Search:music by john williams

With her captivating voice and richly detailed songwriting, Sarah Jarosz has emerged as one of the most compelling musicians of her generation. A four-time Grammy Award-winner and ten-time nominee at the age of 30, the Texas native started singing as a young girl and became an accomplished multi-instrumentalist by her early teens. After releasing her full-length debut Song Up in Her Headat 18-years-old, she went on to deliver such critically lauded albums as Follow Me Down, Build Me Up From Bones, and Undercurrent, in addition to joining forces with Sara Watkins and Aoife O’Donovan to form the acclaimed folk trio I’m With Her. Her fifth studio album, World On The Ground, produced by John Leventhal, went on to win the Grammy award for Best Americana Album. In 2021 Jarosz released the Grammy-nominated Blue Heron Suite, a much-anticipated song cycle which she composed after being the recipient of the FreshGrass Composition Commission.

The seventh album from Sarah Jarosz finds the highly decorated songwriter at the apex of change. A Texas native, she’s spent most of her adult life living in New York City, but shortly before writing the album Jarosz left her adopted home to join her soon-to-be husband in Nashville, TN. The geographic shake-up led to a sonic one as well for Polaroid Lovers. For the first time in her career she opened herself up to collaborators, leading to writing sessions with Daniel Tashian, Ruston Kelly and Natalie Hemby. The creative reorganization of her writing process evolved to include a much richer and more electric sound in the studio and being in Nashville meant access to a world of hot shot players. She tapped guitarist Rob McNelley (Miranda Lambert, Carrie Underwood), Tom Bukovac (Tom Petty, Vince Gill) on guitar and organ, her husband- bassist Jeff Picker (Nickel Creek), and drummer Fred Eltringham (Sheryl Crow, Lucinda Williams) for the album recording. Tashian took the helm as producer and the whole album was laid down at the legendary Sound Emporium.

As it goes with all change, Jarosz’s major life events had her feeling contemplative. While sitting on the precipice of adulthood, Polaroid Lovers finds her reflecting on past loves, childhood dreams, the places she lived in and all the versions of herself that she’s been. Although the listener experiences the sonic shift forward, the album’s subject matter is a photo album of the past. Jarosz has never sounded more assured. Polaroid Lovers is filled with the kind of confidence that comes from hard won life experiences and the conviction of someone who truly knows herself.

Impulse’ was a band of Milwaukee, Wisconsin musicians whose members included Michael Reese (Rhodes Piano and background vocals), Cedrick Rupert (Lead and Rhythm guitar), Jeffrey Williamson (Drums and background vocals) and Robin Gregory (Bass and background vocals). They would become a group in their own right with the eventual addition of another local artist John Gee, who joined them as their lead singer. The Impulse musicians formed the backing/touring band for another Milwaukee outfit, a vocal quartet, The Quadraphonics who recorded the solitary 45 single “Betcha If You Check It Out/Prove My Love To You” for the Carl Davis/E. Rodney Jones owned ‘Innovation II’ Record label during 1974. This release would later be nationally distributed by the major Warner Brothers label. With import copies of “Innovation II” single finding their way into the UK the record became popular with the devotees of Blackpool Mecca’s Highland Room.

During 1976 the members of Impulse migrated to Oakland California, they had hoped that, The ‘Quadraphonics’ would join them but instead The Quadraphonics chose to remain in Milwaukee and eventually broke up. It was fellow Brewtown producer/recording artist Harvey Scales who was responsible for inviting ‘Impulse’ to the west coast. Under the auspice of Scales, Impulse recorded their self-titled debut album project at Wally Heider’s Studio in San Francisco. The album was initially offered to Casablanca Records but no firm interest was to materialise, a subsequent approach to Jerry “The Ice Man” Butlers newly formed Chicago label, Fountain Records again failed to secure a release of the album, sadly leaving the project unreleased in the can. In the ensuing years, the former group members have continued with their respective careers, the late John Gee embarked on a solo career, recording the 1980 release “Not Enough Love Makin’/ you Are That Man (Why Don’t You Be That Man)” for Leroy Smith’s Oakland C.A, Pashlo label followed by his 1985 modern favourite “So Good To Me/Just Get On” recorded under the artist name of Jon Pierre Gee on his own newly formed Kandi Inc, Record label. Later Kandi projects included the 1995 Jon Pierre Gee & Touch album and the 2005 Ah’VantSoul cd album project, which featured Jon’s business and real-life partner, Kathryn Hannemann (a.k.a the performing artist Kat Webb).Throughout all the aforementioned projects Jon continued to use and enjoy performing with his former fellow ‘Impulse’ musicians of which the two surviving members Robin Gregory and Michael Reese can still be found jamming to this day in the renowned Milwaukee Restaurant/Coffee House by the name of ‘Coffee Makes You Black’. Sadly, drummer Jeffrey Williamson passed away during 2015 with Coley Jackson coming in to pick up the sticks! Lead and Rhythm guitarist Cedrick Rupert left the group in the 1970’s moving to Lake Charles, LA, sadly, he too passed away in 2020.

The Impulse album project having lain dormant since the 1970’s was resurrected during 2018 when Jon Pierre Gee in conjunction with Stephen Chin of Nice Choice Records (USA) and Soul Junction Records (UK) breathed new life into the project. Beginning with the release of the first of two ‘Impulse’ 45 singles on Jon’s Kandi imprint. Firstly “What’s that Sound/You Changed Me” followed in 2020 by a second 45 “I Really Love You/Get The Funk Off my Back” with all four soul and funk tracks receiving worldwide acclaim. Initial plans for the release of the whole album project had been set in place but we’re unfortunately brought to an unexpected halt with the passing of Jon Pierre in November 2020.

Undetered Soul Junction have finally been able to bring this amazing ‘Impulse’ project to life as a limited vinyl press I’m sure once heard, the old adage of “Good Things Come To Those Who Wait” will certainly ring true, enjoy.

Book Thief is an album by Ost, released in 2023. Book Thief includes a.o. the following tracks: “"one Small Fact"”, “New Parents And A New Home”, “Max And Liesel”, “The Train Station” and more. The album is a Coloured Vinyl, High Quality, Insert original soundtrack LP

Born in Roma in 1959, Guiseppe “Peps” Cotumaccio arrived in South Africa when he was two years old. He was the mastermind behind the band “Sweet Reaction”, singing and playing keyboards.

In the early 80’s, the group used to back various artists including one of the South African top singer “Neville Nash”. Both artists were on the same record label: Music Team. Throughout his lengthy career, Peps has collaborated with Johnny Clegg, Ronnie Joyce, Sipho "Hotstix" Mabuse, P.J. Powers, Mark Alex, Neville Nash, and Mara Louw just to name a few.

The lead singer of the band, Dion Williamson, started performing in Johannesburg’s nightclubs and got quickly very successful, always in demand! People loved his gravel and sensual voice as he used to sing some of Joe Cocker’s popular songs. Unfortunately, during the Apartheid, the South African Government were not allowing black and white audiences, and the band split.

On this BIG5 Boogie#2, Enoch Ndlela produced 2 Modern Soul killer tracks.
Recorded in 1981, "Take it easy", where the music is evidently influenced by Willie Hutch (Easy does it - 1978) offers Dion a way to fully explain himself doing his own version of the tune. And what an explosive result!

On the same side of this 12”, our 2 Frenchies in Cape Town aka Simbad & Fred Spider enjoyed delivering us a fat broken beat version of the track, while the very “En Vogue” Aroop Roy from London turned it into a funky house summer hit.
Side B starts with a superb composition from the band: “African Sunrise” where Dion Williamson is on top, this tune is a bomb!
To finish this E.P, the well-known Kid Fonque from Johannesburg, who freshly moved to London working for the glorious house record label Defected, couldn’t wait to produce a super groove deep house refix. The result is a second essential dancefloor release from Voom Voom Records!

Classic Jazz Album from 1978.
Featuring an all-star line-up.
First ever vinyl reissue since 1986.
Released for the first time in the UK & North America.
180g BLACK vinyl limited to 500 copies (w/obi strip).

Curtis Fuller (December 15, 1932 – May 8, 2021) was an American jazz trombonist best known for being a member of several legendary jazz outfits, his impressive catalog of solo albums and a contributor to many classic jazz recordings.

Fuller was born in Detroit and lost both his parents at a very young age. He spent several years in an orphanage run by Jesuits where he developed a passion for jazz after one of the nuns there took him to see his first live performance. Curtis attended public school in his hometown (together with Donald Byrd and Milt Jackson) where he took up the trombone at the age of sixteen.

