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* 180 gram audiophile vinyl
* Includes 1 page insert with credits
* Jazz-Funk Fusion LP feat. Tony Williams & Jaco Pastorius
* Featuring the single "I Thought It Was You" and "Come Running To Me"

Sunlight by Herbie Hancockis a 1978 jazz-funk, fusion album. It features Hancock's vocals through a vocoder as well as performances by drummer Tony Williams and bassist Jaco Pastorius. This was when Hancock began heading towards a more mainstream Smooth Jazz/R&B fusion, similar to fellow Jazz-Fusion pianist Patrice Rushen.

The album produced a hit-single entitled "I Thought It Was You". As a whole the album tends to lay more toward funk than a jazz record, and is reminiscent of much of the electro-funk of the time. This release marks the beginning of the 80s electro-era style that was more refined in Herbie's later albums such as Future Shock and Sound-System.

'Root Down' is an exclusive and strictly limited 7" single for DJ Oonops' upcoming compilation 'Oonops Drops Vol.1'. The track will be available on the compilation too, but only on this 45 you'll get the instrumental version.

Oonops is hosting a monthly, successful broadcast show on Brooklyn Radio (NYC) since four years. A few months ago he selected the album 'Nautiloid Quest' for Agogo Records' new japanese signing Nautilus and worked together with them for this single. Oonops' idea behind this reinterpretation of 'Root Down' was a slower, jazzy laidback atmosphere combined with a female voice for the Beastie Boys lyrics. So he asked Nautilus' mastermind Toshi to arrange a new instrumental and German singer Fleur Earth to sing over this track.

Recorded and released in 1957, this may not be Charles Mingus' most often discussed title, but it is a wonderful set featuring five great Mingus originals and is an unpredictable and exploratory album. Featuring his core group at the time, along with the amazing pianist Bill Evans, this is crucial late 50s jazz that explores the outer reaches of bop music.

Rare stuff from John Coltrane recorded in 1957. The album features 'Trane' playing tenor on only 4 of the album's 8 tracks - making it kind of surprising that they used his name in the title
- but the album is a lesser-known batch of large group recordings that offer an interesting early chapter in his career. The main force behind the album is arranger Harry Tubbs - possibly not a name that's as sexy as John Coltrane, hence the billing.- but a worthy leader for the date, given the quality of the music.

Many of the other players here are small combo heroes who can also shine brightly in bigger groups - such as Donald Byrd and Art Farmer on trumpet, Kenny Burrell on guitar, Al Cohn on baritone sax, Eddie Costa on piano and vibes, and Oscar Pettiford on bass - plus Rolf Kuhn, making an early American appearance
on clarinet. Coltrane gets in some nice, but short moments on the date - but the bigger charm is the full ensemble work - on titles that include She Didn't Say Yes', Turtle Walk', At Home With The Blues', Seabreeze' and Love & The Weather'.

Union Cafe turned out to be the last collection of new material the original PCO recorded, originally released 1993.
This album retains the intimacy and charm of all previous works, featuring a recording of the electric Aeolian harp on Cadbury Hill, Somerset, and a piece dedicated to the memory of John Cage recorded at the Real World recording week in 1992.
Union Cafe is a vigorous re-statement of traditional Penguin musical values. The African inheritance was again rearranged in Kora Kora, Venezuelan cuatro strums infused Lifeboat, the sound of the deep South of America was subtly hinted at in Nothing Really Blue.

No musician embodies more the dramatic transformation in the British jazz scene over the past thirty years than Courtney Pine. His debut album, Journey To The Urge Within in 1987, was the first serious jazz album ever to make the British Top 40, notching up sales to qualify for a silver disc.

Aside from being the preeminent figure in the resurgence of British jazz, Courtney became a renowned presenter and broadcaster, best known for his long running radio show for BBC Radio 2, 'Jazz Crusade'. He was also awarded an O.B.E in the 2000 New Year's Honours, and was also made a C.B.E in 2009 for services to Music.

