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Enjoy The Ride Records is happy to share an exclusive variant of the Milan Records release of Euphoria (Original Score from the HBO Series), Music by Labrinth.

Written and recorded in close collaboration with the Euphoria writer and director Sam Levinson, Labrinth‘s original compositions feature prominently throughout the hit HBO series as a sonic companion to the show’s angst-driven narrative and intoxicating visuals. The resulting 26-track collection is a genre-blending mix of gospel, soul, and electronic influences, indicative both of Labrinth’s imitable style as well as the show’s deeply moving storyline.

Of the album, Labrinth says, “My experience with Euphoria has made me a better musician. It was a dream come true to give wings and add magic to the different storylines. It was a collaborative effort among Sam Levinson, the crew, and the cast – I only added texture to an already phenomenal show. I hope that anyone who listens to the music embraces feeling something.”

Euphoria follows a group of high school students as they navigate love and friendships in a world of drugs, sex, trauma, and social media. The ensemble cast of Euphoria includes actor and singer Zendaya, Maude Apatow (Girls), Angus Cloud, Eric Dane, Alexa Demie, Jacob Elordi, Barbie Ferreira, Nika King, Storm Reid, Hunter Schafer, Algee Smith and Sydney Sweeney (Sharp Objects).

Euphoria is an American adaptation of an Israeli show of the same name, and all episodes are written by Sam Levinson (Assassination Nation), who also serves as executive producer.

The Enjoy The Ride Records Exclusive variant, ""Night Sky Blue,"" is limited to 1,000 copies. Euphoria is housed in a silver foil stamped & numbered soft-touch gatefold jacket with spot gloss and also contains a full-color insert.

Real Gone Music is proud to present the original mono version of what most folks consider to be the single greatest postwar album of Western music, Marty Robbins’ 1959 record Gunfighter Ballads and Trail Songs. Everything about this album is iconic, from its “quick draw” cover art to the songs it contains—“Big Iron,” “Cool Water,” “The Master’s Call,” “Billy the Kid,” “The Strawberry Roan,” and, of course, “El Paso” (here in its rare, full-length version)— that have come to define the Western genre. And the music has never sounded better than it does here: this silver and red “Bullets ‘n’ Blood” pressing was remastered from the original tapes by Vic Anesini at Battery Studios in New York. Comes complete with the amazing original album art, too…a classic album now even collectible than before!

Enjoy The Ride Records in conjunction with Morgan Creek proudly presents Stay Tuned (Music From the Original Motion Picture). Available on vinyl for the first time, Bruce Broughton's score to the 1992 cult classic comedy featuring John Ritter, Pam Dawber, Jeffrey Jones & Eugene Levy takes listeners on a musical adventure.

Saying Roy Knable loves television is an understatement. He's so hooked on it that his wife takes a baseball bat to the screen and shatters it. Mr. Spike soon appears at the Knable's door, selling Roy a Satellite dish with 666 channels that aren't available on regular cable (because Spike is sent from hell, and the Knables are about to become part of the Hellevision network lineup). The Knables have 24 hours to make their way through the channels (which are hilariously gory parodies of popular television shows and films of the era) to survive.

Stay Tuned (Music From the Original Motion Picture) is a 2xLP pressed at 45 RPM. It's housed in a gatefold jacket featuring original cover art by Drew Struzan, along with new gatefold and back cover art by Garreth Gibson. Pressing is limited to 1,000 copies.

Autorisierte Deluxe 2LP Ausgabe des von Henry 'Junjo' Lawes produzierten 'Evil Curse of the Vampires'.
Original Greensleeves zusammengestellter Dub-Klassiker, entscheidende Auswahl von Junjos klassischen, von Roots Radics angetriebenen Rhythmen, aufgenommen bei Channel One und gemischt von Scientist bei King Tubby's.
Das remasterte, ikonische Dub-Album ist jetzt mit einer zweiten Disc mit den Original-Vokalversionen versehen.
Streng limitierte einmalige Halloween-Pressung auf orangefarbenem Vinyl.

Keep on Dancing EP by Marky Ramone's Blitzkrieg on 10-inch 45 rpm vinyl with four versions fresh out of the oven. Faithful to the essences, the band of the only Ramone still standing trims all the fat off the originals and makes every second count. High voltage. DESCRIPTION Marky Ramone needs little introduction. The only Ramone still standing was born in 1952 in Brooklyn and joined the band in 1978, replacing Tommy, and remained with the Ramones until they disbanded in 1996 (with a 1983-1987 hiatus due to personal problems). He is a restless person and has never stopped recording and performing live, either solo (MR & the Intruders, MR & the Speedkings) or in projects and collaborations (Joey Ramone, Teenage Head, Tequila Baby, Wardogs...). MARKY RAMONE'S BLITZKRIEG is the name of the band with which he has been touring the world for 15 years celebrating the Ramones' legacy, as well as adding some own-penned songs and some covers of other iconic punk rock bands to his repertoire. Over the years the line-up has varied, but in recent times the band has consolidated its position on stage with the resounding presence of Vitoria-Gasteiz's own Iñaki Urbizu "Pela" (La Excavadora, Victima's Club) as frontman and vocalist, and the Argentinians Marcelo Gallo and Martín Sauan (Expulsados) on guitar and bass. So, the time seemed right to transfer all the energy generated live to a 10" plastic EP. Four versions fresh out of the oven. Three tracks under two and a half minutes and one just over three minutes. True to the Ramones essence, they remove all the fat that was left over from the originals and make every second count. The Gentrys' "Keep On Dancing" opens the selection. The original track reached number four in the US charts in 1965 and, after passing through the hands of MARKY RAMONE'S BLITZKRIEG, classic Ramones covers like "Do You Wanna Dance" inevitably come to mind. The idea is easy, speed up the original a bit, in 4/4, and then play it faster. The hard part is that the result is so exciting and energetic. "It's Not Unusual", the Tom Jones hit, becomes maximum fun. The familiar, catchy tune is elevated to a whole new level of energy and intensity so that the chorus can be belted out loud. The Beatles' "Octopus's Garden", originally composed and sung by Ringo Star, is transformed into a playful punk-pop song to escape, if only momentarily, from the worries of the earthly world in the backdrop of a bar with a good sound system. Closing "New York, New York", the classic song from the Frank Sinatra songbook, celebrates New York City. It fits perfectly with Marky's identity as a native of the city, rooted in its culture and spirit, capturing the vibrant energy and rebellious attitude of the city that never sleeps. Some can cover hundreds of different songs and make them their own, and others can't. MARKY RAMONE'S BLITZKRIEG, like their originators, are certainly one of those who can. The band is just as comfortable with a colossal song as they are with a ditty, it's all about electric atmosphere and chemistry and, on each of these new recordings, the voltage is very high. One euro from the sale of each record will go to the victims of war. Stop the war!