Curtis Fuller was a well-respected member of iconic outfits such as Art Blakey & The Jazz Messengers, Art Farmer’s Tentet, The Benny Golson Quintet and Eastern Rebellion. The list of his collaborations is impressive to say the least, Mr. Fuller recorded and performed with greats such as Quincy Jones, John Coltrane, Count Basie, Dizzy Gillespie, Freddie Hubbard, Roland Kirk Rashaan, Miles Davis…and many others.

Fuller was granted an honorary doctorate of music from Berklee College of Music in 1999 and eight years later he was honored as a NEA Jazz Master. Curtis Fuller’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Savoy, Prestige, Strata-East, Muse, Verve and Impulse!

On the album we are presenting you today: Four On The Outside (Recorded in 1978 at the famous New York CI Recording Studio and released on Timeless Records the same year) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.

The all-star line-up includes Pepper Adams (Oliver Nelson, Lalo Schifrin, Herbie Hancock) on saxophone, Dennis Irwin (The Jazz Messengers, Chet Baker) on bass and James Williams (Calvin Keys, Thelonious Monk) on piano.

Four On The Outside shows off Fuller’s mastery of the Trombone and this delightful set features him in a front line with Pepper Adams delivering a unique trombone-baritone saxophone combination (few others have followed this intriguing coupling). Curtis Fuller plays from the heart and is on top of his game. Expect sharp and elegant original compositions, machine gun-like spurts, angular boppish lines and top rhythm section work that never gets in the way of the horns spreading their wings. All of the above makes this record a must have for any self-respecting jazz fan or collector!

‘Time Will Tell’ : A journey in reggae music from Bristol to Kingston JA.

Embark on the wild journey of a reggae-loving Bristolian youngster who travelled to the heart of Jamaica on intrepid mission to record a timeless reggae album in the 90s. ‘Time Will Tell’, a collaborative masterpiece uniting the extraordinary talents of Henry & Louis (Andy Scholes & Jac kLundie), Blue & Red (aka Rob Smith from Smith & Mighty) and renowned Jamaican and UK-basedv ocalists.A musical opus that infuses reggae's rich history into modern rhythms straight outta Bristol.

It all began in the summer of 1997, when Andy Scholes decided to trace the origins of reggae music straight back to its origins; armed with a 16-track reel-to-reel and an abundance of passion,he flew to Jamaica with a desire to record his reggae heroes over riddims built by Rob & Jack in Bristol.

Through a series of unexpected events Andy crossed paths with UB40 in the streets of Kingston.He built a friendship with the band and their lead singer, the legendary Ali Campbell took a ninterest in the project, generously giving Andy free access to his studio in Port Maria allowing him to bring life to ‘Time Will Tell’.

Scholes got in the studio with various Jamaican artists and recorded with Tony Tuff, Prince Green, and Johnny Clarke, each contributing their distinct voices and adding to the album's spiritual and conscious themes. The mystical vibe continued with the participation of other artists like Ghadian, Shalom, Pacey, Ben Dice, and Kerosene Oil, each bringing their own authentic style to the project.

The making of ‘Time Will Tell’ required time, dedication, and the synergy of a like-minded collective. The album embodies the warmth and transformative power of music serving as a driving force for positive change.

22 years after its initial release, the album is freshly remastered and reissued onto 12” vinyl by Dubquake Records!

One of Death Metal's biggest bands, DYING FETUS return with their highly anticipated new album, Make Them Beg For Death. Recorded in Baltimore with longtime producer Steve Wright and mixed by Mark Lewis (Cannibal Corpse), Make Them Beg For Death contains every DYING FETUS hallmark. The veteran Death Metal band’s ninth album is fast, intense, and brimming with unstoppable grooves. Monstrous riffs, blast beats, unstoppable hooks, and earth-moving grooves define their catalog. “We put our own twist on Death Metal,” explains co-vocalist/guitarist John Gallagher. “We were like most bands, starting in the garage, drinking beer, having a little fun on the weekend, finding the right amps through trial and error. We blended aspects of bands we liked – Suffocation, Obituary, Deicide, and Cannibal Corpse, among others; the dual vocal approach of Carcass – and made them our own. ‘Let’s make it moshy, let’s make it slammy.’” Make Them Beg For Death delivers savage beatdowns equally designed to pulverize and mesmerize. “It follows on from where Wrong One To Fuck With left off,” drummer Trey Williams promises. “We don’t need to participate in the technical death metal arms race. We’ve got the big guns, and we’ve proven that. It’s all about pointing them in the right direction, so to speak.” To the men of DYING FETUS, the mission is straightforward. “The philosophy is the same now as it was when the band started,” Gallagher confirms. “To write catchy riffs and to make it memorable. Whatever style of music you’re doing, make it something people want to hear repeatedly.”

Jabee's Am I Good Enough is the prolific OKC hip-hop artist’s most ambitious project to date. Several years in the making, Am I Good Enough compiles four EPs of brand-new music (22 tracks total), each recorded entirely with a different producer. The resulting four EPs each could stand alone as powerful individual works, but combine to make one of the most remarkable and compelling artistic statements of Jabee’s career. Am: produced by Derek Minor I: produced by Blu Good: produced by Conductor Williams Enough: produced by Havoc (of Mobb Deep). Am I Good Enough is available on 2xLP, housed in a gatefold jacket with inner sleeves showcasing each of the four EP’s individual covers.

Before there was Saturday Night Fever there was underground disco. DJs across America went out and found the music to play; dancers went out and found the clubs. At this point, in the early seventies, the disco was the venue and not a genre of music.

By the time Nik Cohn’s short story Tribal Rites of the New Saturday Night was published by New York magazine in June 1976, disco was the biggest genre of music on the charts and was about to get bigger still, becoming an all-enveloping cultural phenomenon. Cohn sold the film rights to Robert Stigwood, and his classic club yarn became Saturday Night Fever.

“Tribal Rites Of The New Saturday Night” is the soundtrack to Cohn’s story, where disco began; a 1975 score for the underground clubs of Brooklyn and Queens that played R&B, soul and Latin beats to people who lived for the weekend.

Bob Stanley has put this collection together, sourcing what was actually played in Brooklyn discos in 1974 and 1975. Only a few specific records were mentioned in Cohn’s feature, but two of them – Ben E King’s ‘Supernatural Thing Part 1’ and Harold Melvin’s ‘Wake Up Everybody’ - were cosmically great and both are included here, alongside underground favourites like Moment Of Truth’s Four Tops-like ‘Helplessly’ and Gloria Scott’s Barry White-produced modern soul classic ‘Just As Long As We’re Together’. Ivano Fossati’s incredible ‘Night Of The Wolf’ has fans in northern soul, disco and prog circles.

Without Cohn’s original story, it’s quite possible that disco would have remained an underground phenomenon – “Tribal Rites Of The New Saturday Night” paints a scene in full flower. Saturday Night Fever would eventually, if unintentionally, wreck the underground nature of this scene, and clubs like Studio 54 would destroy the democracy of the party, but for two or three years the scene was largely undocumented and magical. This album is the sound of disco before it was captured.

Ultramarine are an English electronic music duo, formed in 1989 by Ian Cooper and Paul Hammond.

Cooper and Hammond first worked together in the band A Primary Industry during the mid-1980s. Following the split of that band, they formed Ultramarine and released their debut album 'Folk' in April 1990 on seminal Belgian label Les Disques du Crépuscule. The duo found critical acclaim with their second long player, 'Every Man And Woman Is A Star', initially released in 1991. Over the next decade or so, they recorded two John Peel sessions, collaborated with Robert Wyatt, toured the States with Orbital, then Europe with Björk. After a hiatus, they began recording again in Ian's home studio, overlooking the Blackwater Estuary in Essex.

The moods and movements of this English estuary can be heard running through the duo's stunning and deeply intriguing new album 'Send and Return'.

Flowing and mutating as it transitions from an Essex river into the open sea, the Blackwater Estuary, north of London, inspired this beguiling collection of hypnotic jazz, itching electronica and softly dazzling ambient shapes.

For the 6-track album, Paul and Ian hired a Thames sailing barge moored on the estuary for one day and recorded below deck in the ship's downstairs wooden saloon; the idea was originally inspired by seeing Robin Williamson of The Incredible String Band perform on a similar barge.

The duo were joined by jazz musician Greg Heath and accomplished percussionist Ric Elsworth for the day, who added stunning saxophones, alto flute, percussion and vibraphone to the mix. It's a contemplative, ambient record with gentle jazz inflections and softly pulsing electronica.