As an artist always looking to work outside of, and across established musical genres, it is easier to list the musicians and artists he hasn't worked with, and styles he hasn't fused with jazz, but now in 2017 Courtney releases a brand new album - the nineteenth of his career, one of his most varied and eclectic to date, ranging as it does from funk tinged foot tappers, to beautiful and tender ballads.

Black Notes From The Deep includes four tracks featuring another British music icon of equal repute, Courtneys' Freestyle Records label mate and an artist also honoured for his own creative endeavours, Omar Lyefook M.B.E. This is a musical pairing so wonderful it is hard to believe it didn't happen years ago, but the end results speak for themselves.

For this brand new album, Courtney assembled a line up of like minded instrumentalists, perfectly suited to his fresh and unique approach . With this absolutely rock solid group behind him, including Alec Dankworth on bass duties, the enviably talented Robert Mitchell on piano, with Rod Youngs providing his masterful drumming, this is a dream ticket line up to back Courtney. There is a welcome appearance by veteran jazz organist Ed Bently on In Another Time, and the gifted guitarist Chris Cobbson adds some beautiful textures on the The Morning After The Night Before.

The highlights within this album are many - but the exciting and fresh interpretation of Herbie Hancocks' Butterfly seems destined to be one of the most remarkable, featuring as it does Omars' fantastic vocal performance which rides sweetly on top of the dreamy backing vocals of Charleen Hamilton - and of course Courtneys' flowing, imaginative and creative solo perfects this modern version of a much loved classic.

Courtney has been lauded as the most original, ceaselessly creative and inventive British jazz musician since the start of his career over 30 years ago - and Black Notes From The Deep proves that he still is.

What makes a legend Ella Fitzgerald fans would say her music - 200-plus albums' worth of it, recorded over half a century, which continues to attract new converts. There's also a star on the Hollywood Walk of Fame, awarded in 1960, the charitable foundation she founded in 1993, thirteen Grammy awards and a postage stamp, issued in 2007 as part of the US Mail's Black Heritage series. But what makes her the most popular female jazz singer was her distinctive, flexible, wide-ranging and accurate voice. She worked with all the jazz greats and performed at top venues all over the world. Here are 42 tracks to remember the much-loved and never to be forgotten 'First Lady of Song'.

'Voyager' is the third full-length album from LA's Moonchild, whose candid style of soul and newschool jazz has propelled them onto a swirling, emotionally charged journey of the heart. Since 2014 they have dedicated their time and energy into honing dreamlike and ethereal compositions which explore the intricacies of relationships with emotional nuance.

Since cementing themselves into the vibrant LA soul scene, Moonchild have released two albums and collaborated or toured with highly-respected names in the soul-jazz crowd including Stevie Wonder, Jill Scott, India.Arie, Leela James, The Internet (Odd Future's Syd tha Kyd & Matt Martians) and more. Along the way, Moonchild have accumulated a host of iconic supporters from Robert Glasper and Laura Mvula to James Poyser, Jazzy Jeff, Jose James, 9th Wonder and Tyler, The Creator who have all shown love for the band.
Praise for Moonchild...

Dirk Serries: electric guitar
Andrew Lisle: drums
Colin Webster: alto and baritone saxophone

Limited edition of 300

'Kodian Trio ... blasts through, mashing free improv clicks and clatters with free jazz-inspired hoots and hollers, all wrapped up in a waistcoat of gimlet-eyed punk attitude.' - Paul Margree, We Need No Swords