Jaden Thompson returns to Crosstown Rebels with ‘Downtown’, with remixes from HoneyLuv and Ghoulish. Marking his first solo outing on the label following ‘Talking Walls’ alongside Seth Troxler, the fabric resident impresses once more following recent material on Classic Music Company, PIV and his own Midnight Parade imprint.

A new school talent whose sound takes cues from Chicago while pointing to the future with forward-thinking allure and energy, Jaden Thompson’s ascent is well-documented, having been tipped by an endless list of industry heavyweights and global media outlets from an early age. Releasing on labels such as Cuttin’ Headz and Classic Music Company, amongst others, plus his own Midnight Parade imprint, Thompson’s sound and dynamic sets have seen the UK talent become a favourite for many while also hosting his ongoing Rinse FM show and curating mixes for the likes of Circoloco and Keinemusik through to Nike for it’s annual Air Max Day. Having made his label debut on Crosstown Rebels in 2022 with his standout collaboration ‘Talking Walls’ with Seth Troxler, Thompson now returns to Damian Lazarus’ legendary imprint as he serves up his first solo record on the label ‘Downtown’ - backed by remixes from surging US DJ/producer HoneyLuv and emerging UK talent Ghoulish, who makes his debut on the imprint.

Merging various shades and sounds from across the electronic sphere, ‘Downtown’ brings vibrant vocals, energy-charged synths, and sharp metallic percussion, all balanced perfectly, to the fore. HoneyLuv’s remix brings jacking drums while warping the original’s vocals todeliver a peak-time interpretation before Ghoulish flips the script, utilising off-kilter drums and spiralling lasers amongst heavy low-ends.

Julian Cope's second album of 1984 - Never re-pressed in its original format, this re-issue faithfully replicates the original Mercury Records UK release with poster, and is pressed onto high quality 180g vinyl. Fried is one of Julian Cope's boldest. It made many think that after a while teetering on the edge, Julian Cope had finally tipped over into an artistic madness, amplified by his wearing a turtle shell and staring at a toy van on a landscaped spoil tip in Warwickshire on the album's sleeve. Opening track Reynard The Fox added to it all, a six-minute psychedelic garage rock tour-de-force, breaking down to a Cope monologue where he gravely intones English folk tales from his vantage point, referring also to an onstage stomach-slashing incident from 1983. Sunspots, the sole single taken from the album, is one of his greatest recordings in a career that spans over 40 years. Fried is up there with some of the very best works of the singular British eccentric.

While most of the bands (Orpheus, Ultimate Spinach, Beacon Street Union) associated with producer Alan Lorber’s “Bosstown Sound” signed with MGM Records, Listening recorded their only album in 1968 with Vanguard. And it’s a highly prized one, at that, with original copies selling for triple figures. One reason for that is, unlike many of their more poppy Boston-based peers, Listening boasted an original, swirling, hard-edged sound, full of jazzy and even proggy passages, and keyboardist/singer/ songwriter Michael Tschudin’s lyrics were openly countercultural. That’s future (post-Lou Reed) Velvet Underground member Walter Powers on bass, and blues wunderkind Peter Malick on guitar. A talented band, underappreciated at the time… in other words, right up our Real Gone alley! Coke clear with yellow swirl vinyl pressing, limited to 700 copies. First U.S. reissue!

"Enjoy The Toons Records in conjunction with Lionsgate proudly present Little Monsters Original Motion Picture Soundtrack. Composed and Conducted by David Newman, the score to the 1989 film is available on vinyl for the first time. Little Monsters stars Howie Mandel, Fred Savage & Ben Savage.The fantasy comedy tells the adventures of a boy who befriends the monster under his bed, discovering a world of mischievous monsters below!

Little Monsters Original Motion Picture Soundtrack features new art by Garreth Gibson, and the 2xLP is housed in a 350gsm gatefold jacket and black poly lined inner sleeves."