Nucleus's Elastic Rock is undisputedly a milestone in Jazz-Rock. A beautiful and vital debut album, it was first released on Vertigo in 1970. Original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

The very title Elastic Rock could be regarded as the group's MO, describing a melting point between their rock and jazz impulses. Indeed, housed in a memorable gatefold jacket designed by Roger Dean, the die cut molten teardrop shape on the front sleeve opens to reveal a fiery volcanic crater. On the back, Dean's drawing has Carr with saxophonist Brian Smith, guitarist Chris Spedding, drummer John Marshall, bassist Jeff Clyne and sax, oboe and pianist Karl Jenkins in a circle, the central core of a movement and the basis for its activity.

Recorded over four days in January 1970, Elastic Rock didn't sound like any other British jazz album. Exploding out the gate, "1916" opens with Marshall's frantic pounding before melancholic horns enter. The smooth title track, "Elastic Rock" is just a gorgeous electric blues track. Light drums, gentle melodic horns, piano and a solid bassline serve as the perfect bed for Spedding's graceful bluesy guitar melodies. The serene "Striation", a Clyne and Spedding collaboration, is led by bowed bass and is the epitome of calm before the late night laid back vibe of "Taranaki" breezes along sweetly and smoothly with great trumpet and tenor.

The truly emotional "Twisted Track" is elegant with horns, while guitar is gently played with drums and bass. Initially deeply soothing, it gradually builds with various solos and duets. "Crude Blues (Part 1)" features an excellent oboe part by Jenkins with laconic guitar helping out. "Part 2" is livelier, with a heavy backbeat and great wind parts. "1916 (Battle Of Boogaloo)" features a steady bassline and great call and response parts from the horn section.

The highly-charged centrepiece of the record, the mesmeric epic "Torrid Zone" features an hypnotic bassline and hi-hat with some of the ensemble's best soloing. Brilliantly encapsulating the jazz fusion aesthetic so desired by the group, the rhythm section is rock-influenced but magically retains a laid-back jazz vibe. Just perfection. Spacey jazz in the style of In a Silent Way, the semi-ambient "Stonescape" features smooth, muted brass, warm, smokey keys and a barely-there rhythm section. Heavenly.

The bubbling, fragile restraint of "Earth Mother" partially utilises the "Torrid Zone" bassline but takes the energy in a different direction with Marshall's frenetic drumming and Spedding's unpredictable riffing. Next comes the very idiosyncratic drum solo track by Marshall in the appropriately-titled "Speaking for Myself, Personally, in My Own Opinion, I Think." The album closes with the raucous "Persephones Jive", a track that ends the album frantically, riotously, just as it began.

This Be With edition of Elastic Rock has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut gatefold sleeve has been restored in all its molten glory.

Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.

The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.

The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.

This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.

What a record! The outstanding Solar Plexus, the much-loved third album from Ian Carr and Nucleus, was first released on Vertigo in 1971. Inevitably, original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll let Ian describe this one: "I wrote Solar Plexus' last year with the help of an Arts Council grant. It is based on two short themes which are stated at the beginning (Elements I & I1). The first theme is angular and has a slow, crab-like movement: the second theme is direct, simple and diatonic. CHANGING TIME and SPIRIT LEVEL explore the first theme and BEDROCK DEADLOCK and TORSO explore the second one. SNAKEHIPS DREAM tries to fuse both themes. (The title is a reference to the famous dancer 'Snakehips' Johnson)."

Solar Plexus features the same lineup as Elastic Rock and We'll Talk About It Later, but they're augmented by six guests, three of which play brass. Carr himself had almost full control of the writing and it does feel very different to the previous albums. It's more of a jazz record loosely based on a rock foundation rather than jazz fusion jamming.

The haunting synth-and-bass soundscape "Elements I and II" opens the album in dramatic, experimental fashion. It gives way to the bright, funky feel-good jazz of "Changing Times". An elegant onslaught of horns, courtesy of guests Kenny Wheeler and Harry Beckett, ride a solid groove for the duration. How the brass refrains have eluded samplers is beyond us. The melancholic "Bedrock Deadlock" features the brooding majesty of Jenkins' oboe and Clyne's mournful, skittering double bass. Wah wah guitar, drums and funky percussion then take over before the horns ride us out over frenetic beats. The dark, angular "Spirit Level" is a real highlight, by turns harmonic and beautiful then dissonant and wayward. Wonky jazz with no apparent structure or melodic bones. Regardless, it represents a great showcase for each virtuoso performer.

The breezy soul of "Torso" feels like a breath of fresh air, skipping along in the uptempo style with guitar, horns, drums and bass. A track which truly sounds scintillating, featuring sax solos, fantastic propulsive interplay from all the group around the halfway stage before Marshall gets his chance to really shine in closing out with a polyrhythmic drum solo. Final track "Snakehips' Dream" stretches cooly out over 15 minutes to round out a spellbinding album. An epic, suave groove, it's a relaxing piece with warm electric keys, laconic guitar and languorous horns. Truly sophisticated soulful jazz. An absolute masterclass. We could easily listen to this all day long.

This Be With edition of Solar Plexus has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored to complete this sensational package.

The double vinyl containing the OST of music inspired by the docu-film "I RAGAZZI DEL COLUMBUS", these tracks just want to
tell the true story of an unrepeatable Era, of clubs, DJs and the generation that gave birth to the socio-cultural revolution which, starting in Italy between 1974 and 1985, it then spread throughout Europe, all with a passion for afro / disco /
funky music, which from the "Columbus" square in Riccione then spread everywhere. Thanks to djs and clubs

Fat Albert Rotunda is the venture into jazz-funk by keyboardist Herbie Hancock. The record is centered around the music Hancock wrote the Fat Albert cartoon show. It's one of the records which appeared in the period between his landmark album Maiden Voyage of 1965 and his 1973 classic Head Hunters. Fat Albert Rotunda is a unique item in Herbie Hancock's long and diverse catalog, with funky tracks like 'Fat Mama' and modern jazz-oriented tunes like 'Tell Me A Bedtime Story'. The sextet which is backing Hancock consists of some of the most prominent musicians of that time, like Joe Henderson on tenor sax, Johnny Coles on trumpet and Buster Williams on the bass.

Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. As he was a bit of a geek, he enjoyed gadgets & buttons and he was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an original and distinctive voice.

Liverpool-born drummer Aynsley Dunbar was one of the most respected musicians on the international rock scene of the late ‘60s. His work with trailblazers such as John Mayall, David Bowie, Lou Reed and Frank Zappa, with whom he had a lengthy association, have assured his place in history. But Dunbar also laid down a marker as a bandleader in his own right. His debut album, Doctor Dunbar’s Prescription was a confident set of electric blues that was full of snappy tunes and high energy riffing. Recorded in 1971, Blue Whale is considerably more experimental, though. It is really a case of Dunbar drifting towards a hybrid of progressive rock and pyschedelia not far removed from Zappa’s surreally comic, bitingly sardonic world. And indeed the cover of his seminal ‘Willie The Pimp’ is one of the highlights of the set. Accompanied by excellent rhythm section players and soloists such as guitarists Ivan Zagni and Roger Sutton, bassist Peter Friedberg, pianist-organist Tommy Eyre, and vocalist Paul Williams, Dunbar hit a creative peak here that is emphatically maintained elsewhere on the album, which has mostly long pieces full of notable light and shade. This newly re-mastered version of Blue Whale puts one of the highpoints of Aynsley Dunbar’s illustrious career back under the spotlight. He was rightly inducted into the Rock & Roll Hall Of Fame in 2017 and there could be no more fitting example of his achievement than an album that sounds impressively fresh 50 years after it was made.

Memoirs of a Geisha (2005) is the award-winning drama film adaptation of the novel of the same name, produced by Steven Spielberg's Amblin Entertainment. The original score and songs were composed and conducted by John Williams (the Star Wars & Indiana Jones trilogies, Jaws, Close Encounters of the Third Kind, and many more). The album won the Golden Globe Award for Best Original Score, BAFTA Award for Best Film Music and the Grammy Award for Best Score Soundtrack for Visual Media. It was also nominated for the Academy Award for Best Original Score.

Directed by Rob Marshall, the film stars Zhang Ziyi and Ken Watanabe amongst others. The story revolves around a young girl who is sold by her family to an okiya, a geisha house. Her new family then sends her off to school to become a geisha. The story focuses on her struggle as a geisha to find love, while in the process making a lot of enemies. The film was nominated for and won numerous awards, including nominations for six Academy Awards, eventually winning three: Best Cinematography, Best Art Direction and Best Costume Design.

