Suche:lynn

Foundation ska from the cradle of Jamaican music...

Federal Recording Studios nurtured the talents of innumerable Jamaican artists in the early sixties... this set showcases seriously sought after rarities and previously un-released tracks from Don Drummond, The Maytals , Lynn Taitt and many more

SALES POINTS:
MIND BLOWING NORTHERN SOUL courtesy of The Exciters, Willie Kendrick and Cindy Lynn
Featuring new-to-vinyl couplings, rarities and in-demand current favourites
The Outta Sight Northern Soul library continues to build, start collecting the series today!

“On August 5th 1962, after 300 years of British rule, which had soaked the earth of the island in blood, Jamaica was finally independent. The country that the British left behind was certainly a place of widespread poverty and deep inequality, but there seems to have been a real burst of confidence that came with independence. Newsreels of the day show well-dressed crowds reacting with enthusiasm and excitement, and the era found its perfect soundtrack in the boldness and exuberance of ska music, which was erupting all over the island.

This optimistic mood found probably its greatest artistic expression in the music of the Skatalites, who formed in June 1964 as a kind of Jamaican supergroup. Philip “Justin” Yap was a young, upcoming producer who had used members of the Skatalites for his first tunes, recorded either at RJR (Radio Jamaica and Redifussion) or at Federal studios. As Steve Barrow documented in the sleevenotes for Pressure Sounds’ reissue of the classic “Ska-Boo-Da-Ba” album, Justin had also befriended Clement “Coxsone” Dodd, and when Coxsone opened his own Studio One facility in December 1963, Justin immediately switched most of his production work to this new recording room. Studio One opened just in time to catch the formation of the Skatalites, and is where Justin recorded most of his classic Skatalites sides. He also recorded lots of excellent instrumentals with a smaller brass section, still mainly using members of the Skatalites, but crediting instead the composer or arranger of the tune. Combined with Coxsone’s own recordings, these productions for Justin’s Top Deck and Tuneico labels really captured the members of the Skatalites at their magnificent best in the unique atmosphere of Studio One.”

'The trombonist, in a musical search for the organic origins of life, explores ancestral rhythms and sounds through electro-acoustic landscapes shaped by his modular synth.

Rooted in jazz and Middle-Eastern scales, MŸA revolves around the wordless vocals of the band members and guest singers Lynn Adib and Natacha Atlas.’

Noelle & The Deserters bring South-Western honky tonk and songs of heartbreak from the high deserts of New Mexico to the golden hills of California. Fronted by singer-songwriter Noelle Fiore, their music draws inspiration from the likes of Emmylou Harris, Loretta Lynn, Marty Robbins, J.J Cale, Gene Clark, Townes Van Zandt, and the great outlaw country players. The Deserters include seasoned players Graham Norwood (Bryan Scary, Graham Norwood) on guitar, Alicia Vanden Heuvel (The Aislers Set) on bass, David Cuetter (Tarnation) on pedal steel, and Jerry Fiore (Sonic Love Affair)on drums, all based in the Bay Area and Sacramento. Fiore was raised in Taos, New Mexico. As a guitar player and vocalist, she was a founding member of Sweet Chariot, singing and playing guitar / banjo. Later, she and Tim Cohen (The Fresh & Onlys) founded the band Magic Trick, recording four full length albums for labels Hardly Art and Captured Tracks. Fiore is also a current member of the Shannon Shaw Band, on guitar and vocals. High Desert Daydream is Noelle & The Deserters debut album, out on Speakeasy Studios SF. The songs on the album, written by Fiore, touch on life in the west, growing up in Taos, living in California, songs of love, memory, marriage, work, good times, and bad times. Like all classic country music, the songs are infused with a sense of real-life struggles and living life in the everyday. Fiore’s incredible voice carries the album, and her songs are at once moving, powerful, tender, humorous, and intimately relatable. Produced by Noelle Fiore and Alicia Vanden Heuvel, High Desert Daydream feels country, yet of the west, of California and New Mexico, of experimental fronts in country music, and is truly a work of beauty.

Tracks

Grand Soleil is an ode the awakening. Composed for Organ and Piano, this 7 tracks album is a soul trip with gospel accents. The great french soul singer LYNN is blessing this record with her airy vocal layers and a dope song: Clouds. Blackjoy closest partner, Blundetto is rocking the drums over minimal drum machine paterns. This record is recommended for the best morning routing.

Vinyl only, no digital.

Demolition Squad were lost in the realms of time. That was until Vinyl Fanatiks tracked down DJH, whose Dad owned the record shop Dance Force in Kings Lynn in the early 90s and started a record label in the back of it. DJH was 15 when he wrote his debut EP for the label – The Bass Project. That white label was selling for £300 a copy on Discogs and was recently re-released and quickly sold out on Vinyl Fanatiks (VFS006).

Off the back of the success of his EP, DJH wanted to track down the Demolition Squad and about a year later he found one of the band, who reached out to the other band members and everyone agreed… the time was right for a repress, 29 years after its original release.

With copies on Discogs reaching £60, this EP is a proper dose of UK hardcore.

Enjoy the vibez.

14 tracks, all great examples of real soul music, a mix of well-known classics, overlooked gems, and 4 original unreleased songs.

Lost in the soot and fall out from Youngstown, Ohio's infamous Black Monday steel industry collapse was Tony March's cross-generational Tammy label. From its early days as a doo wop powerhouse to their last gasps chasing disco hits, Tammy unintentionally documented Youngstown's small but prolific Black music scene. This single LP surveys the label's best R&B, soul, funk, and disco, with 13 tracks from Ice Cold Love, Lynn Minor, J.C. & the Soul Angels, The Snapshots, Iron Knowledge, Roy Jefferson, and Steel City Band. Housed in a deluxe tip-on jacket, with a booklet crammed full of notes and ephemera, The Tammy Label continues Numero's 20 year tradition of preserving regional Ohio music.

Sheer Magic Transparent Silver Glitter Colored Vinyl. Lost in the soot and fall out from Youngstown, Ohio's infamous Black Monday steel industry collapse was Tony March's cross-generational Tammy label. From its early days as a doo wop powerhouse to their last gasps chasing disco hits, Tammy unintentionally documented Youngstown's small but prolific Black music scene. This single LP surveys the label's best R&B, soul, funk, and disco, with 13 tracks from Ice Cold Love, Lynn Minor, J.C. & the Soul Angels, The Snapshots, Iron Knowledge, Roy Jefferson, and Steel City Band. Housed in a deluxe tip-on jacket, with a booklet crammed full of notes and ephemera, The Tammy Label continues Numero's 20 year tradition of preserving regional Ohio music.

A humanity-reminding suite of miracle moments, Someone Like Me unites a geographically unbound cast of real people in pursuit of a meaningful connection. Taping their lived experience in economic studios in quiet English counties, Pacific Northwest woodland retreats and the big city bustle of Sydney and Los Angeles, these kindred spirits rendered sheer beauty in the process. Custom pressed folk songs of love, loss and the lord saviour.

Illuminating minor works from seasoned players such as former Syndicate Of Sound chart-topper Sharkey and late-era Canned Heat lynchpin James Thornbury, the collection simultaneously honours the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realised her loose bubblegum rocker on campus time, while U.S. Navy recruit Fred Potts cut his unconditionally serene ballad remotely stationed on a Spanish naval base. Spartan production continues to reign with Jon Betmead’s hair-raising gospel, howling into infinite space, and Goldrust’s stripped back garden hymn.

Throughout the hour-long reflection, faith has an intermittent yet revelatory presence, most overtly with the divine choral soul of Seventh-day Adventist quartet Remnant. More subtly, Gary Ramey and Jim Kennedy both turned to song in their spiritual quests, offering their all to a universal power. An irrefutable compilation cornerstone, the National Office For Black Catholics showcased Charles Murphy’s lionhearted account of the Black experience at a 1971 concert. Five years earlier, high school seniors The Superwomen would use their hauntingly angelic harmonies to address racial inequity with a breathless take on ‘Lowlands’.

Reaching the furthest corners, Someone Like Me secures the inaugural licence of three homespun masterpieces. Discovered by fluke in the digital haystacks of Youtube and Soundcloud, Jim Huxley’s bedroom pop earworm melds peacefully into Charlie Webster’s synthesized reverie. Meanwhile, Hollywood’s John Agostino introduces us to the bizarre world of tax scam records, with the artist only now learning that his tender psych-folk demos were leaked via a 1977 bootleg.