Originally released in 2017, Zara McFarlane’s Arise represents a classic moment in Brownswood Recordings catalogue. Just before the global spotlight landed on London's new jazz generation, Zara McFarlane was already forging her own path - connecting jazz, soul, reggae and Afro-Caribbean traditions with a confidence and clarity that remains striking nearly a decade later. Arise captures an artist operating with singular vision, creating a body of work that sounds every bit as fresh and forward-thinking today as it did on release.
The album also stands as an early landmark in the career of Moses Boyd, who produced and co-composed the record while serving as Zara's longtime drummer and musical collaborator. Years before his Mercury Prize-nominated breakthrough, Boyd helped shape Arise into a deeply personal exploration of heritage. The credit list is remarkable: Moses Boyd, Binker Golding, Shabaka Hutchings, Nathaniel Cross, Peter Edwards and Shirley Tetteh all contribute to a record that now reads like a roll call of British jazz royalty. The iconic cover shot was taken by Adama Jalloh, around the corner from Brownswood’s North London HQ.

Upon release, Arise was met with widespread critical acclaim. The Guardian praised “A Class Act" and celebrated its exploration of African-Caribbean musical lineage, while Clash Magazine described it as “enchanting and intriguing”. All About Jazz called the album's fusion of jazz and Jamaican rhythms "spellbinding".
As Brownswood celebrates its 20th birthday, we're proud to return one of the label's defining releases to vinyl, with the original copies being highly sought after. Pressed on limited edition gold vinyl, this special anniversary reissue is both a celebration of Zara McFarlane's artistry and a reminder of a record that was both ahead of its time, and whose influence resonantes today.

Andwella's Dream released one album, Love and Poetry, on CBS in the UK in the late 1960s that is highly regarded by some psychedelic collectors. It is an eclectic affair that touches upon a number of approaches--heavy progressive rock-tinged psychedelia with keyboards, fruity pop-psych with strings and fairytale-type lyrics, folk- and blues-informed material bridging psych and prog--common to British rock of the period. The group changed their name to Andwella and subsequently released a couple of albums under that name.

Manchester based trumpeter, composer, arranger and producer Matthew Halsall has carved out a unique niche for himself as both a band-leader and producer delving deeply into the worlds of spiritual jazz and string-laden soul.

His latest project finds him playing with and producing the legendary LA jazz singer Dwight Trible, who first came to international renown with his 2005 Ninja Tune release Love Is the Answer. Trible, whose deeply soulful voice has seen him compared to Leon Thomas and Andy Bey, has worked with the likes of Pharoah Sanders, Horace Tapscott and Kamasi Washington (he sings lead vocals on the Epic) and brings a deep-rooted soulfulness to everything that he sings.

Inspirations features some of Dwight Trible and Matthew Halsall's favourite songs including brilliant versions of the timeless Bacharach classic What The World Needs Now Is Love featuring harpist Rachael Gladwin and the Nina Simone smash Feeling Good. A soulful reading of Donny Hathaway and Leroy Hutson's classic Tryin' Times and a heartfelt version of Coltrane's beautiful ballad, Dear Lord, with lyrics by Trible. Other highlights include a vibrant, soulful version of and a beautiful take on They also laid down two spiritual jazz masterpieces, a powerful re-working of Dorothy Ashby's Heaven and Hell (from the legendary The Rubiyat of Dorothy Ashby album) and a spine-tingling reading of the old folk song Black Is The Colour Of My True Love's Hair. Finally the album is rounded out with and the traditional spiritual Deep River and the beautiful standard I Love Paris.


Inspirations is launched with a five date European tour featuring special guest Roger 'Chip' Wickham on saxophones and flute. April 28 & 29 - Duc des Lombards PARIS, April 30 - Flagey BRUSSELS, May 1 & 2 - Ronnie Scott's LONDON, May 4 - Band On The Wall MANCHESTER & May 7 - Funkhaus BERLIN (XJAZZ FESTIVAL).
Reviews and features from Jazzwise, Record Collector, Echoes, Mojo, Now Then Magazine, Blues & Soul, Sunday Times, Lira, Jazzthing (Germany), Nos Magazine, M Magazine and many more.Airplay from Gilles Peterson 6 Music, Jamie Cullum BBC Radio 2, Patrick Forge, Ross Allen, Jazz FM playlist, NDR in Germany, TSF in France and much more
On Line support from Jazz Standard, AllAboutJazz, World Wide FM, Written In Music and much more...