Memoirs Of A Geisha is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl. The package includes an insert and side D contains an etch.

A stalwart of the Leeds music scene for the best part of 3 decades, Tony Burkill has so far maintained a low profile nationally, choosing to favour continued study and development of the instrument over the attainment of success or recognition within the music industry. Working as a sideman for hire on the local circuit, he has impressed audiences with his powerful and gutsy approach to improvisation and has been a well-kept secret amongst both musicians and audiences in the north of England since the 1980s.Recently featuring as a guest soloist on the debut album by The Sorcerers, Tony has been on the radar of ATA Records since the inception of the label. Impressed by his exuberant and earthy performance style they decided to embark on the writing and production of what was to become "Work Money Death", choosing to frame his playing in the context of the performers that have helped to shape his sound, most notably the spiritual jazz of the 60s and 70s.

"Work Money Death"explores the foundations laid by the great Tenor players of the 60s & 70s: Gato Barbieri, Pharoah Sanders, John Klemmer and John Coltrane, taking inspiration from their work and using it as a springboard for Tenor Saxophonist Tony Burkill's improvisation. Co-written with Bassist Neil Innes, the album attempts to frame Tony's playing within the context of that which has been most influential to him over the span of a 20+ year long career. Featuring on the record are Drummer Sam Hobbs (The Electric Doctor M and Producer of Matthew Bourne's Moogmemory), Bassist Neil Innes (The Sorcerers, Eddie Roberts' Roughneck), Pianist George Cooper (Abstract Orchestra), Percussionist Pete Williams (The Sorcerers) and features a guest performance from Pianist Matthew Bourne on the track "Beginning and End".

Support and airplay from Gilles Peterson (BBC6 Music, Worldwide FM), Jamie Cullum (BBC Radio 2). Good reviews have so far been forthcoming from the likes of Jazzman Gerald and Nat Birchall who described it as sounding "like a lost album from the spiritual jazz scene of the 1970s".

DOUBLE BLACK LP : 2 x 140 G Black Vinyl , Sleeve & 2 x Heavy Weight Printed Inner with UV Gloss Finish

Legendary electronic music duo Orbital return Early 2023 with new album “Optical Delusion”, the Hartnoll brothers first studio album since 2018’s Monster’s Exist. Recorded in Orbital’s Brighton studio, “Optical Delusion” includes contributions from Sleaford Mods, Penelope Isles, Anna B Savage, The Little Pest, Dina Ipavic, Coppe, and perhaps most surprisingly, The Medieval Baebes.
Earlier this year, Orbital celebrated their storied history with “30 Something” which, unlike other Best Of’s, contains reworks, remakes, remixes and re-imaginings of landmark Orbital tracks including “Chime”, “Belfast”, “Halcyon”, “Satan”, and “The Box”

SHORT BIOG:

“A human being experiences himself, his thoughts and feelings as something separate from the rest of humanity – a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves from this prison…”

You many have seen this quote attributed to Albert Einstein on social media, the archetypal Smartest Guy Ever apparently having an out-of-character religious epiphany. It certainly leapt out at Paul Hartnoll of Orbital who spotted it in Michael Pollan’s 2018 book How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression and Transcendence.

“As soon as I saw ‘optical delusion’ I thought Oh hey, that’s the album title,” says Paul. “It just seemed to say so much about how people construct their own realities, how we see patterns that aren’t there, how we see what we want to see.

“But it’s actually a misquote. He never quite said that. In the German original what he’s really saying is that human experience is as relative as physics. Wouldn’t it be good if we could accept that, and find a kind of universal theory of everything for the human race? Then you look at everything from history to art to your Twitter feed and you think yeah, that’s what we’re all trying to do all of the time…”

Hence ‘Optical Delusion’, the tenth original Orbital album and the latest in a burst of renewed post-pandemic creativity for two brothers who’ve stayed at the top of their game longer than anyone from the post-1988 Class of Acid House.

Now with ‘Optical Delusion’ the Hartnolls dig deeper into the unquiet psyche of our increasingly surreal and disordered world. Sketched out partly during lockdown but fully recorded in the uncertain After Times, the album summons up conflicting emotions and sometimes beguiling images from years when the science fiction doomsdays that the Hartnolls watched on TV as kids finally came true. There are mesmeric tracks with names like ‘The New Abnormal’ and ‘Requiem For The Pre-Apocalypse’ and ‘Day One’. But there are also straight-up bangers and ethereal cosmic dreams, abstract sound wars and deeply human songs of separation and loss.

And it all starts with a bang. Lead single ‘Dirty Rat’, an outright Fall-meets-Front-242 class rant with vocals by Sleaford Mods mob orator Jason Williamson, harks right back to the Hartnolls’ days of politicised anarcho-squatpunk. It began as a remix swap (Orbital did the Sleafords’ ‘I Don’t Rate You’) and morphed into a comic, brutal, bass-driven harangue not so much against our rulers but at the petty, mean-spirited, frightened, Mail-reading voters who put them there: the people who are “blaming everyone in hospital/blaming everyone at the bottom of the English Channel/blaming everyone who doesn’t look like a fried animal.”

Also key to the album is opening track ‘Ringa Ringa (The Old Pandemic Folk Song)’ which returns to an Orbital truism, that time always becomes a loop. This chugging, cyclical Orbital groove gives way to an unnerving past-meets-present timeslip fit for ‘Sapphire And Steel’ as goth maenads The Mediaeval Baebes materialise to sing ‘Ring O’Roses’ – the innocent nursery rhyme whose roots are in the Black Death.

“I’ve always liked folk music and mediaeval sounds,” says Paul, himself an occasional Morris dancer. “I had the basis of that track and I wanted to spin it off somehow.” Trawling his archives he stumbled on The Mediaeval Baebes’ version of ‘Ring O’Roses’ “and my hackles just went up. I was like, my God, this is the original pandemic folk song.”

?his being Orbital, there are collaborations galore on the album, the roles once played by Alison Goldfrapp, Lady Leshurr or David Gray now filled by new talents. London singer-songwriter Anna B Savage contributes a compellingly fragile, Anohni-like vocal to ‘Home’, in which nature reclaims the scorched and vacant mega-cities. ‘Day One’ is a pulsing techno track featuring the singer Dina Ipavic. Paul got in touch with her after working on a score for a sculpture show of giant robotic installations by his friend Giles Walker during the pandemic. First Paul cut up his own score and Ipavic’s vocals on the track The Crane, which appears on the deluxe version of the album. Then he thought, Why not work with her for real? The result is school of ‘Belfast’, a bassy dreamscape with vocalised clouds billowing above.

The pensive ‘Are You ?live?’ adds to the Orbital product range of existential questions (‘Are We Here?’, ‘Where Is It Going?’) in collaboration Bella Union signings Penelope Isles, AKA brother and sister act Lily and Jack Wolter. “They’re our studio mates, they work upstairs!” says Paul happily. “And they’ve both got amazing voices.”


But Orbital are Orbital and never far from the dancefloor. “Eventually the more abrasive bits came back into the fold…” ‘You Are The Frequency’, first of two tracks to feature mysterious vocalist The Little Pest, surrounds the listener with warped voices ordering you to the dancefloor (Phil: “we wanted the idea that the music is kind of absorbing you”). And the second, the sinister ‘What A Surprise’, traps you in a paranoid electronic hall of mirrors.

In another nod to Orbital’s resurgent past the cover artwork once again comes from fine art painter John Greenwood, creator of fantastical grotesques for the covers of ‘Snivilisation’, ‘In Sides’ and Orbital’s most recent album, 2018’s ‘Monsters Exist’. Orbital had just had a slick Mark Farrow cover for ‘30 Something’ – this is a return to the overripe and bulbous techno-organic constructions that somehow express Orbital’s own uncontrollably fertile sound.

There are gaps in the future that Orbital are desperate to fill too; there will be tours and festivals and rooms and fields full of people. Those long paralysed months when we had little to look forward to but a Zoom DJ set made Paul and Phil appreciate the things that make life worth living.

2 x Solid White LP, 5mm spine Sleeve UV Gloss Finish, 2x Heavy Weight Printed Inner Sleeve UV Gloss finish, marketing sticker.