Compiled and lovingly restored by armchair digger Mikey Young (Eddy Current Suppression Ring/The Green Child), Someone Like Me pays due service to seventeen rarefied journals of truth and devotion. Adorned with visual artist Chris Fallon’s figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a forward from San Franciscan poet Rod Roland.

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

New Jackson marks his long awaited follow-up to 2017’s From Night To Night with its successor OOPS!... POP for long-time collaborators Permanent Vacation. A concise triumph in techno pop, its 9 tracks elevate his signature electronic sounds into anthemic new heights.
David Kitt is a prolific sonic polymath who’s enjoyed a colourful career making whatever he likes.
While releasing music under a vast array of aliases and collaborations for close to two and a half decades, New Jackson has remained his irregular home since 2011 for when ‘at one with the machines’. It offers a kaleidoscopic window into his love of dance music, and on his debut album under the alias From Night To Night (released in 2017 on Dublin’s All City label) he unfurled his singular vision; a dilated suite of nocturnal soul coaxed from his beloved electronic equipment with songwriter’s nous, sonically etched as blunted whispers coalesced from the dusky billows of Dublin bay. Further EPs and singles followed, alongside a beloved live show he toured globally, plus detours with his critically-lauded Garies duo (with Lumigraph) and a David Kitt solo album.
In the time since his New Jackson debut, he’s slowly distilled his studio methodology to help mine the true core of his musical self. Within this experimentation, he has stumbled upon the bounty that is OOPS!... POP, his most direct and euphoric body of work to date. Recorded across the span of five years and three different countries, Kitt has managed to transform his beloved alias into a leaner beast, tightening the screws around arrangements and songwriting to inspire an album sonically effortless in demeanour and spontaneously playful in structure and form. Aided by a stacked cast of collaborators including Rita Lynn, Donnacha Costello, Riche “Jape” Egan, Yenkee, Kean Kavanagh, Margie Jean Lewis, Meg Cronin and Fehdah, it bears the hallmarks of the studio albums of yesteryear in its dynamism and gratification while drawing on his rich bouquet of influences across a century of recorded music.
Opener SI SI SI lulls you in with its smothered vocoder’d croons and patient groove, BURNT DEEP next yields a surprising deep house turn, lit gently with casual hedonism. LIKE rewires the playbook entirely, shuffling along its minimal 80’s boogie groove with a cheeky grin, before lead single OUT OF REACH further mines the golden pastures with its glorious stuttering techno power-pop fit with that anthemic chorus. DAY IN SHOCK digi-dubs around the wonderful vocal turn of Fehdah in purest heads-down manner, then THE OK HOLE and STROBE both descend the psychedelic wormhole of anaesthetised breaks and electro with its entranced dancefloor gaze. I WANNA BE ADORED, the Madchester anthem from The Stone Roses, is then surprisingly reimagined as a lost kraut-pop robo sung classic while WITH THE NIGHT AT OUR FEET is our climactic conclusion, a mechanised symphony of dual proportions; a humane core of angelic harmonies chugging along in electro rhythm before soaring strings take us on our way.
New Jackson’s oeuvre, indeed David Kitt’s musical world, is vast; OOPS!... POP then might just be his opus across it all, a towering achievement of soaring catharsis in melody and song that soundtracks the most direct transmissions from his heart to yours

Welcome back to Demon’s ‘Disco Discharge’ series, originally issued in a series of 2CD collections between 2009 and 2012. The themed compilations of full-length, extended Disco originals, lovingly curated by the mysterious “MrPinks” and with detailed sleeve notes by author and Disco aficionado Alan Jones, have remained in-demand among collectors and the club cognoscenti. This time around, the series kicks off with ‘Classic Disco’ and ‘Disco Fever USA’. Doing exactly what it says on the tin, ‘Classic Disco’ mixes 12 undeniable dancefloor landmarks on 140g orange vinyl, from recognizable names like Change, Manhattan Transfer and Cheryl Lynn, with deeper cuts from exotic names like Dr. Buzzard's Original Savannah Band (an early incarnation of Kid Creole!), The Peter Jacques Band and Double Discovery. And as if to prove a cool Disco track could come from anywhere or anybody, ‘Classic Disco’ also features an essential re-edit by The Glitter Band!

"Message From The Country was the fourth and final studio album by The Move, a British rock band that consisted of Roy Wood, Jeff Lynne, and Bev Bevan. After the release of this final studio album, the trio went on and founded Electric Light Orchestra. The influence of The Beatles runs through most of the songs stylistically, while still sounding like the first ELO album, which was recorded during the same lengthy recording sessions as Message From The Country. The Move generated what was, song for song, their most complex and challenging album. Message From The Country is available as a limited edition of 1000 individually numbered copies on white coloured vinyl. "

Message From The Country by The Move, released 12 April 2024, includes the following tracks: "No Time", "Until Your Moma's Gone", "The Minister", "The Words Of Aaron" and more.

This version of Message From The Country comes as a 1xLP.

The vinyl is pressed as a white disc.

The Norwegian heavy metal band TNT released their fifth studio album Realized Fantasies in 1992. With a level of musicianship higher than the average glam metal band, Norway's TNT offered a prog-tinged take on pop-metal due largely to the stunning vocal range of lead singer Tony Harnell and the guitar technique of Ronni Le Tekrø. On this record, Joe Lynn Turner (ex-Rainbow, Yngwie Malmsteen and Deep Purple) can be heard as a background vocalist. Realized Fantasies is available as a limited edition of 750 individually numbered copies on crystal clear & turquoise marbled vinyl and includes an insert.

Realized Fantasies by Tnt, released 12 April 2024, includes the following tracks: "Mother Warned Me ", "Rain ", "Rock 'N Roll Away ", "All You Need " and more.

This version of Realized Fantasies comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a marble, clear & turquoise disc.

Thomas Walsh is the founder and frontperson in critically endorsed Irish cult-pop band Pugwash. His classic pop songwriting has garnered him an impressive collection of celebrity recognition from artists like Brian Wilson, Jeff Lynne and Joe Elliot. Guest contributions on the album comes from Dave Gregory (XTC, Dukes Of Stratosphere), Joe Elliott (Def Leppard), Michael Penn, Neil Hannon (The Divine Comedy), Matt Berry (What We Do In The Shadows). ANDY PARTRIDGE - "Pugwash (Thomas Walsh), at their best, are almost Beatle-like in their greatness. They are THAT good”

, Old fat furry cat-puss , Wake up and look at this thing that I bring, Wake up, be bright , Be golden and light , Bagpuss, Oh hear what I sing. 12th of February, 1974, and for an audience of small children at 1:45pm, a life irrevocably coloured by the wayward wonderings of one saggy cloth cat. Some 44 years later and Earth Recordings opens the door to Bagpuss & Co. once again, revealing for the first time the original music in all its newly-mastered splendour. The 32 tracks that make up the main body of the compositions are – like all good folk music – a patchwork of traditional pieces, half-remembered tunes and pure improvisation. It's testament to Sandra Kerr and John Faulkner's musicianship that the recordings work so well, not only within the context of the television episodes, but as an album in its own right. Of the recording, Oliver Postgate (in his exquisite autobiography 'Seeing Things') says: "Between them Sandra and John could play every sort of instrument from a mountain dulcimer to an Irish fiddle. They knew and could sing every tune in the world and didn't bother with written music, except as a last resort. They were exactly suited to Gabriel the Toad and Madeleine the Rag Doll and in those roles were happy to play whatever music and sing whatever songs would be needed." Those songs manifested themselves as reworkings of familiar tunes ('I Saw A Ship'; 'Row Your Boat'; 'Bucket's Burning'), takes on traditional ballads ('Brian O'Lynn'; 'The Frog Princess'; 'Weaving Song'; 'The Old Woman Tossed Up in a Basket') and delicious flights of fancy ('The Bony King of Nowhere'; 'Turtle Calypso'; 'Uncle Feedle'). The counterpart to Madeleine and Gabriel's more polished ditties are the interludes from the mice; a raggle-taggle chorus that accompanies the creatures' efforts of help (with the mice once famously going on strike when they were not permitted sang as they worked). Again, Postgate muses: "Once I had worked out a few episodes I would make a very rough list of the bits where I though music would be appropriate. I would send it to Sandra and John to think about. Then we would borrow a fairly silent room in a remote house and, taking the various articles that we intended to celebrate with us, would spend a happy day with a tape recorder, thinking up and recording whatever songs and tunes came to mind." The outtakes provide an intimate – and often very humourous – insight into the trio's work ethic, if it can be called such a thing. (By all accounts they sound as though they're having a very jolly time indeed.) Highlights include alternative opening words and end music, as well as Postgate sound-checking in character as Bagpuss. This never-before heard audio provides a real treat for fans (and indeed those new to the Smallfilms stable) – affirmation again to the enduring quality of these special recordings, and the beloved programme that inspired them. "An accidental classic of the folk-roots underground that we never dared hope we’d hear with such clarity."Stewart Lee

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

A 2LP compilation featuring 42 of the world’s most supreme Northern Soul anthems.