Unknown spiritual jazz gem recorded in Argentina in the 80s, under the influence of Pharoah Sanders, Don Cherry, Archie Shepp_, and originally released on Litto Nebbia's label Melopea. Already supported by Gilles Peterson on his radio show, this mind-blowing album combines ethno-free jazz passages and deep progressive compositions led by saxophonist Marcelo Peralta resulting a very impressive ode to the legacy of Coltrane. First time reissue. Includes extensive notes and many previously unpublished photos. 180g vinyl. DESCRIPTION Unknown spiritual jazz gem recorded in Argentina in the late 80s, under the influence of Pharoah Sanders, Don Cherry, Archie Shepp_, and originally released on Litto Nebbia's label Melopea. This is the first and only album ever released by this band, Grupo de Improvisación Tercer Mundo (Third World Improvisation Group), formed by a quartet of young musicians based in Buenos Aires accompanied by drummer Norberto Minchillo (López Fürst, Fernando Gelbard, Jorge Navarro_) and Litto Nebbia himself during the recording sessions. They would also organize weekly jam sessions in public spaces in Buenos Aires, getting visual artists, poets and even passersby involved in these communal actions that aimed to promote self-expression in an environment of total freedom. After the gigs they'd gather again for intense listening sessions of deep jazz for hours_ Already supported by Gilles Peterson on his radio show, this mind-blowing album combines ethno-free jazz passages and deep progressive compositions led by saxophonist Marcelo Peralta resulting a very impressive ode to the legacy of Coltrane and a very accomplished work of jazz improvisation. 'Almas Liberadas' and 'Un Hilo de Luz' sound as a clear tribute to Pharoah Sanders, as the subtitle of the latter openly states. First time reissue. Includes extensive notes and many previously unpublished photos.

The Mighty Monarch of Exploitation Cinema! These audacious adults-only radio adverts and trailers showcase all original counter-culture compositions from Friedman’s freaky frontal lobe! Includes a DVD!

Always a carny at heart, Friedman gravitated towards the sleazy independent film world, where he started a new company and ushered in a decade of his greatest films. Always brimming with bodaciously bare beauties and copious carnality – which became his tawdry trademark. From 1964-1975, he wrote and produced roughies, historical costume dramas (based on literary classics), counter culture time capsules, wild wanton westerns, various soft-X sizzlers, an elaborate jungle epic and perhaps the worst sci-fi movie ever committed to celluloid.

But what ties all of these films together is the ballyhoo. Friedman sure knew how to craft an auditory advertising campaign to got ‘em in the theatres. He was the king of alliteration and catchy taglines and his coming attractions were among the best and most entertaining of their time. Many of the trailers and radio spots utilized all-original compositions and scores from Billy Allen – a composer/conductor Friedman enlisted to set his films apart from all the other smut peddlers.

As “adults only” films were getting more explicit in the ‘70s, Friedman longed for the good old days of sin and skin. He only dabbled in the XXX world for a short time before retiring. So, listen up and get ready to have your ears spanked hard!

Repress!

** Now available on vinyl* Steve Reich remains one of the most important figures in
20th century music. Though he studied at the prestigious
arts institutions Julliard and Mills College, by the mid-
1960s Reich set about dismantling the very orthodoxy that
he had been trained in. Forming a new musical language
based on repetitive processes, Reich became established
as part of the so-called 'Big Four' of New York minimalists
(along with La Monte Young, Terry Riley and Philip
Glass). Reich's influence can easily be seen today in both
the classical world and contemporary pop music.
'Four Organs' is the ultimate minimalist composition.
Performed by Reich, Glass, Art Murphy and Steve Chambers,
four identical Farfisa organs strike a single chord and
gradually lengthen each note to produce polyrhythms between
the players. Anchored by Jon Gibson's stoicallysteady
pulse on maracas, the piece deconstructs its opening
burst to a sustained mass of sound - stretching the tones to
create (in Reich's words) 'slow-motion music.'
Inspired by Reich's early training on drums, 'Phase Patterns'
treats the keyboards like tuned percussion instruments:
a basic rhythm pattern is played in unison and almost imperceptibly increases tempo to move out-of-sync.
Each progressive cycle emphasizes unique figures that are
not generated by an individual alone, but rather emerge
from the communal expression of the group.
Originally released on Shandar in 1971, Four Organs /
Phase Patterns is one of most highly regarded avant-garde
recordings in the past 45 years. This CD release features
cover photography by artist Michael Snow and is recommended
for fans of Neu!, Glenn Branca and Tim Hecker.

2024 Repress

Innercity Griots, the second album from Freestyle Fellowship, is perhaps *the* essential West Coast left-field rap album of the early ’90s. Released in 1993 on 4th & Broadway, it’s a towering, progressive hip-hop masterpiece that expanded rap’s boundaries through lyrical elevation and production innovation. Their talent was ahead of everybody else by light years. This is pure b-boy jazz.

The original single vinyl LP is now hideously scarce, and of course the sound suffers from not being officially released as a double. This Be With re-issue fixes both problems, and for completeness also includes “Pure Thought” from the CD version of the album. This incredible display of imaginative hip-hop sounds better than ever.

Freestyle Fellowship were some of the earliest technically dazzling rappers to come out of California. Mikah 9, P.E.A.C.E., Aceyalone and Self Jupiter - along with DJ Kiilu - forged their famed lyrical dexterity in the ultra-competitive crucible of the Good Life Cafe. Founded in Leimert Park, South Central LA in December 1989, this earthy health-food store and cafe was where the city’s finest microphone fiends would gather to showcase their freestyle skills at the Thursday night open-mic.

Innercity Griots has been described as the Rosetta Stone for rap styles. The group’s dense, vibrant wordplay and enviable interplay quickly earned the attention and respect of the city’s hip-hop underground. Frenetically trading acrobatic rhymes with agility and grace, the Fellowship used their voices as instruments like true virtuosos, spraying improvised raps like a Coltrane sax solo.

With the bulk of the album’s production handled by The Earthquake Brothers, and Bambawar, Daddy-O, and Edman taking over for some of the tracks, Innercity Griots dances between organic and programmed music, largely forgoing sampling and instead built around live jazz jams. The likes of Freddie Hubbard’s “Red Clay” and Miles Davis’s “Black Comedy” were used more as templates for house band The Underground Railroad Band to spiral out from. As Pitchfork noted in their recent 9.0 review of this classic album, “Freestyle Fellowship embodied the style and spirit of jazz on a molecular level. They shared the effortless cool and tough countenance of the great bebop players from the ’50s without verging into jazz-rap parody. Their innate jazziness felt tangible and hard-earned”.