Legendary electronic music duo Orbital return Early 2023 with new album “Optical Delusion”, the Hartnoll brothers first studio album since 2018’s Monster’s Exist. Recorded in Orbital’s Brighton studio, “Optical Delusion” includes contributions from Sleaford Mods, Penelope Isles, Anna B Savage, The Little Pest, Dina Ipavic, Coppe, and perhaps most surprisingly, The Medieval Baebes.
Earlier this year, Orbital celebrated their storied history with “30 Something” which, unlike other Best Of’s, contains reworks, remakes, remixes and re-imaginings of landmark Orbital tracks including “Chime”, “Belfast”, “Halcyon”, “Satan”, and “The Box”

SHORT BIOG:

“A human being experiences himself, his thoughts and feelings as something separate from the rest of humanity – a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves from this prison…”

You many have seen this quote attributed to Albert Einstein on social media, the archetypal Smartest Guy Ever apparently having an out-of-character religious epiphany. It certainly leapt out at Paul Hartnoll of Orbital who spotted it in Michael Pollan’s 2018 book How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression and Transcendence.

“As soon as I saw ‘optical delusion’ I thought Oh hey, that’s the album title,” says Paul. “It just seemed to say so much about how people construct their own realities, how we see patterns that aren’t there, how we see what we want to see.

“But it’s actually a misquote. He never quite said that. In the German original what he’s really saying is that human experience is as relative as physics. Wouldn’t it be good if we could accept that, and find a kind of universal theory of everything for the human race? Then you look at everything from history to art to your Twitter feed and you think yeah, that’s what we’re all trying to do all of the time…”

Hence ‘Optical Delusion’, the tenth original Orbital album and the latest in a burst of renewed post-pandemic creativity for two brothers who’ve stayed at the top of their game longer than anyone from the post-1988 Class of Acid House.

Now with ‘Optical Delusion’ the Hartnolls dig deeper into the unquiet psyche of our increasingly surreal and disordered world. Sketched out partly during lockdown but fully recorded in the uncertain After Times, the album summons up conflicting emotions and sometimes beguiling images from years when the science fiction doomsdays that the Hartnolls watched on TV as kids finally came true. There are mesmeric tracks with names like ‘The New Abnormal’ and ‘Requiem For The Pre-Apocalypse’ and ‘Day One’. But there are also straight-up bangers and ethereal cosmic dreams, abstract sound wars and deeply human songs of separation and loss.

And it all starts with a bang. Lead single ‘Dirty Rat’, an outright Fall-meets-Front-242 class rant with vocals by Sleaford Mods mob orator Jason Williamson, harks right back to the Hartnolls’ days of politicised anarcho-squatpunk. It began as a remix swap (Orbital did the Sleafords’ ‘I Don’t Rate You’) and morphed into a comic, brutal, bass-driven harangue not so much against our rulers but at the petty, mean-spirited, frightened, Mail-reading voters who put them there: the people who are “blaming everyone in hospital/blaming everyone at the bottom of the English Channel/blaming everyone who doesn’t look like a fried animal.”

Also key to the album is opening track ‘Ringa Ringa (The Old Pandemic Folk Song)’ which returns to an Orbital truism, that time always becomes a loop. This chugging, cyclical Orbital groove gives way to an unnerving past-meets-present timeslip fit for ‘Sapphire And Steel’ as goth maenads The Mediaeval Baebes materialise to sing ‘Ring O’Roses’ – the innocent nursery rhyme whose roots are in the Black Death.

“I’ve always liked folk music and mediaeval sounds,” says Paul, himself an occasional Morris dancer. “I had the basis of that track and I wanted to spin it off somehow.” Trawling his archives he stumbled on The Mediaeval Baebes’ version of ‘Ring O’Roses’ “and my hackles just went up. I was like, my God, this is the original pandemic folk song.”

?his being Orbital, there are collaborations galore on the album, the roles once played by Alison Goldfrapp, Lady Leshurr or David Gray now filled by new talents. London singer-songwriter Anna B Savage contributes a compellingly fragile, Anohni-like vocal to ‘Home’, in which nature reclaims the scorched and vacant mega-cities. ‘Day One’ is a pulsing techno track featuring the singer Dina Ipavic. Paul got in touch with her after working on a score for a sculpture show of giant robotic installations by his friend Giles Walker during the pandemic. First Paul cut up his own score and Ipavic’s vocals on the track The Crane, which appears on the deluxe version of the album. Then he thought, Why not work with her for real? The result is school of ‘Belfast’, a bassy dreamscape with vocalised clouds billowing above.

The pensive ‘Are You ?live?’ adds to the Orbital product range of existential questions (‘Are We Here?’, ‘Where Is It Going?’) in collaboration Bella Union signings Penelope Isles, AKA brother and sister act Lily and Jack Wolter. “They’re our studio mates, they work upstairs!” says Paul happily. “And they’ve both got amazing voices.”


But Orbital are Orbital and never far from the dancefloor. “Eventually the more abrasive bits came back into the fold…” ‘You Are The Frequency’, first of two tracks to feature mysterious vocalist The Little Pest, surrounds the listener with warped voices ordering you to the dancefloor (Phil: “we wanted the idea that the music is kind of absorbing you”). And the second, the sinister ‘What A Surprise’, traps you in a paranoid electronic hall of mirrors.

In another nod to Orbital’s resurgent past the cover artwork once again comes from fine art painter John Greenwood, creator of fantastical grotesques for the covers of ‘Snivilisation’, ‘In Sides’ and Orbital’s most recent album, 2018’s ‘Monsters Exist’. Orbital had just had a slick Mark Farrow cover for ‘30 Something’ – this is a return to the overripe and bulbous techno-organic constructions that somehow express Orbital’s own uncontrollably fertile sound.

There are gaps in the future that Orbital are desperate to fill too; there will be tours and festivals and rooms and fields full of people. Those long paralysed months when we had little to look forward to but a Zoom DJ set made Paul and Phil appreciate the things that make life worth living.

The summer of 1982 saw the release of some of the most culture-defining films of our lifetime (STAR TREK II: THE WRATH OF KHAN, POLTERGEIST, TRON, CONAN THE BARBARIAN, THE THING, THE ROAD WARRIOR ... just to name a few!)

But few have had nearly the same impact on film music as the legendary sixth collaboration between Steven Spielberg and John Williams: E.T. THE EXTRA-TERRESTRIAL.

Mondo, along with Geffen Records and Universal Pictures, are proud to celebrate forty years of E.T., with an all new re-issue of John Williams' timeless, essential and period-defining score.

Reissue Produced by Bruce Botnick & Mike Matessino

Composed and Conducted by John Williams
Artwork by Dan McCarthy
Liner Notes by Mike Duquette
Manufactured in Czech Republic

‘Living Rooms’ is a full-blooded debut of rich, playful, experimental pop from the artist Fe Salomon – full of unabashedly big songs and sumptuously big sounds. Fe’s soulful and arresting lead vocals weave amongst soaring strings and big band brass sections; clattering percussion and disjunctive rhythms; dirty electro synth and butchered guitar. A collaboration with producer and contemporary classical composer Johnny Parry, ‘Living Rooms’ is a true pop album with a distinct, exuberant and deeply generous sound.

Born in Northampton, Fe moved to London at 18 for a place at Theatre College; but soon left to concentrate on music and songwriting, falling quickly into the Camden music scene, and earning her a prolific career as a singer. Building on her diverse musical background and honing her unusual sonic style, this album has been percolating at the back of Fe’s mind for a long time. The perfect storm of personal and external factors thus created the moment to make it. ‘Living Rooms’ tells stories of multiple lives lived and lost

in the city, of friendships that meant everything and the characters you’ll never meet again, of transience and loneliness, and of getting by and moving on.

At the forefront of the album is an organic and fiercely honest lead vocal performance. However, Fe permits her voice to be twisted and distorted into the fabric of the instrumentation. The un-doctored lead vocals are frequently haunted by angels and demons, created through Fe’s uninhibited willingness to this manipulation, and capturing the more visceral emotions within the expression of the human voice.

‘Living Rooms’ navigates a wide spectrum of sounds and emotions. Take album opener “Polka Dot”, a track that mixes emotive vocals with an avant-garde alt/pop production to conjure a cut as stylish as it is shrouded in shadowy mystique. A track “about mourning innocence, and the darkness that’s picked up along the way, with an ‘up yours’ sarcastic tone, and not wanting to grow old”, it sets the scene for a twisting collection that up-ends expectations at every opportunity.

Elsewhere, the chunky hooks of “Super Human”, the sci-fi/country/big band of “Wired of Caffeine”, or the intimately sung vocals and Vaughan-Williams-esque string sections of “Taxicabs”, all contribute to an album that evolves like a rich and constantly surprising tapestry.