An essential collection for any fan of great timeless music, this compilation celebrates the dance movement that emerged in Northern England and the Midlands in the early 1970s. Be transported back to the swinging sounds of Northern Soul, featuring the soulful classics from Gloria Jones, The Supremes, Smokey Robinson & The Miracles, Dusty Springfield and Frankie Valli & the Four Seasons.

F8 . Liam Melly - Energy
F9 . Armin Van Buuren - Space Case
F10 . The Obsessed - Free Yourself
F11 . Ie Shuuk & B Stylezz - Konje
F12 . Armin Van Buuren - Lose This Feeling (Maddix remix)
F13 . Armin Van Buuren - Lose This Feeling (Dimension remix)
F14 . Armin Van Buuren - AI Vs Humanity (A State Of Trance Year mix 2023 outro)

Patsy Cline was the first true Queen of Country, putting down markers in a male dominated musical world for the likes of Kitty Wells, Brenda Lee and Loretta Lynn. She is now revered by a new generation of performers. Invited to sing on American television’s Arthur Godfrey Talent Scouts show, the show’s producers insisted she sing Walkin’ After Midnight. The standing ovation it won from the studio audience told its own story, and a Number 12 Pop hit resulted. She came back strongly, recording another crossover hit in Crazy, written by Willie Nelson. It became her biggest seller, reaching Number 9 in the Billboard Pop listing that October. Other 1962-vintage tracks featured here are She’s Got You, When I Get Thru With You (You'll Love Me Too) and So Wrong, show an artist at the top of her game. But while 1962 would bring more acclaim, the story ended for Patsy Cline all too soon. However, her recordings ensure Patsy’s name lives on through her songs Heartaches, You're Stronger Than Me, Lonely Street, Stop, Look And Listen, Why Can't He Be You, You Belong to Me, Strange and the Hank Williams cover Your Cheatin' Heart.

NOW is proud to present the very best of Country music with NOW That’s What I Call Country. 4 CD’s jam-packed full of the biggest Country hits of all time! With 86 tracks and its mix of classic and modern hits, this collection is essential for any Country music and Pop fan! So, grab yours today, and get ready to enjoy the very best of Country also available on a Coloured Triple LP set with 50 tracks and its mix of classic and modern hits, this collection is essential for any vinyl collection! So, grab yours today, and get ready to enjoy the very best of Country across 3-LPs!

The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: 'New Standard'. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJ-friendly muse: "I realized I wanted to make a record where every track could go off in a live setting."These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun."From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

Ever wondered what a Brian Wilson solo album
from 1969 would sound like?
Look no further. (No A.I. needed...)
Exquisitely arranged by ex-Animal Vic Briggs and
featuring several Wrecking Crew musicians who
also played on Pet Sounds, MARK ERIC’s A
Midsummer’s Day Dream is a unique blend of
Beach Boys/Four Freshmen sensibilities coupled
with wistful, lush surf psychedelia.
Defiantly soft, the 1969 LP captured the tail end
of L.A.’s pop innocence perfectly, just as it
slipped into infinity. First time on vinyl since its
original release.
Coming this summer! Our 2002 & 2009 CD reissues
of A Midsummer’s Day Dream caught the soft pop
collector’s world entirely off guard: Very few
were aware of the LP’s existence, and the
reaction was united: A masterpiece was
unleashed and a new generation of daydreamers
was born! The result was glowing reviews in MOJO
and UNCUT, a Japanese edition, as well as soaring
prices for the original long out-of-print vinyl
pressing. The full-colour gatefold jacket includes
EXCLUSIVE, rare photos, and UPDATED and
EXPANDED liner notes that feature the
participation of Mark Eric himself. Reissue
produced, annotated, and designed by STEVE
STANLEY.

For fans of post-Chicago post-"Second Summer of Love" acid; Chris & Cosey, Terekke, Cabaret Voltaire, Anthony Naples, JTC, D.K., Luke Vibert, Khotin. The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: New Standard. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJfriendly muse: "I realized I wanted to make a record where every track could go off in a live setting." These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun." From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

NOW Music is proud to announce NOW Presents…Disco, a stunning 5LP boxset featuring 80 of the greatest Disco classics ever!

Kicking off with the genre defining #1 from Donna Summer ‘I Feel Love’ followed by Earth, Wind & Fire with The Emotions and their timeless hit ‘Boogie Wonderland’, this boxset features the most enduring tracks from dance-floor legends, including Chic, Sister Sledge, Gloria Gaynor, Village People, and Grace Jones - together with Saturday Night Fever gems - ‘Disco Inferno’, ‘More Than A Woman’, and ‘If I Can't Have You’.

LP 2 opens with Amii Stewart’s stunning version of ‘Knock On Wood’, followed by Candi Staton’s ‘Young Hearts Run Free’ and Chaka Khan’s hugely successful debut solo single ‘I'm Every Woman’. Other massive debuts include ‘Boogie Oogie Oogie’ from A Taste Of Honey, Alicia Bridges’ ‘I Love The Nightlife (Disco 'Round)’, and Cheryl Lynn’s ‘Got To Be Real’. Up next is the often-covered ‘Lady Marmalade’ together with Diana Ross’ ‘Love Hangover’ which lead into #1s from Frankie Valli & The Four Seasons, (‘December, 1963 (Oh, What A Night)’), Tina Charles (‘I Love To Love’), Odyssey (‘Use It Up And Wear It Out’) and Irene Cara (‘Fame’).

LP 3 Side A is packed with groovy and romantic chart-toppers from Elton John (‘Are You Ready For Love’), George McCrae (‘Rock Your Baby’), Barry White (‘You're The First, The Last, My Everything’), and The Spinners with their ‘Working My Way Back To You / Forgive Me, Girl’ medley. Flipping over to the other side, we have the timeless smash from Baccara ‘Yes Sir, I Can Boogie’, Boney M. with ‘Daddy Cool’, and Village People’s ‘In The Navy’. Viola Wills’ Hi-NRG cover of ‘Gonna Get Along Without You Now’ and Gloria Gaynor’s ‘Never Can Say Goodbye’ bring LP 3 to a close.

Lipps Inc., Kool & The Gang, Frantique, and KC & The Sunshine Band keep the dance-floor energy levels high on LP 4 with ‘Funkytown’, ‘Ladies Night’, ‘Strut Your Funky Stuff’, and ‘That's The Way (I Like It)’. The disco-mania of the late-70s also saluted the late-70s craze for Space themed movies & tv with early Electro-pop-dance, and included here from Space and Dee D. Jackson, before Sarah Brightman’s debut with Hot Gossip, ‘I Lost My Heart To A Starship Trooper’, and Meco’s remake of the ‘Star Wars Theme / Cantina Band’ as a dance-floor classic… Giorgio Moroder productions for Sparks with ‘Beat The Clock’ and The Three Degrees with ‘Givin’ Up Givin’ In’ lead the side to a close with ‘Souvenirs’ from Voyage.

LP 5 is filled with truly monster sized dancefloor-fillers, beginning with a run of Nile Rodgers & Bernard Edwards productions: ‘Le Freak’, ‘We Are Family’, ‘Spacer’ and ‘Upside Down’ from Diana Ross. It wouldn’t be a Disco album without Earth, Wind & Fire’s ‘September’, the Bee Gees-written ‘Nights On Broadway’ covered by Candi Staton, and the Grammy award-winning ‘Best Of My Love’ from The Emotions, before another hit cover from Amii Stewart, ‘Light My Fire’. Side B features some fabulous European Disco, including Belle Epoque and Amanda Lear, and signature hits from Patsy Gallant and Vicki Sue Robinson before drawing to a close with Rose Royce’s celebrated ‘Car Wash’, and Cher’s biggest disco hit ‘Take Me Home’ – and the last dance is left to Thelma Houston with her defining anthem ‘Don’t Leave Me This Way’.