The unusual approach to the music was matched by the Fellowship’s lyrics. Eschewing the tired rap tropes of the time, this multifaceted album instead explores their ruminations on greed and homelessness, weed, sex, survival, insecurity and tribalism.

Remastered by Simon Francis for double vinyl and cut by Pete Norman, we hope this long-overdue re-issue of Innercity Griots satisfies the legions of fans that have since been bewitched by the majesty of this record. It should also introduce some new listeners to yet another overlooked classic.

2024 Repress


Straight out of the depths of East London, Hoxton Square to be precise. A location before gentrification, the area around Old Street in 1995 was full of young artists, musicians and record labels. Law & Auder were one of those bands, with a studio in the next road to the legendary Blue Note club. This is where these two tracks were created, two cuts that encapsulate the raw sound of the London jungle scene at this time.

This particular 12” is a bit of a cult release, with prices on Discogs for an original copy at a VG+ rating going for a £150 a copy, that’s if you can ever find one.
This is the second release from the group that we have repressed ON Vinyl Fanatiks, with Martin from the group also being a part of Utomica, another group that we repressed a few years ago.

Straight from the East London vaults.

The new Macadam Mambo release by Poperttelli is a great piece of music ! In the Ambient vibe of the originators Future Sound Of London or The Orb, this album concept around dreams travelling, brings us into tribal futuristic landscapes, dark atmospheres on heavy beats and trippy floatings. Poperttelli is not a new artist in the electronic scene, he has already put out few releases on labels like Lost Dogs, Brokntoys, Maturre or Pinkman more recently, and is definetely a name to follow if you didn’t alredy do…

Habibi Funk is thrilled to share a second collection of deep grooves and unreleased songs from Algeria's Ahmed Malek, often compared to Italian heavyweight Ennio Morricone. Malek’s music effortlessly switches between thematic jazz, funk, reggae and Algerian folk – creating indelible soundscapes that intersect the musical innovations made in African jazz by Mulatu Astatke, Bembeya Jazz National along with some of Europe’s finest experimental composers like Piero Piccioni and Janko Nilovic. “Musique Originale de Films, Volume Deux” is out June 28th, 2024 via Habibi Funk.

Whenever an interview asks about a “memorable moment” in Habibi Funk label history, one we always reference is how we got in touch Ahmed Malek’s (22K Spotify Followers, 285K Spotify Monthly Listeners) music and subsequently his family. It all started with us coming across Ahmed Malek’s music on YouTube in 2012. We were mesmerized by how effortlessly the music would switch between jazz, funk and Algerian folk while counterweighting it with an undertone of melancholia. Musical perception is different for every person, but there is a chance that his music will touch you in one way or another. At the time, we had just started the Habibi Funk label and we felt Ahmed’s music might be a good fit for the sound we were trying to highlight. Fast forward three years: we had become captivated with the idea of reissuing some of Ahmed Malek’s music. We knew some people had tried to locate his family but, but with no success. In the end it was an incredible amount of luck that made it possible for you to read these words and listen to Ahmed’s music. We were on a DJ gig in Beirut playing old Arabic records and we mentioned our passion for Ahmed Malek’s music to a friend. She said she knew one person in Algier, and as much as it would be a shot in the dark, she could ask her if she had an idea of how to find Malek’s family. Two weeks went by before we heard back, and what we got was incredibly good news - her Algerian friend was the neighbor of Ahmed Malek’s daughter! We’re not spiritual people, but it felt like the universe wanted to see the release happen. We started to speak with Henya, Ahmed Malek’s daughter and she was more than happy with our idea. She assured us that her father would have loved the plan as well. She provided us with tons of awesome material, from great photos, to unseen video footage and unreleased tracks. Eventually we visited Henya in Algeria and we licensed some of her father’s music, first for one (Habibi 003), then for another (Habibi 005), then we eventually organized an exhibition in June/July 2019 – Planète Malek – Une Rétrospective – at the Musée Public National D’Art Moderne & Contemporain in Algiers, focusing on Ahmed Malek’s artistic life. We also produced a small movie about him that our friend Paloma Colombe shot and directed. “Musique Originale de Films, Volume Deux” is a deep collection of unreleased songs and stemmed grooves from the Algerian master, from jazz, funk, psych to reggae rhythms and Latin flavors, all under the sonic umbrella of “Planète Malek;” and to quote the maestro, “I didn’t choose music, music chose me.” Lead single is the subtlety funky “Thème Rythme Léger,” out May 3rd along with LP Pre-Order (coincided with Bandcamp Friday for a larger impact) a delicate sonic dance between flute, piano and Spanish guitar with a Bossainfluenced groove. The steady, swingin’ drum groove is cloudlike - definitely toe-tapping friendly so just grab a partner to feel the Rhythme Léger. Second single out May 17th is the reggae-infused “L’Empire Des Rêves” – a sultry sax melody weaves through a prismatic rocksteady thematic groove. 3rd and final single “Thème Djalti feat. Aïda Guéchoud” – is a true Western-inspired ode to his Italian counterpart Ennio Morricone. “Thème Djalti” features the haunting vocals of Aïda Guéchoud, and combines elements of baroque and Bossa-jazz in a timelessly thematic way that seems grandiose yet remains uniquely personal to your ears. Swelling strings, trumpet, fem vox, flute, and plucked guitar expertly arranged, feels like you’re riding a horse into the sunset. Focus track “La La La” is fiery afro-arab-funk of the highest order! Put on your dancing shoes as Ahmed cuts the rug and gets us grooving along. Sonically the cut sounds like if Ahmed ran into The JB’s and Fela Kuti at a Cymande concert. Driving guitar and organ solos vie over pulsating bass riffs and afro-funk drumming that’ll have you out on the dance floor in no time. As always, both vinyl and CD come with an extensive booklet featuring background and interviews with Ahmed compiled through found newspaper clippings and newsreels, also including unseen photos, scans and more. “Ahmed Malek: Musique Originale de Films, Volume Deux” will be out everywhere June 28th.