Although the conception of the album was a frenzy of wild experimentation. The album is faithful too, and celebratory of many joyous pop traditions; but searches for ways to reinterpret the familiar. And no less so than on the off-kilter centre-piece “Quintessential England”. Through wry lyricism and vivid imagination, the track paints a lucid, if lonely, depiction of a life lived out in the sticks; one that ultimately arrives at the conclusion that perhaps “the grass isn’t always greener”.

Gifted with the kind of superpowers that have blessed Alison Goldfrapp with her unwavering glam-pop allure and Stevie Nicks with that invincible soul, Fe Salomon’s empowering first release will prove she’s cut from the same cloth and ready to be your newest musical hero.

John Scofield's first guitar-solo-recording ever gives a résumé of all the
influences and idioms he has cultivated over his career in performances
on guitar, accompanied by his own rhythmic pulse and chordal backing
using a loop machine
Besides jazz, John is known to have always also had a soft spot for the rock and
roll and country music he grew up with, revealed here in unencumbered renditions
of Buddy Holly's "Not Fade Away" and Hank Williams' "You Win Again". Between
elegant and personal readings of standards, like "It Could Happen To You", the
traditional "Danny Boy" and Keith Jarret's "Coral", Scofield presents his own
timeless compositions - some new, others known.
For the guitarist, it's all about "the way you get the sound out of the string and
what you do with it after you attack it."
John Scofield: electric guitar and looper
Press:
"Scofield is as fiery as ever, plugged in and using loops to give himself a
background groove on some of his gritty originals or putting a punkish spin on
romantic ballads." - **** The Times
"This isn't an album to listen to in a hurry; but if you were pressed for time, the last
two tracks alone would give you a sense of Scofield's extraordinary range. The
bebop- heavy Trance De Jour is antic, angular, questing. But then we close with
You Win Again, a Hank Williams cover, serene as a sunset over the prairie." - ****
The Daily Telegraph
"Here he has distilled his decades in this crazy business into a baker's dozen of
songs that may appear modest in ambition - only one track runs to more than five
minutes, several run to barely three - yet is mighty in impact...This album needed
no other title. This is John Scofield." - **** Jazzwise
"(8/10) The result offers an intimate insight to Sco's skills as both guitarist and
arranger. It's a late-night album - quiet, introspective and really quite beautiful, too,
with Sco's musical soul laid bare before us." - Guitarist

Wenn ,Black Stabat Mater" das Album ist, mit dem sich das HEDVIG MOLLESTAD TRIO auf neues Terrain wagt, dann ist ,Evil In Oslo" die Zusammenfassung der früheren Jahre, obwohl es tatsächlich auch eine klare Verbindung zwischen beiden Alben gibt. Während die neun Performances hier von den ersten drei Studioalben stammen, sind die meisten längere Workouts, die HEDVIG als selbstbewusste und talentierte Gitarristin zeigen. Aufgenommen in den Osloer Clubs ,John Dee" und ,Buckley's" ist ,Evil In Oslo" ein kraftvolles Livealbum, das sich auf ein hohes Level an musikalischem Können stützt und eine perfekte Balance zwischen Freiheit und Disziplin eingeht. Diese qualitativ hochwertigen Aufnahmen fangen sowohl die pure Energie als auch die kleinsten Details auf ganz großartige Art und Weise ein. Mit Linernotes von Richard Williams. ENG Reissued! If "Black Stabat Master" can be seen as moving into new terrains, then "Evil In Oslo" can serve as a summing up of the previous years, although there is also a clear link between the albums. While the nine live performances presented here all come from their first three studio albums, most are lenghty workouts again showing Hedvig as a very confident and accomplished solo guitarist. Recorded at Oslo clubs John Dee and Buckley's, "Evil In Oslo" is simply a kick ass live album (never thought we'd ever use that expression, but there you go), with a very high level of musicianship and a perfect balance between freedom and discipline. The hi-res recordings capture both the energy level and all the details in a marvellous way! Liner notes by Richard Williams.

Wenn ,Black Stabat Mater" das Album ist, mit dem sich das HEDVIG MOLLESTAD TRIO auf neues Terrain wagt, dann ist ,Evil In Oslo" die Zusammenfassung der früheren Jahre, obwohl es tatsächlich auch eine klare Verbindung zwischen beiden Alben gibt. Während die neun Performances hier von den ersten drei Studioalben stammen, sind die meisten längere Workouts, die HEDVIG als selbstbewusste und talentierte Gitarristin zeigen. Aufgenommen in den Osloer Clubs ,John Dee" und ,Buckley's" ist ,Evil In Oslo" ein kraftvolles Livealbum, das sich auf ein hohes Level an musikalischem Können stützt und eine perfekte Balance zwischen Freiheit und Disziplin eingeht. Diese qualitativ hochwertigen Aufnahmen fangen sowohl die pure Energie als auch die kleinsten Details auf ganz großartige Art und Weise ein. Mit Linernotes von Richard Williams. ENG Reissued! If "Black Stabat Master" can be seen as moving into new terrains, then "Evil In Oslo" can serve as a summing up of the previous years, although there is also a clear link between the albums. While the nine live performances presented here all come from their first three studio albums, most are lenghty workouts again showing Hedvig as a very confident and accomplished solo guitarist. Recorded at Oslo clubs John Dee and Buckley's, "Evil In Oslo" is simply a kick ass live album (never thought we'd ever use that expression, but there you go), with a very high level of musicianship and a perfect balance between freedom and discipline. The hi-res recordings capture both the energy level and all the details in a marvellous way! Liner notes by Richard Williams.

Mondo, in conjunction with WaterTower Music, is proud to present the premiere vinyl pressing of Hans Zimmer’s incredible score to WONDER WOMAN 1984.

Featuring incredible artwork by La Boca and housed in a tri-fold jacket with holo-foil elements, with liner notes by writer and director Patty Jenkins, the vinyl pressing is available on 3x 180 Gram Swirl colored vinyl.

Hans Zimmer’s score to WONDER WOMAN 1984 is quite possibly our favorite piece of superhero film scoring since John Williams’ SUPERMAN: THE MOVIE (1978), and Danny Elfman’s BATMAN (1989). We know that sounds hyperbolic, but even before our test pressings arrived, it was one of our most listened to albums on Spotify of the last 6 months. It’s that good. We can’t wait for you to hear how good it sounds on vinyl, out of big speakers.

Composed by Hans Zimmer
Artwork by La Boca
Manufactured in the Czech Republic

Eugene Lamont Johnson a.k.a E Lamont Johnson or Lamont Johnson holds the distinction of being the first internationally recognized fretless bassist in R&B music. Born April 20th 1955 in Highland Park, Michigan. Lamont rose to prominence as a session musician on Gloster Williams &The King Vision’s 1977 gospel album project “Together” (Gospel Roots -5005). In the same year Lamont featured as part of the celebrated Detroit based band Brainstorm their best-selling 1977 album “Stormin’” for Tabu Records. Brainstorm was initially formed during 1975 by bandleader and saxophonist Charles ‘Chuck’ Overton, and included lead vocalist Belita Woods, Lamont Johnson on Fretless bass, Renell Gonsalves on drums, Trenita ‘Treaty’ Womack on percussion, flute and backing vocals, Bob Ross (a.k.a Professor RJ Ross) on keyboards, Gerald ‘Jerry’ Kent on guitar, Jeryl Bright on trombone and ‘Leaping’ Larry Sims on trumpet and flugelhorn. The album was recorded during 1976 and released the following year. It contained the disco hit “Loving Is Really My Game” the popular “Wake Up And Be Somebody” and the radio hit “This Must Be Heaven” a beautifully crafted ballad featuring the lead vocals of Lamont which still receives continued airplay to this day. Lamont did not feature on the band’s two subsequent album projects “Journey To The Light” (Tabu 35327) in 1978 and “Funky Entertainment” (Tabu 35749) in 1979.

The year1978 was to prove to be one of the most prolific of Lamont’s recording career, playing bass on three studio albums. Firstly, on Hamilton Bohannon’s “On My Way” (Mercury SRM-i-3710), Jimmy McKee’s “First Time Out” (Champion- 8083N5) and Keith Barrows “Physical Attraction” (Columbia JC-35597) albums respectively. The final project of that year would be Lamont’s own album project “Music Of The Sun” (Tabu-35455) featuring Lamont on both bass guitar and vocals, the album also spawned two lead 45’s “Sister Fine/Yours Truly, Discreetly” and “Hey Girl/Differently”.