NOW Presents…Disco – the perfect collection and collector’s item for every 70s Disco lover.

Mojave Phone Booth – Hollow The Numbers. A psychedelic industrial/electronic art-rock concept album. This Deluxe 2 disc edition features extensive remixes made by the band.
Recorded in the home studio of husband and wife duo Tobey Torres-Doran and Mitchell J Doran, both formerly of cult electronic act Snake River Conspiracy. They are joined on several songs by their regular drummer Lynn Farmer of Meat Beat Manifesto. Also features guest performance from Flea of the Red Hot Chili Peppers.

Renowned Berlin-based music discovery platform COLORSxSTUDIOS will release their new vinyl compilation album, ‘MOVE:FEEL1’, just in time for the holidays.

The limited-edition double disc gatefold vinyl will feature 16 beloved A COLORS SHOW tracks, both recent and from the archive, including London-based rapper Kwengface’s ‘Freedom’ that was released earlier this year, critically-acclaimed Malian artist Fatoumata Diawara’s ‘Nterini’ from 2019, and Dominican-Italian star YEИDRY’s breakout 2020 hit ‘Nena’.

The album is truly international—it will feature songs sung in six different languages (including English, Swedish, German, Bambara, French, Vietnamese, and Spanish) and represent artists from 15 different countries across the world.

‘MOVE:FEEL1’ reflects and celebrates the launch of COLORS’ new ‘MOVE’ and ‘FEEL’ playlists that are now available across all DSPs. Updated monthly, these playlists will curate COLORS’ genre fluid output into cohesive listening experiences that cater for varying emotional states.

The songs on the ‘MOVE’ playlist—and hence on the ‘MOVE’ sides of the vinyl—are uptempo, bold, sexy and energetic, and aim to set the tone for daring and unapologetic enjoyment. In contrast, the tracks on the ‘FEEL’ playlist and discs are downtempo and emotive. They are for relaxation, and to help listeners contemplate their internal and external environments

Designed by COLORS’ in-house creative team, the vinyl cover is mirrored, meaning its appearance adapts depending on the light and colors it reflects. This was an important decision to ensure the cover represents all of the featured artists, who all performed their A COLORS SHOWS against different colored backdrops. The mirrored material also enables the audience to literally (and hopefully metaphorically) see themselves in the album.

Each side of the mirrored cover is adorned differently: while the “MOVE” side features embossed lines, stripes and slashes indicative of motion, the more introverted “FEEL” side is debossed with goosebump-like grooves. Even with their eyes closed, people will be able to feel which side of the album is which, adding an extra sensory layer to the listening experience.
MOVE:FEEL1’s design also prioritizes sustainability, using no single-use plastics for its packaging.

For fans of post-Chicago post-"Second Summer of Love" acid; Chris & Cosey, Terekke, Cabaret Voltaire, Anthony Naples, JTC, D.K., Luke Vibert, Khotin. The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: New Standard. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJfriendly muse: "I realized I wanted to make a record where every track could go off in a live setting." These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun." From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

The debut album of soul singer, Maiiah is also the third full-length by Hamburg collective, Angels of Libra, following on from the success of their collaboration with Irish singer, Nathan Johnston.

Maiiah is a singer with roots in the Balkans but residing in Düsseldorf, the city of the legendary Unique Club and the label of the same name. Soul left its mark on her early on, and when she met Hamburg producer, musician and composer Dennis Rux (Hamburg Spinners/Yeah! Yeah! Yeah! Studios) during the pandemic, the two realized they shared a similar musical vision. Their common love of soul music and old rhythm & blues brought them together, and they started recording music together in Hamburg with the Angels of Libra. Lo and behold, their first single together "Obey" got into rotation at tastemaker station Radioeins and confirmed them as a winning team.



Following in the footsteps of many a classic soul tune, second single, "No No No (I'm So Broke)" is a social critique and commentary. In it Maiiah literally wears her heart on her sleeve, as she sings about the back- breaking job she was working at the time and the poor earnings as a hotel service employee.



But naturally life has more to offer than just work and so a large part of the songs on this record revolve around love. Maiiah gives her own spin to the classic "I'm A Good Woman", which the spirited singer has performed live many times. The story goes that the late DJ and Unique Records label owner Henry Storch sent Maiiah the original song by Barbara Lynn to comfort her after a heavy heartbreak. The song thus holds a very important place in Maiiah's heart, and it was released as the third advance single, recorded during her tour with Nathan Johnston at Bekegg Studios in Rastede, Lower Saxony.



With Dennis Rux at her side and the powerful arrangements of the Angels of Libra, Maiiah has found the right partners for her personal debut. On "Kava" & "Plenty of Life", Hamburg's jack-of-all-trades Carsten Meyer aka Erobique is featured as a guest on the keyboards, so here the rhythm section of the Hamburg Spinners comes together again. The love for old soul, rhythm & blues and the analog sound of the sixties is also fully expressed on this album. The longings and deep feelings in Maiiah's lyrics are carefully picked up musically, whether as a classic R&B song as in "Please Come Home" or in boogaloo party mode as in the Croatian-sung "Kava", the fourth single. "Plenty of Life" is a song for self-cheering and a call to open up to the beautiful sides of life despite all adversity. In "I wanna go", on the other hand, Maiiah longs for her Croatian homeland. The crowning finale of the album is the intense "Infinity" about life's phases and the recurring ups and downs as the essence of human existence.



The ingredients of Maiiah and the Angels of Libra's recipe are authentic lyrics, to the point arrangements, tight horns, rousing background vocals and the spirit of the golden age of soul music, as it was shaped by labels like Motown and Stax. Recorded in part with original equipment from the 50s. Producer Dennis Rux says, "We wanted to create a record that people would go dance to at the Komet" (a neighborhood club on St. Pauli in Hamburg, the band's second home). The joint album combines the Hamburg soul of the Angels of Libra with the passion of Maiiah, who can fully live out her temperament on the mic.

Australian rock band Tonight Alive burst onto the scene in 2008 as teenagers, blending power pop and rock, quickly finding success with their debut album, ‘What Are You Scared Of?’, and becoming a crowd favourite at festivals like the Vans Warped Tour and Bamboozle.  ‘Underworld’ is the band’s final and most organic album yet, a raw and real insight to a band reconnecting with their authentic selves.  One of the songs that emerged from the sessions is ‘Temple’, the song that launched the new era of the band and one written when lead vocalist Jenna McDougall was experiencing severe depression and fatigue - the lyrics penned when she was totally entrapped in being sick in her mind, body and soul. The rawness of the song became an anthem at BBC Radio 1 (debuting as the Rockest Record Of The Week).  The album takes the listener on an emotional journey of the underworld we all have within us, dissecting our internal darkness and discovering peace. Songs like ‘Disappear’ featuring guest vocals from Lynn Gunn (PVRIS) and ‘My Underworld’, a stirring duet with Corey Taylor (Slipknot / Stone Sour) showcase the diversity of the band’s sound and triumphantly scream to the world that Tonight Alive will always live on.  For fans of PVRIS, All Time Low, You Me At Six, Pierce The Veil, Paramore.

Thomas Walsh is the founder and frontperson in critically endorsed Irish cult-pop band Pugwash. His
classic pop songwriting has garnered him an impressive collection of celebrity recognition from artists
like Brian Wilson, Jeff Lynne and Joe Elliot. Guest contributions on the album comes from Dave
Gregory (XTC, Dukes Of Stratosphere), Joe Elliott (Def Leppard), Michael Penn, Neil Hannon (The
Divine Comedy), Matt Berry (What We Do In The Shadows). ANDY PARTRIDGE - "Pugwash
(Thomas Walsh), at their best, are almost Beatle-like in their greatness. They are THAT good”

Thomas Walsh is the founder and frontperson in critically endorsed Irish cult-pop band Pugwash. His
classic pop songwriting has garnered him an impressive collection of celebrity recognition from artists
like Brian Wilson, Jeff Lynne and Joe Elliot. Guest contributions on the album comes from Dave
Gregory (XTC, Dukes Of Stratosphere), Joe Elliott (Def Leppard), Michael Penn, Neil Hannon (The
Divine Comedy), Matt Berry (What We Do In The Shadows). ANDY PARTRIDGE - "Pugwash
(Thomas Walsh), at their best, are almost Beatle-like in their greatness. They are THAT good”

It was in early 1960, with Sweet Nothin's, that things really took off for
Brenda Lee on both sides of the Atlantic. Like all of her hits, it was
recorded in Nashville by legendary hit-maker Owen Bradley who produced hits for Patsy Cline, Loretta Lynne and Kitty Wells.