Limited edition "Coke Bottle Cloud" color vinyl with etched b-side. Australian duo Armlock make music for having your head in the clouds. On new album Seashell Angel Lucky Charm, Simon Lam and Hamish Mitchell bring you on a steady ascension through compressed and heavenly sonic realms. The band's second proper release, and first for Run For Cover Records, showcases the songwriters' experimental electronic roots through an indie rock lens. Free from distortion or overindulgence, Seashell Angel Lucky Charm is a collection of consistent rhythms decorated with clean guitar tones and eccentricities. Through playful layers of vocal harmony and minimal arrangements, Armlock capture the inventive and uncomplicated essence of Pinback or Alex G. Self-described as "indie rock with a touch of spirituality and emo", Armlock's journey into a higher realm is seeped with the looming confusion that comes with exploring the unknown. With an introverted demeanor, Armlock explores the human desire to find guidance in a world much bigger than its people. Every sound on Seashell Angel Lucky Charm feels precise and intentional, making the anthemic choruses on tracks like "Fear" and "El Oh Ve Ee'' feel expertly placed and pop-oriented. These two songs show Armlock's savvy with harmony as they use octaves of angelic sounds to stretch a simple one-word chorus until it soars with meaning. Unlike most indie rockers, Armlock use guitar as a tool in their belt rather than a vessel for songwriting. Where their 2021 EP Trust set foundations in downtempo acoustic guitar, Lam and Mitchell's evolved songwriting is a testament to where an electric guitar can amplify a song's groove, or usher in sonic space.

INSIDE is the third album (and second in a row on Brixton Records) by the respected ten-piece group from Barcelona that fuses Jamaican music and jazz. DROP COLLECTIVE bravely faces the so-called third album syndrome and makes a sincere declaration of principles, a public manifestation of their musical identity. The two sides of the album are clearly identified. Side A is Inside-Out, displaying five own-penned compositions, including three songs sung in Catalan and two in English, in which DROP COLLECTIVE make it clear what they like to do and what they are capable of offering. The album opens with "Com Estimo Jo" (The Way I Love), a reggae ballad composed by Andreu Domènech (baritone sax) that is dedicated to the growth and learning we do when we love. It is followed by "Let Us Dance", a fluid ska with Latin airs and an invitation to dance, which recaptures the sound of some of the most celebrated passages from their previous album. "Estel" (Star) is a melancholic reggae song, sung in Catalan, in homage to someone who is no longer here - "now you are the star that watches over us from up there, bright, bright". Prior to the release of this LP, four advance tracks have been published on digital platforms, but "Life's Too Short" is, perhaps, the album's single. This resounding reggae with a powerful brass section could have easily taken more elaborate instrumental and studio developments, however, the band has preferred to produce a compact track brimming with strength and lasting less than three minutes. “Ombra" (Shade) closes this side of the album with solemn roots sonorities. The B-side is Outside-In, four reinterpretations of jazz classics that DROP COLLECTIVE internalize, make their own and, therefore, also form part of their identity. The choice of pieces is hair-raising, because of the risks they take. "Yearnin'" is a cover of the song originally included in one of the most epic albums in the history of jazz, "The Blues and the Abstract Truth", by saxophonist Oliver Nelson. DROP COLLECTIVE take the song to their own territory with the skill and freshness of expert ska-jazzers and with the special collaboration of trumpeter Joan Mar Sauqué, they make one of the most famous riffs in jazz sound unashamedly contemporary and... Caribbean. "Day by Day" is an adaptation of the standard from the late forties of the last century that was part of the regular repertoire of, among others, Frank Sinatra. The result is a swinging ska love themed, sugary and romantic, with an exquisite interpretation. And to close the album, two extraordinary trials by fire for Maria del Rio, the band's vocalist, which she solves with total ease and mastery of the situation. "What a Little Moonlight Can Do", a composition by Harry Woods that the legendary Billie Holiday recorded in 1935 and which, after 90 years, still sounds fresh in up tempo ska mode, and "Sinnerman", a traditional spiritual from the early 20th century made popular worldwide by Nina Simone, becomes a lively ska-jazz with soulful touches and an infectious organ solo by Daniel Ferruz. INSIDE is an album with a compact, solid, and synchronous sound, but full of details, which gives a total sense of permanence and singularity to their skareggae- jazz mastery, in which many universes fit.

''Sulla Rotta Dei Venti'' (On the Route of the Winds) is the brand-new album of Italian ska-jazz maestros North East Ska*Jazz Orchestra (NESJO). A collection of eleven own-penned original tracks, written and composed between 2020 and 2023, that frames a new chapter in the ten-year career of the band. In this record, NESJO bravely explores other worlds through music, which, as we know, is always also an inner quest. It is at the same time an effort to place their own music at the centre of the time and space in which they live, even at the cost of going beyond the stylistic limits linked to the band's chosen musical genre. Although, these new 11 cuts are built around rhythms that are undeniably of Jamaican origin, melodies are tainted with music from other traditions and sometimes also feature pop elements. Somehow, in this new album, NESJO has chosen to let the jazz big-band out of the orchestra pit and to mix with the popular sound of the street. Through the tracks of the record, NESJO creates mixed ensembles with the use of instruments such as strings, accordion, flute, clarinet, horn, tuba… together with the band's regular branding of sax, trumpets and trombones. Another novelty of this work is that the non-instrumental tracks are sung in Italian by the three singers Freddy Frenzy, Michela Grena and Rosa Mussin. And the musical journey takes us to exotic but at the same time very close sounds in 21st century Europe: Balkan (“Piazza Della Liberta”, “CiganSka #1”), Arabic (“Petrolio”), African (“Nimi Muzima”), Italian (“Roma Tokyo Paris”), and ska (“Donna Di Chi”) and a sophisticated ska-jazz suite (“Sulla Rotta Dei Venti”). The opening words of the first track of the album give us a glimpse of the feeling of vindication, brotherhood and hope contained in this set of songs: "Where is the empathy for those in difficulty / in the streets of Trieste that shout with vitality / indifference hearts of stone / dense black Balkan agony".