Exklusive Vinyl-LP, wieder lieferbar! Reissue eines exzellenten und sehr seltenen Vocal Jazz-Albums, aufgenommen im November 1965 im Studio Grunewald in West-Berlin, mit dem Quartett von Gunter Hampel (vib/ fl), featuring Bobo Stenson (p), Pierre Courbois (dr) und Victor Kaihatu (b). Die einzig reguläre LP von Europe`s finest female jazz singer', sorgfältig remastert mit original Cover-Design und Liner Notes, mit fantastischen Versionen von "Summertime", "Out Of Nowhere", "It`s Alright With Me "oder" Round Midnight". In memory of Inge.

2017 REPRESS! This was more a project than an actual band formed by German jazz drum legend Klaus Weiss. He formerly worked with another jazz legend from his mother country, Klaus Doldinger and gained fame in the German jazz circuit of the 60s and 70s. His 1971 works with NIAGARA was the offspring of the vision to create an orchestra made entirely of drummers and percussionists. Despite the fact that there is definitely no regular melody instrument to be heard on this album, the two lengthy compositions are arranged in such an enthralling way, that they have a rather catchy and memorable feel. Among the cult drummers featured on this album are Udo Lindenberg (yes, this icon of German rock and pop started as a drummer!) and session hero Keith Forsey. So what both compositions offer is an ever pulsating rhythm inferno, a maelstrom of different grooves and sounds. If you go for this album to find some pop tunes, you better change your mind. If you wish to be enchanted and hypnotized by a massive wall of percussion sounds and be dragged deeper and deeper into a state of trance, which is utterly addictive, you are welcome. This album goes deeper as most psychedelic rock with dreamy melodies and heavy organ work. You cannot compare it to anything else, so open your mind for the ultimate rhythm experience and join in if you dare. Only if you dare.

In early 1965, just as the West African High-life scene was starting to get boring, the revolutionary sound of Fela Ransome Kuti & His Koola Lobitos burst upon us. A strikingly original musician, Fela Kuti was trained at the Trinity College of Music in London. From the very first, he was influenced by those "greats" of the jazz world - Thad Jones and Miles Davis. He gained much practical experience gigging in his spare time with London-based jazz men. A very talented musician - Fela's primary instrument is the trumpet, but he is also a swinging pianist and rave vocalist, as well as a composer and arranger. A musicians' musician. To maintain his reputation as West Africa's leading musician, Fela continuously experimented with varying forms of High-life and other exotic rythmic patterns. The results of these experiments are evident on all the numbers on this LP. Even the old familiar tunes have that new and original High-life tempo that Fela has made his own. Many so-called original bands have found fleeting success on the West African scene - only to fade quickly into obscurity, but Fela's extreme talent has made him one of its perennial stars.

Nina Simone is regarded as one of the most influential recording artists of the 20th century. She was a pioneering musician whose career was characterized by fits of outrage and improvisational genius'. In naming Simone the 29th greatest singer of all time, Rolling Stone wrote that her honey-coated, slightly adenoidal cry was one of the most affecting voices of the civil rights movement', while making note of her ability to belt barroom blues, croon cabaret and explore jazz.'

The first LP in this solid turquoise limited edition presents a selection of Simone's finest studio recordings, LP two features songs from some of the passionate live performances for which Nina Simone was rightly famous.

Stirred up from deep within, from an abstract spiral of sound and movement, from a sensation of time and space absolving and converging at once, the Black Flower musicians have molded a tangible matter: the album Artifacts. Their second full album sounds international and ageless. Eastern influences, Ethiodub and jazz effortlessly merge. Fantasy and reality seem to fuse. In a word: nourishment for body and soul.

"Psyche-delicious and accessible 20th century Ethiodubjazz. As if John Zorn put on Fela Kuti's shoes and imbibed Mulatu Astatke's whirls."