He was the man credited as the creator of "the Nashville Sound". With just five minutes left at the end of a session, Brenda cut I'm Sorry and in the Summer of 1960 it would become her first U.S. No.1. A second U.S. No.1 followed in I Want To Be Wanted. Amidst the overwhelming sweep of the British Invasion in 1964, she retained her UK following for five successive years, Brenda Lee was voted Best World Female Vocalist in the New Musical Express poll.

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’. A Grammy Award winner, Frankie had a street in Chicago named after him where the old Warehouse once stood to commemorate the first ever Frankie Knuckles Day on 25th August 2004. Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades.

Now he is commemorated once again by long time writing and production partner Eric Kupper who will release part II of the special commemorative album on vinyl around this date. Eric, himself a seasoned DJ producer and writer, working side by side with Frankie on many his seminal classics, as well as personally working on over 116 Billboard #1 Dance Records. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

The album features some of Directors Cut’s best works with the Re-Directed version of the seminal classic ‘Baby Wants To Ride’ plus their re rubs of Inaya Day, Sybil, Hardsoul and Lou Rawls - You’ll Never Find Another Love Like Mine (Kenny Summit, Frankie Knuckles & Eric Kupper Unreleased Anthem).

This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continue Frankie’s legacy whilst focusing on music in schools, LGBTQ youth homelessness, AIDS research / prevention & diabetes research / education.

Repress!

Originally released Nov. 2001 as a UK single on XL Recordings.
Recorded in the Hotel Yorba Room # 286 in Southwest Detroit May 2001
Recorded by Brendan Benson
B-Side is cover of a 1972 Loretta Lynn classic
Tracklisting

First time on vinyl ever, remastered in 2023. Zeke- Live Tracks Uncensored LP. This LP shows Zeke live ... raw, wild, untamed and uncensored. If you’ve seen Zeke before, you know that these guys can be a total beast on stage. This LP offers a bunch of killer live recordings to make it sound like the band is playing in your kitchen: loud, fast and furious. You know that Zeke are the real purveyors of speed rock and roll and that can’t be better heard than here. The LP includes some of their best songs including tracks from ‘Super Sound Racing’, ‘Flat Tracker’, ‘Kicked in the Teeth’, ‘Dirty Sanchez’ and ‘Death Alley’ recorded in different venues from Seattle to Las Vegas to Minneapolis. One of the other special treats this LP offers is it includes two very rare studio tracks that are pretty hard to find. 26 tracks in all with top notch production. Genre: Alternative / Rock n Roll / Pun

First time on vinyl ever, remastered in 2023. Zeke- Live Tracks Uncensored LP. This LP shows Zeke live ... raw, wild, untamed and uncensored. If you’ve seen Zeke before, you know that these guys can be a total beast on stage. This LP offers a bunch of killer live recordings to make it sound like the band is playing in your kitchen: loud, fast and furious. You know that Zeke are the real purveyors of speed rock and roll and that can’t be better heard than here. The LP includes some of their best songs including tracks from ‘Super Sound Racing’, ‘Flat Tracker’, ‘Kicked in the Teeth’, ‘Dirty Sanchez’ and ‘Death Alley’ recorded in different venues from Seattle to Las Vegas to Minneapolis. One of the other special treats this LP offers is it includes two very rare studio tracks that are pretty hard to find. 26 tracks in all with top notch production. Genre: Alternative / Rock n Roll / Pun

Obwohl der Begriff "soul" schon während der Dreißigerjahre in der US-amerikanischen Populärmusik auftauchte, entstand Soul als eigenständiges Genre erst in den 1950ern aus Gospel und Rhythm"n"Blues sowie je einer Prise Blues und Jazz. Schon bald darauf sollte Soul zum Inbegriff "schwarzer Popmusik" werden. Kennzeichnend für die afroamerikanisch geprägte Unterhaltungsmusik sind emotional gefärbte Sangeskünste. Sich mit ganzer Seele und herzergreifendem Gesang den Vibes, dem Groove und der Message hinzugeben, das macht Soul aus. Sängerinnen wie Aretha Franklin, Etta James, Tina Turner, Lavern Baker, Marlena Shaw oder Diana Ross beherrschten dieses Metier meisterhaft. Sie finden sich neben Dionne Warwick, Nina Simone, Dusty Springfield, Irma Thomas, Amy Winehouse, Ibeyi und vielen anderen Künstlerinnen auf der geschmackvoll kompilierten Doppel-LP "Soul Women".

Yo! Boombox is the new instalment of Soul Jazz Records’ Boombox series on the early days of hip-hop on vinyl and features some of the many innovative underground first-wave of early rap and disco rap records made in the USA in the period 1979-83.

The album includes the first releases of seminal groups such as Grandmaster Flash & The Furious Five and The Funky Four Plus One More through to a host of rarities and little-known obscurities such as the Carver Area High School band’s ‘Get Live 83’, an awesome record made at a Chicago high school.


The album is released as a deluxe triple LP complete with 3x full inner sleeves of extensive sleeve notes, exclusive photography and original label artwork. There is also a very-limited one-pressing only special deluxe version that comes with an extra bonus super-rare 7” single of ‘Magic’s Rap’ by Magic’s Trick, aka ex-marine Magic Fraga, a record that was only ever available on US military bases!


Yo! Boombox also features the stunning photography of Sophie Bramly, one of a very select group of photographers (alongside Henry Chalfant, Martha Cooper, and Joe Conzo) who were allowed full access to document the exciting early days of hip-hop in New York.
These first exuberant wave of innocent, upbeat, party-on-the-block rap records were the first to try and create the sounds heard in community centres, block parties and street jams that first took place in the Bronx in the mid-1970s. Where the first DJs – Flash, Kool Herc and Bambaataa – were back-spinning, mixing and scratching together now classic breakbeat records like The Incredible Bongo Band’s Apache or Babe Ruth’s The Mexican, these first pre-sampling rap records were all made using live bands, often replaying then current disco tunes.

As Chic’s ‘Good Times’ was to ‘Rappers’ Delight’, the songs here feature then-current dancefloor hits such as the Tom Tom Club’s ‘Genius of Love’, Cheryl Lynn’s ‘To Be Real’, MFSB’s ‘Love Is the Message’ while MCs rapped over the top, creating a unique new sound. In fact, the links between disco and rap date back earlier to the ‘party style’ MCing of figures such as the legendary DJ Hollywood or radio DJs like Frankie Crocker.

This new Soul Jazz Records collection
celebrates these first old-school rap
records, bringing together rare, classic
and obscure tracks released in the
early days of rap.

Wide Open Light Is a family of songs I've written. I've selected them with the care one might put into a personal photo album. To that effect, I'd call it a sonic family photo album, each track a close relative to the next.

The story behind this record is simple. I have been writing songs now forover 30 years. It's what I long to do, love to do, and at times feel I need to do, and hope to continue doing until the ink runs dry and the notes fade.

But for now, Wide Open Light. Deliberately minimalist, the songs themselves do as much of the heavy lifting as the production. (produced by myself, and my longtime collaborators Danny Kalb and Jason Mozersky) Featured guests on the album include: Jack Johnson guitar, vocals on 'Gone For Good'. Shelby Lynne vocals on '8 Minutes'. Piers Faccini vocals on 'Wide Open Light'.