Ex-Here We Go Magic frontman Luke Temple emerges with a new project, Luke Temple and The Cascading Moms. Debut album, Certain Limitations. Lauded for his contributions to Here We Go Magic and Art Feynman, Luke Temple brings his signature off-kilter grooves and melodies to his new project's debut album Certain Limitations. The trio's sound takes influence from the likes of Dire Straits and The Velvet Underground, weaving together intricate guitar work, and a propulsive rhythm section, with a touch of jazz sensibility that recalls the ECM catalog. A product of serendipity, The Cascading Moms were formed when in need of a band for an upcoming show, Temple brought together Kosta Galanopolous, a collaborator from his Art Feynman project, and Stuart, a musician he already knew in LA. When these three came together to rehearse, a spark ignited, revealing a creative connection that transcended that first show that brought them together. The album's lead single, "I Can Dream," originally appeared on Art Feynman's Half Price At 3:30. However, aer reworking it with the Cascading Moms, the song took on a new life. This reinvention exemplifies Certain Limitations' core concept: a collection of songs honed and reshaped through the improvisations and collaborative spirit of three musicians creating and exploring a new sonic world.

Michael The Lion and Natasha Kitty Katt began collaborating as Natasha found a second home in Philadelphia. The two have a mutual love of classic disco and found a kindred spirit in Suki Soul, who has been tearing up the scene the last few years in Northern England. I Found Peace features Michael on guitar and Natahsha on drum machines and synths alongside Michael’s long-time studio band mates. Classical composer and legendary Pittsburgh hip hop producer Jules Krishnamurti adds bass guitar and University of Pennsylvnia jazz ensemble leader Dan Paul plays keyboards on this incredible modern disco classic. Pontchartrain brings all the right touches to the club mix, along side some heavy house mixes by Tonarunur (aka B.G. Baarregaard) to round out the first Whiskey Disco release in several years.

If you're looking for some summer fire from the Soul-Funk-Disco world then look no further than this new from Micky More & Andy Tee. Groove Culture Bosses teamed up with Angela Johnson and Dj Meme Orchestra for the cover of the classic Rose Royce's song 'Is It Love You're After'. Strings, Horns, synthesizers, guitars, bass etc... All here is played live, more than twenty musicians worked on this project. 'Is It Love You're After' is a track that contains the beauty and the essence of Soul-Funk-Disco: Instrumentation and vocals of the highest level. Package sees Legendary New York City DJ Danny Krivit providing a dj-friendly edit for the dancefloor plus a housy Mix From Da Lukas. A MUST HAVE!

After performing together in the skiffle-oriented band Good Earth, singer-songwriter Ray Dorset and keyboardist Colin Earl formed Mungo Jerry, whose breakthrough single, “In The Summertime,” remains a stone-cold anthem of the early 1970s. With Paul King on banjo and jug, Mike Cole on string bass, Earl on ragtime piano and with Dorset’s humorous vocals upfront, “In The Summertime” was skiffle-tinged rock at its best. The reissue of this uncommon 12-inch also features Dorset’s “Mighty Man,” with King’s kazoo and harp, as well as a great cover of Woodie Guthrie’s “Dust Pneumonia Blues.” A must-have!

A lost solo piano record from the Night Tripper! Originally put to tape in ‘82 & ‘83 for the Clean Cuts label, these tracks have remained unheard until now.

Two numbers feature the doc's raspy growl while his solo piano navigates us through the rest of the train ride, past touches of blues, jazz, and foot stompin’ boogie-woogie jive. It's the kind of magic that can only come from a dusty tape box.

In 1981, Dr. John began recording his first of two solo piano albums. The “new” performances featured on this release are of the same quality as the music on Dr. John Plays Mac Rebennack and The Brightest Smile In Town.

His left hand creates a three-note rhythmic pattern that forms the foundation for the performance while his right soulfully plays the melody and then builds off of it in the tradition of the New Orleans piano blues masters. In other songs, it begins as a nostalgic and heartfelt ballad, picking up steam during the performance and switching moods several times before returning to where it began.

While it is a real shame that he would never again record a full album of unaccompanied solos (Dr. John enjoyed leading a band too much), the release of Frankie & Johnny gives one an additional opportunity to discover just how brilliant and spirited a pianist Mac Rebennack was during his colorful career.

Having lovingly reissued the first four albums by our all-time favorite all- female punk band, we now turn our attention to The Donnas’ major label debut for the Atlantic label, where they went after recording a quartet of classics for Lookout! 2002’s Spend the Night was by far the band’s most popular album, hitting 62 on the Billboard charts, but it wasn’t just the major label distribution mojo that upped the sales. This record doesn’t have a dud on it, and boasts such Donnas devastators as “Who Invited You,” “Take It Off,” “You Wanna Get Me High,” and “Pass It Around.” Indeed, with one killer hook after another, the big mystery about this record is, why didn’t it make them superstars? Our reissue also includes “Big Rig,” which was on the original LP release but got left off the CD, and the insert featuring lyrics and a Freddy Krueger guest appearance. Hot pink vinyl!

