte New Yorker Rockband Sunflower Bean meldet sich neu belebt mit ihrem vierten Album zurück. In Eigenregie produziert, von Caesar Edmunds (The Killers, Wet Leg) gemischt und von Sarah Tudzin (Illuminati Hotties, Boygenius) engineert, liess sich die Band von Alternative Rock, verträumter Psychedelia und Arena-Ehrgeiz inspirieren, um mit "Mortal Primetime" das härteste und verletzlichste Album ihrer Karriere zu liefern. Die Songs sind ungeschminkt und offen, Dissonanz und Unsicherheit werden akzeptiert. Sunflower Beans breite Palette von Einflüssen würden die meisten Bands nicht wagen, in einem Satz zusammenzufassen, und diese Kühnheit hat sie undefinierbar gemacht. Der Power-Pop-Opener "Champagne Taste" kanalisiert Iggy Pops "The Idiot"-Phase, "Look What You've Done To Me" beschwört den beunruhigenden Wahnsinn und die Launenhaftigkeit von Kate Bush, und die hochfliegenden Powercords auf "Nothing Romantic" erinnern an Arena-taugliche 70/80er Hits von Heart, Pat Benatar und Joan Jett. "Manchmal denke ich, diese Platte ist wie eine Mischung aus Belle And Sebastian und Alice In Chains", sagt Frontfrau Julia Cumming.

Lordi's The Monsterican Dream, released in 2004, is the Finnish hard rock band’s second studio album, cementing their signature blend of heavy metal, theatrical horror themes, and anthemic choruses. Packed with powerful tracks like "Blood Red Sandman," "My Heaven Is Your Hell," and "Would You Love a Monsterman?," the album showcases Lordi's knack for creating hard-hitting, catchy songs with a monstrous edge.

Produced by Hiili Hiilesmaa, The Monsterican Dream features dynamic guitar riffs, haunting keyboard melodies, and Mr. Lordi's commanding vocals, delivering a darker and heavier tone compared to their debut. The album's horror-inspired themes and energetic performances helped the band gain a stronger foothold in the international rock and metal scene.

For fans of theatrical hard rock and heavy metal, The Monsterican Dream is a must-listen, offering an unforgettable experience that highlights Lordi’s unique artistry and showmanship.

The Monsterican Dream is available as a limited edition of 666 individually numbered copies on crystal clear & transparent green marbled vinyl