DIE LEGENDÄREN ALBEN DER INTERNATIONALEN POP-IKONE BRITNEY SPEARS AUF FARBIGEM VINYL ERHÄLTLICH! Zusammengenommen stellen diese Alben einen beeindruckenden Wandel in der Popmusik dar, vom Ende eines Jahrtausends zum Beginn eines neuen. Britneys avantgardistische Pop-Kollaborationen und ihr sich ständig weiterentwickelnder Musikstil haben sie zu einer kulturellen Ikone gemacht, die Generationen beeinflusst hat. Insgesamt erreichten alle ihre Alben die Top 5 der Billboard 200 - fünf davon den ersten Platz. Mit weltweit fast 150 Millionen verkauften Tonträgern ist Britney Spears eine der erfolgreichsten Künstlerinnen in der Geschichte der Popmusik und hat mehrere Platinauszeichnungen und Grammy Awards gewonnen

A '70s homemaker stuck between the studio and a getting dinner on the table, Joyce Street eked out an arresting countrypolitan discography in the margins of an otherwise traditional American life. With lyrics drawn from the pages of her diary, Street's stirring Mississippi warble led her into the fly-by- night world of custom studios, cutting tracks for upstart country concerns like Reena, Sonobeat, Revelation, and Arc. Channeling the honky tonk angel energy of Bobbie Gentry, Lorretta Lynn, and Jeannie C. Riley, Tied Down compiles a decade's worth of melodies disguised as lottery tickets.

A '70s homemaker stuck between the studio and a getting dinner on the table, Joyce Street eked out an arresting countrypolitan discography in the margins of an otherwise traditional American life. With lyrics drawn from the pages of her diary, Street's stirring Mississippi warble led her into the fly-by- night world of custom studios, cutting tracks for upstart country concerns like Reena, Sonobeat, Revelation, and Arc. Channeling the honky tonk angel energy of Bobbie Gentry, Lorretta Lynn, and Jeannie C. Riley, Tied Down compiles a decade's worth of melodies disguised as lottery tickets.



























[m] 13 CALIFORNIA YOU'RE SLIPPIN' [DEMO]

A ’70s homemaker stuck between the studio and a getting dinner on the table, Joyce Street eked out an arresting countrypolitan discography in the margins of an otherwise traditional American life. With lyrics drawn from the pages of her diary, Street’s stirring Mississippi warble led her into the fly-by-night world of custom studios, cutting tracks for upstart country concerns like Reena, Sonobeat, Revelation, and Arc. Channeling the honky tonk angel energy of Bobbie Gentry, Lorretta Lynn, and Jeannie C. Riley, Tied Down compiles a decade’s worth of melodies disguised as lottery tickets.















[m] B6. California You're Slippin' [Demo]

180g virgin vinyl - audiophile pressing, celebrating 95 years of Burt Bacharach.

Considered one of the greatest composers in popular music, this superb LP contains 20 of his most essential and enduring songs, performed here by such celebrated stars as Dionne Warwick, Jerry Butler, The Shirelles, Chuck Jackson, The Drifters, Jack Jones, Timi Yuro, Del Shannon, Etta James, Gene Pitney, and others.

'The songs of Burt Bacharach occupy the same brain space as nursery rhymes and Beatles tracks: you don't remember not knowing them.' - The Guardian

'These songs played a big part in shaping my tastes in music.' - Elvis Costello

Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic, IMAX-worthy fashion.

Sourced from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, housed in a keepsake box, and limited to 10,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set of Eldorado allows the long-time audiophile staple to resonate with reference-setting dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended. This very special release both pays tribute to the record's merit and enhances the spectacular program for generations to come.

Presenting the album with breathtaking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, the collectible reissue features beguiling levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado package also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

The premium packaging and gorgeous presentation of the UD1S Eldorado pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. No expense has been spared. Aurally and visually, the reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything involved with the album.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practising Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.

Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the un-woken fool."

Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolour escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."

Decades later, Eldorado doubles as an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.

MoFi SuperVinyl


Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior

Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

Red Vinyl

Initial LP copies pressed on opaque red vinyl! As its name suggested, the intimate and sultry Cuntry Covers Vol. 1 was always going to have a follow-up. Led by the brooding vocals of Bria Salmena, Cuntry Covers Vol. 2 is every bit as potent as its predecessor whose noir-inflected alternative country-rock stood in sharp contrast to the singer's commanding delivery as leader of post-punk revivalists FRIGS. Debuting the project in 2021, the languid, reverb-drenched Cuntry Covers Vol. 1 saw her artfully collaborating with multi-instrumentalist Duncan Hay Jennings and reimagining a carefully picked collection of Americana anthems. Vol. 2 pushes the envelope further and harder. Encompassing feverish takes on tracks by Gillian Welch, Paula Cole, Mary Margaret O'Hara, Robert Lester Folsom, Glenn Campbell - by way of Nick Cave - and the late, great Loretta Lynn, Bria's deliciously dark approach shimmers through these six startling songs. Created during a break from Salmena and Jennings' work in Orville Peck's world-conquering backing band, Vol. 2 was recorded directly after Peck's second album and Bria's US tour supporting Wolf Alice. Embracing contrast, the sunny circumstances in which Vol. 1 was made were flipped on their head. Instead of a bucolic barn in the Canadian countryside, they recorded the new tracks in chilly Toronto, huddled together in their tiny makeshift home studio, with Jennings at the controls. They enlisted the help of local Toronto musicians Lucas Savatti (FRIGS), Simone Baril (US Girls, The Highest Order, Darlene Shrugg, Partner), Andrew Manktelow, and frequent collaborator Jaime Rae McCuaig. While Vol. 1 was Bria's attempt at subverting country music's conservative roots and primarily white and heterosexual agenda, here the emphasis was on experimentation. While Vol. 2 might be less personal, it's just as idiosyncratic, with half of the reversions staying true to the originals and others taken to a different universe entirely. Building on the tried-and-true/bold-and-new duality of Cuntry Covers' first offering, Vol. 2 delivers a deeper dive into the duo's brilliant alchemy of traditional and contemporary reinterpretations. The added experimental flourishes, from dizzying electronica and pulsing bass to sax-driven soul, take Bria's new EP into previously uncharted territory, signalling a thrilling new step in Bria's adventurous evolution.

‘Energy MC2’ began as an energetic bunch of 10 and 11year old neighborhood kids, who initially formed a band under the name of ‘Congressional Funk’. The founding members were Vincent Bonham, Opelton Parker (the brother of Ray Parker Jr) and brothers Ufuoma and Eric Wallace, with the later addition of Fred Gordon. Later becoming the backing band for local Detroit act Mad Dog & The Pups. Featuring on some of the ‘Pups’ earliest Magic City releases “Hep Squeeze” (MC-007) and the follow up release “Funky Monkey” (MC-009). A name-change to ‘The Soulful Hounds’ followed which they are credited as on the instrumental flipside of Mad Dog & The Pups vocal version of “Why Did You Leave Me Girl” Magic City (MC-012).

After leaving Magic City, the band went through several changes in both name and personnel, upon hiring bass player Ben "Rat Bass" Adkins, they adopted the name of his former band, ‘Energy’ to which they added Albert Einstein’s formula for special relativity (E=MC2) to finally became ‘Energy MC2’. As Energy MC2” they soon began seriously recording their own original material which included the two previously unissued 70’’s tracks “If You Break It” and “Other Side Of The Mirror” first released on Soul Junction in 2016. The group’s line up on these songs included Vincent Bonham, Ufuoma Akill-Wallace, Arnell Carmichael, Ernestro Wilson, Opelton Parker, Gordon Carlton, Eric Wallace, Leon Lopez, Marvin Carlton and Marlene Rice. A further unissued song the mellifluous ballad “Juliane” also the gained release on the ‘We Got A Sweet Thing Going On’ volume 2 SJCD 5011 cd compilation album.

During 1974 several members of the group boarded a Greyhound bus for Los Angeles. During their week long stay there under the supervision of Ray Parker Jr they recorded the two featured songs the mellifluous “You And Only You” and “Love To Make Love To You” featuring Arnell Carmichael on lead vocals with the session remaining unissued Energy MC2 returned to Detroit. Vincent Bonham and Arnell Carmichael in 1977 returned to L.A. to join

Ray Parker Jr and Jerry Knight to form the band ‘Raydio” later becoming Ray Parker Jr & Raydio when Jerry Knight left to go solo. Ray Parker later too chose to persue a solo career leading to him recording the title track of the box office hit movie “Ghostbusters” a song he will forever be remember for. During 2014 Arnell Carmichael, Vincent Bonham, James Carmichael and Giovanni Rogers revived ‘Raydio’ but only as a touring band. The remaining members of Energy MC2 all enjoyed successful careers as session and backing musicians with many major artists, The Four Tops, The Temptations, Areatha and Carolyn Franklyn, Michael Henderson, Cheryl Lynn, Bettye Lavette, and Parlet’ (part of the P-Funk family) that help George Clinton Land the Mothership!