Piloted by saxophonist /flutist /composer Nathan Daems (Ragini Trio, Dijf Sanders, Antwerp Gipsy-Ska Orkestra), this instrumental band aims for originality. Fellow musicians and 'brothers down the road' are Jon Birdsong (dEUS, Beck, Calexico) on cornet, Simon Segers (Absynthe Minded, De Beren Gieren, Stadt) at the drums, Filip Vandebril (Lady Linn, The Valerie Solanas, Antwerp Gipsy-Ska Orkestra) at the bass and Wouter Haest (Los Callejeros, Voodoo Boogie) playing keys.

For many of us, the Ethiopian aspect once made known to the world by Mulatu Astatke will stand out. Still, Black Flower further adds oriental scales, Afrobeat à la Fela Kuti, jazz in a John Zorn way and varied western music traditions such as rock and dub. The resulting melting pot is undoubtedly inspired by Nathan's distant travels and the multifariously colorful city of Brussels.

...Pretty legit if you ask me - LeFto, Studio Brussel

After their well-received debut album Abyssinia Afterlife (2014, W.E.R.F. / Zephyrus Records) that created an atmosphere of mythical figures and psychedelia, Black Flower now reflects on ancient and modern cultures. The album title Artifacts refers to centuries-old fragile objects or tools that empowered the development of human culture. The world today would look entirely different without those artifacts. The seemingly brittle suddenly becomes a powerful welding cornerstone. Add the musicians' personal musical backgrounds and the result is an album with an ageless mystique. Artifacts is the synthesis of different cultures, of the past and present, and personal and collective memories. It is the soundtrack to modern reality, based on the elements that connect us.

Brilliant - Gilles Peterson, BBC Radio 6

One of Belgium's Best Bands of these past years (...) Black Flower does not simply play a tune, they always groove! - Kurt Overbergh, Ancienne Belgique

Uncomplicated originality, plenty of space for fantasy and an organic tone: those are the ingredients for Black Flower to lay claim to an age-old human ritual: dancing! Still, Black Flower also stands out in various other settings. Their audience at a jazz club will have felt exalted, their audience at a late-night show will not have resisted dancing. The band wields influence over their surroundings in a way only heart-and-soul musicians can. This mastery has repeatedly taken them to United Kingdom, France, the Netherlands and Germany.

Mike Kitcher's Processed Snippets falls firmly into the category of new exotica, a music created from a very specific location that becomes placeless through abstraction.
Kitcher reworks moments recorded from the SWP Records re-mastered release of Congo
Traditional 1952 & 1957, a collection of recordings by Hugh Tracey. Tracey, a pioneering documenter of traditional music across the continent of Africa was notable for the extent of his travels and the breadth of his work, as well as his technique of live mixing multi-instrumental tracks with a hand-held microphone.
This method produces tracks that focus on specific instruments with a shifting of foreground and background. In his work he, aimed to reflect the listening experience in the field. Kitcher's album reflects on Tracey's process by limiting each track to a limited sample and using basic EQ-ing alongside only one software processor: IRCAM's 'the scrub'. He foreshortens the landscape, by zooming in onto moments of breath, the moment of the release of contact from the instrument, bursts of silence, or processed modifications that transform vocals into the echo of ivory horns.
Within this magnified view, the richness of the original material is turned over and seen from an array of angles.
Kitcher notes that 'inflections, harmony, expression, and pulsing modulations all grab my attention, frequently expressed through voice, conical drums, luma pipes or lamellaphones, among other instruments.'

One off German studio project with spoken word and electronics. More info to follow!