During 1979 Lamont would feature as a guest bassist on a further two studio album projects, firstly the self-titled debut album of fellow Detroit musicians Chapter 8 (Ariola 50056) followed by another self-titled album “Nightflyte” (Ariola 50060) who’s line-up included Howard Johnson prior to him embarking on a solo career. During 1980 Lamont began work on a second solo album for Tabu. Two lead 45 singles were recorded “Rock You Baby/Something More” (Tabu ZS9-5521) followed by the album’s title song “Rhumba” backed with the modern soul favourite “Masta Luva” (ZS9-5525) for whatever reason CBS/Tabu decided to shelve the remainder of the project. Later recording projects to feature Lamont instrumental talents were Was Not Was ‘s “Tell Me I’m Dreaming and Robert Lowe’s “Double Dip” jazz funk album. Later solo CD album projects from Lamont, “This Must Be Heaven” arrived in 2004 and “Amore’ Dance” in 2001 both on his own Allee Records Label. From the mid 70’s through to the present day, Lamont has been a notable electric bass instructor in the Detroit area and beyond. As well as the previously mentioned projects, Lamont and many of his prot’eg’es work can be found on many other world renown artists recording projects the most notable being, Earth Wind & Fire, The Dramatics, Anita Baker, Lady Gaga, Alicia Keys, Phyllis Hyman, Beyonce, Howard Johnson, David T. Walker, Aretha Franklyn, Stevie Wonder, Herbie Hancock, George Duke, The Temptations, The Winans amongst others.

Fast forward to the present and Soul Junction have licensed two previously unissued dance orientated Lamont Johnson produced compositions for this 45sinlge release with more to come. Under the project/artists name of “Lamont Johnson & Eugene” the recordings feature several different local Detroit musicians and vocalists. The a-side is a male vocally led early 90’s mid-tempo feel good dance number. While the b-side in contrast is a more synthesized bass driven 80’s female dancer which should appeal to the Boogie crowd,

Enjoy.

White Vinyl LP. RIYL: Aldous Harding, Jenny Hval, Marlon Williams, Joni Mitchell, Leonard Cohen. Revered Sydney songwriter Laura Jean returns with new album Amateurs, her first record since the much-celebrated Devotion in 2018. Amateurs is a stunning, string-laden album, set at a mystical midway point between the deep synth-pop of Devotion and the folkier sounds of Laura’s earlier work. The album features backing vocals from Aldous Harding and Marlon Williams on three songs (Teenager Again, Amateurs and Folk Festival). Laura worked with producer Tim Bruniges around Sydney’s long 2020-2021 lockdowns. Erkki Veltheim (Gurrumul, Cat Power) arranged gorgeous strings for the album, which were recorded in Melbourne by Devotion producer John Lee. Amateurs is an album about anti-art and anti-intellectual culture in Australia (but applies equally to other parts of the world). It sees Laura questioning her role as a songwriter and examining the reality of her choices to prioritise art over other parts of her life. It is also a warm hearted, humorous and sonically breathtaking album. “Amateurs means to do something for love, not money, and somehow it’s become a dirty word, shorthand for a failure,” says Laura. “These songs arise from my acceptance that I will always be an ‘amateur’.” 2018 album Devotion had superlative reviews from Pitchfork, Gorilla Vs Bear and elsewhere, and made it into end of year lists for Spin, Idolator, Apple Music and more. Laura also acquired some high-profile fans such as Lorde and actor Brie Larson. She did two UK/Europe tours in 2018-19 with Courtney Barnett and Aldous Harding. Laura has twice been shortlisted for the Australian Music Prize and has recorded with Jenny Hval as well as Aussie icons Paul Kelly, The Drones, and Rolling Blackouts Coastal Fever. “Maybe the sharpest communication of the spooky, all-consuming nature of feminine love” – Lorde. Selling Points: Backing vocals on three tracks from Aldous Harding and Marlon Williams. Sumptuous string arrangements from Errki Veltheim, who has played with everyone from Cat Power to Mike Patton. Laura featured on Jenny Hval's 2019 album The Practice Of Love, and Jenny sang on Laura's self-titled album from 2014.

Now available in green marble vinyl. 'Gettin' by on Gettin' Down" is the
follow up to Sam Morrow's career-defining third record 'Concrete and
Mud', a staple of Americana radio on both sides of the Atlantic, with
outlets like Rolling Stone and NPR singing the album's praises
'Gettin' By on Gettin' Down' is a modern album that revisits and reshapes the
primordial sounds of hip- shaking rock & roll. These nine songs are rooted in
grease, grit, and groove, from the swampy soul of "Round 'N Round" to the funky
syncopation of "Rosarita" to the hook-laden rock of "Money Ain't a Thing". There's
hardly an acoustic guitar in sight; instead, amplifiers and guitar pedals rule the
roost, with everything driven forward by percussive rhythms that as much to R&B
as country music. Written and recorded in the wake of 'Concrete & Mud's'
acclaimed tour, 'Gettin' By on Gettin' Down' doubles down on the electrified fire
and fury of Sam Morrow's live shows, with a road-ready band joining him on every
song. Co- Produced with Grammy nominated producer Eric Corne. Musicians
include alumni from bands like Lucinda Williams, Dwight Yoakam, Merle Haggard,
Jacob Dylan and John Mayer. The album was recorded at The Doors' Robby
Krieger's studio.

Now available in green marble vinyl. 'Gettin' by on Gettin' Down" is the
follow up to Sam Morrow's career-defining third record 'Concrete and
Mud', a staple of Americana radio on both sides of the Atlantic, with
outlets like Rolling Stone and NPR singing the album's praises
'Gettin' By on Gettin' Down' is a modern album that revisits and reshapes the
primordial sounds of hip- shaking rock & roll. These nine songs are rooted in
grease, grit, and groove, from the swampy soul of "Round 'N Round" to the funky
syncopation of "Rosarita" to the hook-laden rock of "Money Ain't a Thing". There's
hardly an acoustic guitar in sight; instead, amplifiers and guitar pedals rule the
roost, with everything driven forward by percussive rhythms that as much to R&B
as country music. Written and recorded in the wake of 'Concrete & Mud's'
acclaimed tour, 'Gettin' By on Gettin' Down' doubles down on the electrified fire
and fury of Sam Morrow's live shows, with a road-ready band joining him on every
song. Co- Produced with Grammy nominated producer Eric Corne. Musicians
include alumni from bands like Lucinda Williams, Dwight Yoakam, Merle Haggard,
Jacob Dylan and John Mayer. The album was recorded at The Doors' Robby
Krieger's studio.

The Others (Lustmord Deconstructed) is a celebration of the fearless attitude of being different and the expression of unique ideas which have never existed before. Over 13 years after the release of O T H E R , Pelagic Records has gathered 16 bands and solo artists to record their own unique takes on tracks from the Other-sessions. The result is an album that is more than a compilation, and more than the sum of its parts; covering a wide range of musical niches and directions, but sharing the same underlying mood and vibe defined by Lustmord's timeless soundscapes: from the ambient solo performances provided by IHSAHN, ENSLAVED or JONAS RENKSE to the subdued voice of ZOLA JESUS woven into Lustmord's sombre fabric to the industrial carnage that is GODFLESH's version of `Ashen'. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. The original O T H E R was released by independent record label Hydra Head Records, founded by ISIS frontman Aaron Turner and former home of bands such as CONVERGE, PELICAN, JESU, SUN O))) or BORIS. As one journalist put it at the time, O T H E R is a "grim example of a consummate artist who is working frmly within the parameters that he has laid out for himself over the years." This album shows Lustmord at his most characteristic, and the icy, ominous guitar playing of Jones, Turner and Ozborne resonates perfectly within the deep soundscapes that make up this frightening yet inspiring journey. What demonstrates the profound influence of Lustmord on this contemporary music underground showcased here is that artists from disparate ends of the sonic spectrum all feel inspired to explore the essence of his idiosyncratic sounds within their own realm: experimental electronica icons ULVER excel on a stunning, hazy rendition of `Godeater', while Japanese post-rock act MONO deliver a crushing version of `Er Eb Os', and THE OCEAN take us on a cathartically heavy mindtrip back to our `Primal State of Being'. In the end, each of these 16 artists delivers an interpretation that pays the deepest respect to this pivotal artist, while also standing out as a new track of its own.

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.

The most beautiful themes of the famous science fiction universe Star Wars created by the American director George Lucas are now gathered in this exclusive vinyl record! First conceived as a cinematic trilogy in 1977, the franchise now counts films, series, novels and other goodies taking place «a long time ago in a galaxy far far away» in which a conflict between Jedi knights and Sith warriors remains.