Auf Platte #6 "Asozialdarwinismus" suchen Chefdenker Antworten auf Fragen wie: Wer hat nach Bon Scott und Brian Johnson eigentlich die drittdicksten Eier? Ist eine künstliche Intelligenz intelligenter als Werbeagenturhipster? Es geht um Brokeback Mountain in einer Jagdhütte am Wolfgangsee, der Kommissar ermittelt, ein russischer Anwalt plädiert auf Bewährungsstrafe, Jeff Lynne erweist die letzte Ehre, der beste Papa der Welt schießt besoffen Polyvinylchlorid-Einhörner. Woke Beratungsstellen verbreiten die neueste (?) Erkenntnis: Alkohol enthemmt - Bier muß nochmal auf den Prüfstand. Die wichtigste Erkenntnis jedoch: Pferdestärken und Deckhengst - Multitaskinggenie David Coverdale konnte früher beides gleichzeitig. Heute: elektrische / erektile Dysfunktion, Bienen und Blümchen - wenn morgen der Rock'n'Roll untergeht - Samenspender David spendiert nochmal großzügig einen Apfelbaum. Chefdenker unterlegen das Ganze mit dem Komapatienten Rock'n'Roll. Sollen doch andere Sterbehilfe leisten!

Auf Platte #6 "Asozialdarwinismus" suchen Chefdenker Antworten auf Fragen wie: Wer hat nach Bon Scott und Brian Johnson eigentlich die drittdicksten Eier? Ist eine künstliche Intelligenz intelligenter als Werbeagenturhipster? Es geht um Brokeback Mountain in einer Jagdhütte am Wolfgangsee, der Kommissar ermittelt, ein russischer Anwalt plädiert auf Bewährungsstrafe, Jeff Lynne erweist die letzte Ehre, der beste Papa der Welt schießt besoffen Polyvinylchlorid-Einhörner. Woke Beratungsstellen verbreiten die neueste (?) Erkenntnis: Alkohol enthemmt - Bier muß nochmal auf den Prüfstand. Die wichtigste Erkenntnis jedoch: Pferdestärken und Deckhengst - Multitaskinggenie David Coverdale konnte früher beides gleichzeitig. Heute: elektrische / erektile Dysfunktion, Bienen und Blümchen - wenn morgen der Rock'n'Roll untergeht - Samenspender David spendiert nochmal großzügig einen Apfelbaum. Chefdenker unterlegen das Ganze mit dem Komapatienten Rock'n'Roll. Sollen doch andere Sterbehilfe leisten!

What a privilege to start a new record label with an album of such quality. As we're sure most of you will know, Tom was the front man of the legendary US psychedelic/folk band PEARLS BEFORE SWINE. Recording for the ESP label in the 60s, then moving to Reprise, PBS left us a legacy of strange, beautiful music. In the early 70s Tom went solo, recording more albums for Reprise and Blue Thumb. As a schoolkid he came third in a talent show in which fellow schoolboy, Bobby Zimmerman (yes, that Bobby Zimmerman), came fifth! He played gigs with Pink Floyd, Crazy Horse, Patti Smith and many more before calling time in 1976, and becoming a Civil Rights lawyer. Renewed interest in Tom and PBS in the late 90s led to him making some staggeringly good live appearances. Then in 1999 he released his first album for over 25 years. The prophetically titled 'A Journal Of The Plague Year'. Featuring appearances from Damon Krukowski and Naomi Yang (of Galaxie 500 fame) and Masakai Batoh of Japanese band Ghost, came out on the British label Woronzow to great acclaim. This is the first ever reissue of 'Plague Year' and it comes with the original artwork and lyric insert, as a limited vinyl edition of 400 and a CD version of just 200. Tragically, Tom died in 2018 aged 70. It was a joy to count him as a friend. Blue Matter would like to thank Lynn Madison-Rapp & Ade Shaw for their help with making this reissue a reality.

We may already be this screwed, the Builders and the Butchers seem to
be suggesting throughout Dead Reckoning
High time we started shouting about it. The Builders and Butchers combine
folksy Americana with a hybrid of Celtic and Southern gothic traditions, creating a
sound that doesn 't evoke one specific location as much as a patchwork of longforgotten places. The guys keep things loose on their third album, Dead
Reckoning, whose 12 songs were recorded in a series of live takes with few
overdubs. The result isn't as lushly textured as Salvation Is a Deep Dark Well,
which found the Builders beefing up their old-time folk songs with 21st century
production, but it 's far more representative of their live show. Apart from guest
performers Amanda Lawrence and Zy Orange Lynn, both of whom add string
parts to the album, Dead Reckoning is a stripped- down effort, with acoustic
instruments taking precedence over their electric counterparts and a sense of
raw, off-the-cuff energy reigning supreme. Pressed on Turquoise Color vinyl.

This compilation pays tribute to the soul music of Boston that was
originally captured on tape by legendary Boston record store owner,
turned label owner and curator, Skippy White
This release is a labor of love for all involved in compiling it, especially Eli
Paperboy Reed. In addition to being a songwriter and performer, Eli is an avid
record collector, especially of obscure R&B, soul and gospel 45s from the early
1960s. Many of the recordings on this compilation are from Eli's private collection
of 45s and acetates. Extensive liner note in the package written by Peter
Guralnick, Peter Wolf and Eli Paperboy Reed & Noah Schaffer provide the context
for the music, the time, and the impact that Skippy White, his stores and the
music he discovered and released on his own labels have had on those who
frequented his stores, loved the music he released and were influenced by it all.
The album includes songs from The Precisions, Earl Lett. Junior Washington and
the Lynn Harmonizers among others. It serves as the perfect introduction to
Boston Soul.Packaging: LP Liner notes by Peter Guralnick, Peter Wolf and Eli
Paperboy Reed

Freedy Johnston is one of those rare singer-songwriters who counts
critics among his biggest fans — and whose heroes consider him a peer.
Not bad for a self-proclaimed "geek in glasses who never left his room."
Johnston's 9th album, 'Back on the Road to You' is a record steeped in
wit, humor, pathos, love, and friendship drenched with memorable,
infectious melodies
Johnston recorded the album in Los Angeles with producer Eric Corne after
setting up house in nearby Joshua Tree. The new surroundings seem to have
imbued the album's mood and instrumentation with echoes of The Byrds,
Jackson Browne, Joni Mitchell, and Neil Young. Joining Johnston in the studio
were Aimee Mann, Susanna Hoffs of The Bangles, and longtime collaborator,
Susan Cowsill, along with an all-star roots music band, including Doug Pettibone
(Lucinda Williams), Dusty Wakeman (Jim Lauderdale), Dave Raven (Shelby Lynn)
and Sasha Smith (Priscilla Ahn).In 1994 Rolling Stone named Johnston the
'Songwriter of the Year', describing him as "A master storyteller, (who) sketches
out full- blown tragedies in a few taut poetic lines." Adding, "He joins that elite
cadre of songwriters—Bob Dylan, Neil Young, Elvis Costello—whose brilliant pop
compositions turn magical with the addition of a defiantly idiosyncratic singing
voice."
'Back on the Road to You' is a return to grace for this gifted songwriter. It
embodies the sound of an American original reminding us that he is still
considered one of the best songwriters of his generation.

Freedy Johnston is one of those rare singer-songwriters who counts
critics among his biggest fans — and whose heroes consider him a peer.
Not bad for a self-proclaimed "geek in glasses who never left his room."
Johnston's 9th album, 'Back on the Road to You' is a record steeped in
wit, humor, pathos, love, and friendship drenched with memorable,
infectious melodies
Johnston recorded the album in Los Angeles with producer Eric Corne after
setting up house in nearby Joshua Tree. The new surroundings seem to have
imbued the album's mood and instrumentation with echoes of The Byrds,
Jackson Browne, Joni Mitchell, and Neil Young. Joining Johnston in the studio
were Aimee Mann, Susanna Hoffs of The Bangles, and longtime collaborator,
Susan Cowsill, along with an all-star roots music band, including Doug Pettibone
(Lucinda Williams), Dusty Wakeman (Jim Lauderdale), Dave Raven (Shelby Lynn)
and Sasha Smith (Priscilla Ahn).In 1994 Rolling Stone named Johnston the
'Songwriter of the Year', describing him as "A master storyteller, (who) sketches
out full- blown tragedies in a few taut poetic lines." Adding, "He joins that elite
cadre of songwriters—Bob Dylan, Neil Young, Elvis Costello—whose brilliant pop
compositions turn magical with the addition of a defiantly idiosyncratic singing
voice."
'Back on the Road to You' is a return to grace for this gifted songwriter. It
embodies the sound of an American original reminding us that he is still
considered one of the best songwriters of his generation.