Alter is the new album from Belgium-based double bass player and electronic producer Otto Lindholm.
Divided into four colour-inspired, long-form movements, Alter takes off from Lindholm's previous work - a self-titled album released in 2015 on Icarus Records, and pushes the already abundant palette of sounds even further. This new work is more brooding and hypnotic. A deep, resonating bass is present - hinting at the likes of Greek, chamber-doom merchants Mohammad but perhaps with more attention placed upon textures and melody.
The record moves at a funereal pace and opener Fauve hits abyssal depths from the outset. A bowed melody is coaxed through the throbbing bass with dissonant harmonics drawing you in and holding you close. The ghostly beginnings of Alyscamps create an overwhelmingly tense atmosphere where acoustic and electronic elements collide and evolve into a heaving, ceremonious drone. Shafts of light emerge through the fog but the tone remains a haunted one. Closer, Heliotrope, strikes a more hopeful note. A lighter, more open feel emerges - bringing to mind early work of The Rachels or perhaps Deaf Center.
Alter is a triumphant record in its entirety. Seamlessly moving from light to shade and back again, experimenting in heavy atmosphere and ultimately drawing you into its deep and mysterious world.
Some words from Otto Lindhom on the album:
My original idea was to work on the melody and the play of the arco, looking for expressive music from this combination. To do it, I first decided to work on 'modes' and their specific color. With these modes I could work on tensions, frictions and color shading. Working on the melody aspect, I was looking to go beyond the romantic, easy listening or sentimentalizing, trying to suggest more than an expression of concrete emotions.
Naturally, a kind of impressionist, musical approach appeared to me where I could simply develop and enhance the music I was playing/writing. With my daughter about to born and my strong wish to record new music, this spurred me to work efficiently. I had no time or space for deviations, forcing me to sculpt the music as it came out, enjoying and contemplating a sort of rawness in my play and direction.'

With an especially deep, curled funk behind the ears, MK 32 directly controls an ocean of harmonic, resonating phenomena. At
the controls there is Ian Simmonds, the sail is raised by the Workshop steward Even Tuell, the free-spirited Dave Aju (Circus
Company) and the almost-label Namensgeber.

12 track Album from Various Artists released by Dub Store Records

Following the release of her much-lauded third album Arise, Zara McFarlane announces new single 'Peace Begins Within'. Exploring the musical possibilities of her British-Jamaican identity, it's seen her - backed by some of London's best and brightest musicians - bridging the lines between soulful roots reggae and inclusive, open-ended UK jazz.

The track is a cover of Nora Dean, a Jamaica-born vocalist who put her name to a spate of sweetly-sung roots and lovers rock in the '70s and '80s. With Zara putting her spin on the 1971 original, the format of the single nods to that heritage: with a dinked centre (requiring adapter), it also comes backed with a reggae version on the b-side. Tracing the musical heritage of the Caribbean, it's another side to her interconnected vision of the diaspora.

The album has been supported by Benji B on Radio One, David Rodigan on 1xtra and Zara has been interviewed on NTS, Worldwide FM and Soho Radio. The album has also received big support from magazines across the board (see press quotes below).

"Signals" is Hukkelberg's long awaited fifth studio album and will cement her position as one of the best writers of electronic pop music the Nordics has produced in the last decade. Her new album made of gorgeously fluttering electronics and Hannes' pitch-bent vocals is set to be something special.

Recorded in 1971 by a 27-year-old pastor and an after school program choir,

Like A Ship is a stirring and powerful meditation on the wayward aftermath of the Civil Rights Movement. Tracked with the help of Chess/Cadet maestros Gene Barge, Phil Upchurch, and Richard Evans, the album is a mix of euphoric gospel and Mayfield esque political soul, with sleigh bells, hand claps, and jazzy piano stabs. Sampled by T.I., Kanye, and Khaled, Barrett created a rapturous, crossover gospel classic that's still wildly relevant.