The award-winning Star Wars soundtrack composed by John Williams and inspired by Wagner’s operas has influenced the greatest film musics. They are performed by The City of Prague Philharmonic Orchestra.

Following the release of their critically acclaimed self-titled debut EP in 2021, Antwerp's Lucid Lucia are set to release their debut album 'Ever-changing Light' on the 7th October via the groove-obsessed Belgian tastemaker label, Sdban Ultra.

Searching to unwrap the mystery that is a human life, across nine tracks of jazz and space funk-infused grooves, Lucid Lucia look to the sound of Herbie's 'Head Hunters' and Miles' acid funk of the mid-70s for inspiration.

'Ever-changing Light' is a mind-expanding celebration centered on freedom and rhythm. Free-spirited saxes, futuristic-sounding keys, monstrous bass lines and shifting drum beats unite, resulting in an uplifting and joyous celebration of jazz, funk and groove. From the loose, laidback stylings of 'Mumpsimus' and the jazz-funk odyssey that is 'Pigeons' to the sonic wonders of 'Reminiscence' and urgent flow of 'Quanked', Lucid Lucia is a marvelous journey of luminous sounds and vibrant rhythms. Elsewhere, the warped aesthetics of 'Oneironauts' and improv 'Pukti part 1' showcase a tight rhythm section, inventive horns, funky keys and guitar while the spiritual magnum opus 'Voor Pieter A.' is a magical example of the virtuosity of Lucid Lucia.

Born from the ashes of fusion outfit BRZZVLL, Lucid Lucia were founded by saxophonist Vincent Brijs, a household name in Antwerp and the Belgian jazz scene. Former winners of the Jong Jazztalent Gent, BRZZVLL released their debut album 'Days of Thunder, Days of Grace' in 2008 and would go on to release five more albums including teaming up with Trinidad-born poet, novelist and musician Anthony Joseph on the 2014 critically acclaimed album 'Engines' and with hip-hop MC, writer and producer Amir Sulaiman on the 2016 album 'First Let's Dance'. The 2017 album 'Waiho', the band's first instumental album and final album received glowing praise from numerous tastemakers including UNCUT magazine, The Line of Best Fit, XLR8R and Record Collector magazine.

To the present day and Lucid Lucia marks a brighter, clearer sound for the sextet. Consisting of Vincent Brijs: saxophones and EWI, Bart Borremans: saxophones, Stijn Cools: drums, Dries Laheye: bass, Dries Verhulst: guitar, Jan Willems: keys and James Williams: drums and percussion, they have honed their skills performing with numerous artists from home and around the world including Ursula Rucker, Joseph Bowie (Defunkt), Amir Sulaiman, Anthony Joseph, Zena Edwards, Ayanna Witter Johnson, Baloji, Mo & Grazz, Kain the Poet (The Last Poets), Marie Daulne, Dizzy Madjeku, Ida Nielsen and many others.

LAUNCH EVENTS Sept 2nd - Film premier at the David Lean Cinema in Croydon with a Q & A afterwards by Griff and Mark, and an aftershow party nearby with special celebrity guests TBC. An 18 track compilation featuring the best of Croydon's punk and post punk scene! Are They Hostile? Is a new documentary film about the Punk, New Wave and Indie scene in Croydon in the late ‘70s and early ‘80s. It takes its name from the first single by Croydon band Bad Actors. To coincide with the film’s release Damaged Goods Records are releasing a compilation vinyl LP and CD featuring bands from in the film including Johnny Moped, The Marines, The Daleks, Case, Fanatics and also bands such as The Straps who played Croydon many times usually at The Star Pub in West Croydon. The CD version also features a specially recorded introduction by the legendary ex-Croydon Greyhound DJ Peter Fox. It’s been argued that Croydon was the birthplace of Punk in the UK, largely due to The Damned and Johnny Moped. But there was a group of other, less well-known bands who were part of that scene, or who came just after, but who didn’t achieve the same success or recognition. The film and album attempt to set the record straight by shining a light on bands such as Bad Actors, Case, The Daleks, The Heroes and Fanatics. the music still fizzes with the energy and enthusiasm of youth and the punk ethos of just doing it. And the participants, if a bit older and slightly less slim than forty years ago, come alive in the current interviews as if connected to the mains. As the saying goes, “old punks don’t die”, but they do remember. The documentary film takes us through the history of these bands, the people in them, the places they played and, through current interviews with “a bunch of old punks”, what they did next, and how formative and important being in a band was for them growing up. The film is the brainchild of Bad Actor Griff Griffiths and Mark Williams and will premier at the David Lean Cinema in Croydon on 2nd September with a Q & A afterwards by Griff and Mark, and an aftershow party nearby with special celebrity guests TBC. Griff explains: “It’s also a film about being young, being passionate, being part of something.” TRACKLISTING 1 – Bad Actors – Are the Hostile? 2 – Johnny Moped – Groovy Ruby (Live at the Roxy) 3 – The Marines – Step This Way 4 – Slime – Controversial 5 – Case – Smiling My Life Away 6 – The Daleks – Tiny Town 7 – Fanatics – Total Confusion 8 – The Straps - New Age 9 – The Heroes – Tarzan 10 – Bad Actors – One Of Us 11 – Johnny Moped – Incendiary Device (Live at the Roxy) 12 -The Marines – Pleasure Business 13 – Slime – Loony 14 – Case – I Don't Wanna Kill The Whales 15 - The Daleks - Rejected16 – Fanatics – When The Sun Goes Down 17 – The Straps – Brixton 18 – The Heroes - Russia

• Brings together themes from popular soundtracks and TV series
• Ramin Djawadi Game of Thrones, Max Richter The Leftovers, Downton Abbey main theme, Lalo Shiffrin Mission Impossible, Henri Mancini The Pink Panther, and many more

1. Ramin Djawadi
Game of Thrones Medley (Main Theme/The Night King/Light of the Seven)
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

2. Lalo Schifrin
Mission: Impossible
arr. & orch. Matthieu Gonet

3. Justin Hurwitz
La La Land Medley (Mia and Sebastian theme/ Another Day of Sun)
arr. Matthieu Gonet

4. Trad. Scottish, late 19th century
The Skye Boat song (Outlander)
arr. Julie Berthollet, Camille Berthollet

5. Trad. Italian, late 19th century
Bella Ciao (La casa de papel)
arr. & orch. Matthieu Gonet

6. Boots Randolph & James Rich
Yakety Sax, (The Benny Hill Show)
arr. & orch. Matthieu Gonet

7. Max Richter
The Leftovers Suite
arr. Julie Berthollet, Camille Berthollet


8. John Barry
The Persuaders! (Amicalement vôtre)
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard



Side B:

1. Ludovico Einaudi
Fly (Intouchables)
arr. Julie Berthollet, Camille Berthollet

2. Julie Berthollet
Flashback
words and music by Julie Berthollet, arr. Camille Berthollet

3. John Lunn
Downton Abbey Main Theme
arr. & orch. Matthieu Gonet

4. Henri Mancini
The Pink Panther
arr. & orch. Matthieu Gonet

5. Lorne Balfe, Rupert Gregson-Williams and Hans Zimmer
The Crown Main Title
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

6. David Arnold & Michael Price
The Game is on (Sherlock)
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

7. Loik Dury & Christophe Mink
Dix pour Cent
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

8. Mathieu Lamboley
Arsène (from the Netflix original series Lupin)

9. Kyle Dixon & Michael Stein
Stranger Things Main Theme
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

10. Danny Elfman
The Simpsons Main Title
arr. Matthieu Gonet

11. Camille et Julie Berthollet
Générique
music by Julie Berthollet, arr. Camille Berthollet

Singer, songwriter, novelist, and painter Kathryn Williams is proud to announce her new album 'Night Drives'. The collectionexploresa more filmic sound, with a larger ensemble of instrumentation, particular emphasis on the strings and production from Ed Harcourt. Journeying from leftfield contemporary pop to soft acoustics, Kathryn Williams uses her latest LP to explore a variety of fresh ideasdriven, in part, by a host of collaborators. Kirsty Logan, Oystein Greni, Romeo Stodart, Matt Deighton, Simon Edwards, YvetteWilliams, Neill Maccoll, Andy Bruce, Ida Wenoe, Joel Sarakula, Emily Barker and John Alder all have credits on various tracks across 'Night Drives'. Kathryn explains "I've been releasing music for 24 years now. That fact blows me away, and things have changed so much over those years. The biggest change has been my love of co-writing and writing for other artists. This began when I first went on a writing retreat with Chris Difford forming close friendships and working relationships that are represented here".

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.