A tumultuous selection of recordings from Black Ark, Perry's legendary studio and hotbed of creation. Rare 12" versions, unreleased mixes and featuring a stellar line-up, including:

Drums: Mikey ‘Boo’ Richards, Lowell ‘Sly’ Dunbar

Bass: Boris Gardiner, Radcliffe ‘Dougie’ Bryan

Guitar: Earl ‘Chinna’ Smith, Ernest Ranglin, Robert ‘Billy’ Johnson, Lynford ‘Hux’ Brown

Keyboards: Winston Wright, Robbie Lynn, Keith Sterling

Percussion: Noel ‘Scully’ Simms, Lee Perry

This new volume of the Vintage Collection is dedicated to Zouk, the music originating from the French West Indies. Let the sun shine in your stereo!

'Kickstart The Sun', das ganze neun Monate Studiozeit in Anspruch nahm und teilweise in den legendären RAK Studios in London aufgenommen wurde, legt die Messlatte zu den vorherigen Alben noch einmal höher. Das vertraute Team aus Produzent/Gitarrist und Hauptsongwriter Greg Hart und Engineer Ian Caple haben 15 epische AOR-Nummern aus der taufe gehoben die eine Gesamtspielzeit von über 60 Min. haben. Das Album enthält einige ganz besondere Gäste, die bestätigen, dass die Band ihre musikalischen Grenzen bis zum absoluten Maximum ausreizt.

Der legendäre Pedal-Steel-Spieler B.J. Cole (Elton John, Humble Pie, Gerry Rafferty, Stranglers, John Cale, Uriah Heep u.v.a.) gehört dazu wie auch der australische Virtuose Ian Cooper, oder Emily Lynne und Lara Smiles die normalerweise bei The Australian Pink Floyd im Chor singen.

'Kickstart The Sun', wird neben der einfachen CD-Version auch als limitierte Doppel-RED MARBLE-Vinyl mit Booklet, als YELLOW MARBLE-Vinyl mit Booklet und als Super-Deluxe-Doppel-CD inklusive einer 10-Track-Bonus-CD mit exklusiven Aufnahmen und alternativen Mixes erhältlich sein.

'Kickstart The Sun', das ganze neun Monate Studiozeit in Anspruch nahm und teilweise in den legendären RAK Studios in London aufgenommen wurde, legt die Messlatte zu den vorherigen Alben noch einmal höher. Das vertraute Team aus Produzent/Gitarrist und Hauptsongwriter Greg Hart und Engineer Ian Caple haben 15 epische AOR-Nummern aus der taufe gehoben die eine Gesamtspielzeit von über 60 Min. haben. Das Album enthält einige ganz besondere Gäste, die bestätigen, dass die Band ihre musikalischen Grenzen bis zum absoluten Maximum ausreizt.

Der legendäre Pedal-Steel-Spieler B.J. Cole (Elton John, Humble Pie, Gerry Rafferty, Stranglers, John Cale, Uriah Heep u.v.a.) gehört dazu wie auch der australische Virtuose Ian Cooper, oder Emily Lynne und Lara Smiles die normalerweise bei The Australian Pink Floyd im Chor singen.

'Kickstart The Sun', wird neben der einfachen CD-Version auch als limitierte Doppel-RED MARBLE-Vinyl mit Booklet, als YELLOW MARBLE-Vinyl mit Booklet und als Super-Deluxe-Doppel-CD inklusive einer 10-Track-Bonus-CD mit exklusiven Aufnahmen und alternativen Mixes erhältlich sein.

MASTERED FROM THE ORIGINAL ANALOGUE MASTER TAPES AND PRESSED ON MOFI SUPERVINYL

· A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra’s Eldorado Marries

Rock and Symphonic Elements, Includes the Aptly Titled Hit “Can’t Get It Out of My Head”

· Mastered from the Original Analog Master Tapes for Audiophile Quality: Mobile Fidelity 180g Vinyl LP and

· Melodic, Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section: Arrangements and Lyrics

Transport the Listener to Faraway Horizons



Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic fashion.



Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, and housed in a tip-on jacket, Mobile Fidelity's numbered-edition 180g LP of Eldorado allows the long-time audiophile staple to resonate with previously unheard dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended.



Presenting the album with breath-taking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, this collectible reissue features reference-quality levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado LP also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.



Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool."



Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."



Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.



MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Strictly limited to 10,000 numbered copies, pressed on MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition enhances the blockbuster work for today – and the ages to come. Surpassing the sonics of any prior version, it peels away any remaining limitations to provide a transparent, lively, ultra-nuanced presentation of a record that won six Grammy Awards – including prizes for Album of the Year, Best Male Rock Vocal Performance, and Best Rock Song. The expanse and depth of the soundstage, fullness of tones, natural snap and extension of the guitar strings, realistic rise and decay of individual notes, and roll of Clapton's vocals all attain demonstration-grade levels.

Housed in a deluxe box, the UD1S Unplugged pressing features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording and the reissue's premium quality. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the images to the finishes.

Truly, everything about Unplugged matters. Having sold more than 10 million copies in the U.S. and more than 26 million copies worldwide, the 1992 work resonates with listeners of all generations and speaks a universal language. Recorded for MTV before a very small audience on January 16, 1992, the 14-track set became the signpost for future acoustic-based endeavours that witnessed artists of all stripes re-examining their catalogues and, in many instances, as Clapton does here, placing familiar originals in fresh contexts and unveiling spirited versions of cover material. Needless to say, Clapton's session turned MTV's series into can't-miss programming for which the likes of Rod Stewart, Tony Bennett, Nirvana, Pearl Jam, and more would soon participate.

Kicking off his performance with a spirited instrumental to establish the mood, Clapton immediately wades into the style that originally caught his attention as a British teenager in the early 1960s: American blues. Backed by a superb band that includes guitarist Andy Fairweather Low, pianist Chuck Leavell, bassist Nathan East, and drummer Steve Ferrone, Slowhand delivers a rhythmic, toe-tapping rendition of Bo Diddley's "Before You Accuse Me" that announces he's come to reconnect with his muse. What follows over the course of nearly the next hour stirs the heart, shakes the soul, moves the mind, and invigorates the senses.

Of course, there's no talking about Unplugged without keying in on "Tears in Heaven," the striking ballad Clapton penned about the death of his four-year-old son. More emotional, direct, spare, and healing than the studio version released a year prior, it crackles with an intimacy, maturity, poignancy, honesty, sweetness, and integrity that inform the entire concert. Indeed, how Clapton frames other favorites here – transforming "Layla" into a relaxed, comfortable stroll and ruminating on the seasoned ripples flowing throughout "Old Love," for example – indicate both a creative rebirth and gleeful acceptance of the next phase of his career.

And that very direction (two of Clapton's next three albums would be all-blues projects) is what really makes Unplugged so indispensable. Equivalent in mastery if not in volume to the output that earned him his "God" nickname, interpretations of Jesse Fuller's "San Francisco Bay Blues" (complete with kazoo!), Big Bill Broonzy's "Hey Hey," Robert Johnson's "Walkin' Blues" and "Malted Milk," and Muddy Waters' "Rollin' & Tumblin'" showcase a learned professor in his element and all the wheels turning.

In every regard, Clapton's Unplugged session was appointment listening when it came out in August 1992. With the arrival of MoFi's UD1S pressing, that sensation is more urgent than before.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior

Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.



SACD



Mastered from the original master tapes, Mobile Fidelity's numbered hybrid SACD enhances the blockbuster work for today – and the ages to come. Peeling away remaining sonic limitations to provide a transparent, lively, ultra-nuanced presentation of a record that won six Grammy Awards (including prizes for Album of the Year, Best Male Rock Vocal Performance, and Best Rock Song), it places Clapton and company in your room. The expanse and depth of the soundstage, fullness of tones, natural snap and extension of the guitar strings, realistic rise and decay of individual notes, and roll of Clapton's vocals all attain demonstration-grade levels. A perennial audiophile favourite, Unplugged now tosses its hat into the ring as a demonstration disc.