Maximum Joy is an aspiration, a claim to passion. To call a band 'Maximum Joy' is to ask a huge question - what is the very best you ever felt or hope to feel and more importantly how far can you take it' Silent Street is a new collaborative label from Chris Farrell (Idle Hands) and Kiran Sande (Blackest Ever Black). For their first release they're proud to present I Can't Stand It Here On Quiet Nights, a compilation of singles by one of our shared musical lodestars, Bristol's extraordinary Maximum Joy. The band was formed in 1980, by 18 year-old photography student and vocalist Janine Rainforth alongside Tony Wrafter, a trumpeter/saxophonist previously affiliated with Glaxo Babies. Wrafter's former accomplices, Charlie Llewellin (drums) and Dan Catsis (bass), completed the original line-up, alongside erstwhile Pop Group guitarist John Waddington. With a youthful confidence and energy that leaps out at you even now, they took their diverse influences - punk, modern jazz, disco, dub, funk, soul, early hip-hop, Afrobeat and chansons - and distilled them into some of the greatest, most intoxicating pop music ever made. Together they carved out a story which today stands as a sumptuous feast for anyone interested in the roots and evolution of "the Bristol sound". Along with prior associations with The Pop Group and Glaxo Babies, there are links, back and forth, with The Slits and Dennis Bovell, Adrian Sherwood and On-U Sound, the Berry Street hole in the ground' studios, and so on, through to the Wild Bunch, Massive Attack, Smith & Mighty, and Tricky's 'Aftermath'. Thirty-five years on its impossible not to be blown away by their combination of instrumental virtuosity and DIY pluck, and by their fearless application of disorientating dub FX. In terms of open-minded, progressive and life-affirming music made in the post-punk era, little else comes close. I Can't Stand It Here On Quiet Nights - the first ever official UK reissue of Max Joy material - is centred around the trio of singles the band released on Y Records between 1981-1982. Their first, 'Stretch', was licensed to seminal American label 99 Records and soon after became an anthem on the New York club underground, a cult staple at Danceteria and on late-night radio. This comp gives pride of place to their first B-side, 'Silent Street / Silent Dub': a languid, haunting tribute to long summer nights in St Pauls (where the Idle Hands shop presently resides) and specifically the Black & White Cafe, where dub-reggae reigned supreme, 24/7'. Llewellin's mesmerising one-drop kit and Catsis's outrageously heavy bassline anchor the track, allowing Rainforth's exquisite vocal and Wrafter's trumpet to soar within the intense, expressionistic dub mix. In both subject matter and execution it is the definitive Bristol tune. 'White And Green Place (Extraterrestrial Mix)', 'In The Air', and wistful instrumental 'Simmer Til Done' also feature, the non-Y bonus is the 12' version of 'Do It Today', Maximum Joy's contribution to the Fontana compilation Touchdown, which originally came out in '82 as a white label split with The Higsons. I Can't Stand It Here On Quiet Nights will be released on 2x12' vinyl, with sleevenotes by Janine Rainforth, Tony Wrafter and Kevin Pearce. Time to acquaint, or reacquaint, yourself with the eclectic, exhilarating work of Bristol's finest, brightest pop idealists.

Nubiyan Twist exploded onto the global stage with their 2015 debut album Nubiyan Twist', drawing on elements of jazz, afrobeat, hiphop, soul and dub to create their own trademark style, driven by powerful, arrangements, a driving rhythm section and the laidback, soulful delivery of female vocalist Nubiya Brandon. Encouraging artistic and social unity between different cultures and musical styles, notable influences include the likes of Fela Kuti, King Tubby, J Dilla, Herbie Hancock and Nat King Cole.

Since the debut album, they have gone on to release the 2016 Siren Song EP and 2017 Dance Inna London EP (with 80s dancehall legend Supercat), garnering a truly global fanbase, playing major stages across Europe including Glastonbury Festival, Fusion Festival and A Love Supreme) and selling out headline club shows from London to Berlin, Rotterdam to Paris.

Never before released on vinyl, and sold out on CD, this is a unique chance to get a limited edition, deluxe version of the classic release, including the bonus tracks Work House Mode (a tasteful reworking of the original Work House by pianist Oliver Cadman) and the acclaimed remix of Straight Lines by UK producer Werkha (Tru Thoughts).