In 1971, Atlantic Records released a pair of Dusty Springfield singles produced by the legendary songwriter/producer Jeff Barry (one-time songwriting and romantic partner of Ellie Greenwich, and author of too many hits to name): “Haunted”/”Nothing Is Forever” and “I Believe In You”/”Someone Who Cares.” A restless Dusty, freshly relocating to America from her native England, then departed the label and left an additional 9 songs recorded with Barry in the can, where they stayed until Rhino issued one track, “Faithful” (in mono), as a bonus track on the 1990s CD release of Dusty’s 1970 Atlantic album A Brand New Me. The other tracks didn’t surface until a subsequent deluxe reissue of Dusty’s landmark 1969 album Dusty in Memphis included them as bonus cuts.

Then, reissue producer Jim Pierson—who tracked down the missing masters after being lost for over two decades —assembled Dusty’s Barry-produced masters and put them together in a single package for the first time to create the third Dusty Springfield Atlantic Records album as planned in 1971. Real Gone Music’s release of Faithful on LP presents these historic Barry-Springfield collaborations exactly as they were originally intended to be heard, with the 12 tracks meant for the album release out on vinyl over 50 years later. All tracks are in stereo, while the liner notes on the new gatefold spread, penned by The Second Disc’s Joe Marchese, feature a number of rarely-seen photos of the legendary singer. These stunning pop, soul and gospel flavored selections showcase the iconic singer at the height of her vocal magic. A missing/ jumbled part of Dusty’s august recorded legacy, finally set right and available in its intended format. Out on metallic gold and purple “royalty” vinyl as befitting The Queen of Blue-Eyed Soul…limited to 1500 copies!

DJ Support: Jamie Jones, Riva Starr, Sarah Story, Mele, A Trak, Pete Tong, Audiojack, Maur, MK, Eats Everything, Danny Howard, Dom Dolla, Arielle Free

“Is that what you wanted, Alfred?” we hear in Miles Davis’ unmistakable rasp at the end of “One for Daddy-O,” making it clear that the legendary (and assertive) trumpeter was not just playing the role of sideman on Somethin’ Else, the sole Blue Note album by Cannonball Adderley.

The alto saxophonist was a member of Davis’ band at the time and the depth of their musical camaraderie lifts this session up to rarefied heights throughout, from the breath-taking performance of “Autumn Leaves” that opens the album to the thrilling call-and-response theme of the title track. Pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey round out the quintet on this timeless classic.

This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Enjoy The Ride Records and Drafthouse Films proudly present Miami Connection. Original Motion Picture Soundtrack. Composed and Produced by Angelo Janotti and performed by Dragon Sound, the soundtrack is finally making its debut outside of the cult classic film. Written and directed by 9th degree black belt philosopher/author/inspirational speaker Supreme Grandmaster Y.K. Kim, the film tells the story of the fearless synth rock band Dragon Sound as they embark on a roundhouse wreck-wave of crime-crushing justice in the streets of Orlando, in order to achieve world peace. Score music by Jon McCallum

Available for the first time on any physical format due to destruction from Hurricane Charley*, Miami Connection is pressed on four colorful vinyl variants, housed in a 400gsm gatefold jacket, featuring art by Garreth Gibson.

Brandneue erweiterte Ausgabe des neunten Studioalbums von Van Halen, das im Juni 1991 Platz 1 der Billboard 200-Charts erreichte. Es war das dritte #1 Album in Folge von Sänger Sammy Hagar, Gitarrist Eddie Van Halen, Schlagzeuger Alex Van Halen und Bassist Michael Anthony.

Enthält das kürzlich neu gemasterte Originalalbum plus eine bisher unveröffentlichte Live-Show vom Westend Marketplace Dallas, TX am 4.12.91 sowie bisher unveröffentlichte alternative Versionen ihrer Hits "Right Now" und "The Dream Is Over". Die erweiterte Ausgabe enthält 2LPs (mit einer Van Halen-Logo-Gravur auf Seite 4), 2CDs und eine Blu-ray mit dem Live-Auftritt in Dallas, TX, sowie die offiziellen Musikvideos für "Poundcake", "Runaround", "Right Now" und "Top Of The World".

HIGHLIGHTS Originally released in 1980, this was Stiv Bators' first solo album. Now reissued with 2 bonus tracks, not available on the original version, a slightly different picture on the cover (the actual unfiltered photo as used on the 1980 issue) and a booklet with extensive liner notes and photos. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv had turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead it's a true step forward into another unknown arena packing all the glare and attitude that remained from the last. The music is more similar to 60's power pop than the vicious punk rock that Bators became known for originally, while a member of The Dead Boys. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever. DESCRIPTION On August 11th of 1980, Stiv Bators, David Quinton Steinberg, George Cabaniss and Frank Secich flew to Vancouver, in British Columbia, Canada. They were there to do the West Coast leg of the "URGH! A Music War" tour. On the bill of the tour were Pere Ubu, Magazine, the Members, and they were billed as Stiv Bators and the Dead Boys or just the Dead Boys. After the tour they were supposed to embark on a 6-week tour of Australia, New Zealand, and the Far East. During the beginning of the Urgh Tour the Australian Tour was abruptly canceled. Greg Shaw who owned Bomp Records decided that since the band were already going to be in California that they should do Stiv's solo album which they had planned to do after returning from Down Under. So, Bators and the rest of the group set up camp at the infamous Tropicana Motel in West Hollywood and Greg booked them into Perspective Studios in Sun Valley, CA. Before going into Perspective, they went into Andy Chappel's Stone Fox rehearsal studio in North Hollywood, CA for a few days to rehearse the songs and arrange them for the album. "We had 'Evil Boy' (Zero-Secich), David Quinton's 'Make Up Your Mind' and my song 'A Million Miles Away'. We also rearranged mine and Stiv's 'The Last Year' changing the key from D to F# and making it much easier to sing in a power pop vein. In addition, we had 'Swinging A Go-Go' another great contribution by George Cabaniss. Stiv and I had written two more for the album 'Ready Anytime' and the album closer 'I Wanna Forget You (Just the Way You Are)'. We also had a moody dark instrumental (written by Cabaniss-Quinton-Secich) that we were playing around with for some time. Stiv was supposed to write lyrics for it, but he never got around to it, so we left it as an instrumental. It had a great vibe and reminded me of the John Cassavetes 1956 film "Crime in The Streets" and was thus christened that. The last song we picked for the LP was 'I Had Too Much To Dream (Last Night)' which was the one cover we did that suited Stiv's voice perfectly. After a few days of rehearsing at Stone Fox, we went into Perspective Studio in Sun Valley, California. Greg hired Thom Wilson (who would later become a famous punk rock producer of Offspring, Iggy Pop, Dead Kennedys, T.S.O.L., Bad Religion and many others). Stiv co-produced with Thom and Andy Chappel and Thom did the engineering." Frank Secich recalls. In September, after the "Disconnected" mixing sessions, Stiv went to Baltimore to film "Polyester" with Movie Director John Waters and actors Tab Hunter and Divine. Stiv then went to the UK to record with the Wanderers doing their LP "Only Lovers Left Alive". He wanted to have both bands going simultaneously but logistically and practically they all knew that could never work. The "Disconnected" Band would do one last tour to support the album release of "Disconnected". The LP was released by Bomp Records on Monday December 08th, 1980. Later that night, John Lennon was murdered in New York City. So many of the principal characters involved in the creation of "Disconnected" have passed on. Stiv Bators (June 3rd, 1990), Greg Shaw (October 2nd, 2004), Thom Wilson (February 8th, 2015), and George Cabaniss (July 17th, 2020). But "Disconnected" lives on and on and has left quite a legacy for itself. There have been over 100 cover versions internationally of the songs from "Disconnected" and it has been in print and reissued in various forms in many countries around the world. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever.

After remaining unavailable for years, here's the long-awaited vinyl reissue of the debut album (originally released in 1972) by one of the epoch-making groups in the history of Peruvian rock: We All Together. Their original compositions -all sung in English- betray their passion for McCartney, taking Beatle centrism to new heights in South America. While the Uruguayan Los Shakers could remind us of the first phase of the Fab 4, We All Together is like their '70s version. Amazing compositions, with nods to prog rock and the twilight imprint of singer-songwriters living the end of the hippy dream, that show both diversity and a defined identity. A must for any '70s rock collector. DESCRIPTION Between 1967 and 1974 Saúl and Manuel Cornejo led a series of epoch-making groups on the MAG label (New Juggler Sound, Laghonia and We All Together) in the history of Peruvian rock. All these bands were directly influenced by the British invasion and used new sounds from Hammond, phase shifters, synthesizers and tapes played backwards, which stimulated rivalry with other groups. Another hallmark of the brothers was the technical quality of their records, thanks to Saul's supervision of all MAG recordings between 1972 and 1974. At the end of 1971, when Laghonia was working on the last tracks of "Etcétera", they met Manuel Antonio Guerrero's (MAG) son, Carlos, who had just got back from the USA, and gladly joined in the choruses of the last songs Laghonia was recording. They met up again soon after to rehearse some of Paul McCartney's songs. As soon as he heard them play, Guerrero Senior urged them to form a group focused on cover versions of foreign hits not yet known in Peru. Initially, the Cornejo brothers weren't enthused by a project so different from Laghonia, but ended up accepting as it gave them the opportunity to spend time in the studio. Carlos' melodic voice was another incentive, although they made it clear that the new group, We All Together (WAT), would stick to the mixing desk: "The group isn't into presentations or shows, we're about recording music and purifying it to the max," stated Saúl at that time. Their first album included four covers of Paul McCartney and Badfinger, several compositions by Carlos Guerrero -appealing Beatles-style melodies- and two songs from Saúl and Manuel's archives. 'Children', by keyboardist Carlos Salom, opens the LP: a nostalgic description of childhood, with the distinctive piano sound (achieved through mixing) that permeates the record. Although WAT sang and composed in English, they had no intention of undermining or alienating national culture. Their aim was much more innocent: they simply wanted to make it in the English-speaking world. 'It's a Sin to Go Away' was composed during Laghonía's lifetime as a band and it features guitars played backwards and a psychedelic-progressive style closely attuned to the era. After being included on several compilations, praise for the song has flowed from Europe and the United States in recent years. The album was released in July 1972 and became one of the best-selling Peruvian rock LPs.

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
Als Altsaxofonist Sonny Stitt Anfang der 1940er seine Karriere begann, wurde er von manchen Kritikern zu Unrecht als Charlie-Parker-Klon abgestempelt. Dass er tatsächlich ein ganz eigenes Profil besaß,
bewies er schon bald mit Aufnahmen, auf denen er als Tenor- oder sogar Baritonsaxofonist zu hören war.
Für “Blows The Blues” griff er 1959 aber wieder ausschließlich zum Altsaxofon. Der Titel des Albums
ist dabei Programm: mit seinem exzellenten und bestens eingespielten Quartett präsentiert Stitt hier acht
großartige Nummern (sechs davon aus eigener Feder) in unterschiedlichen Blues-Schattierungen.

SIDE A/B BLACK / WHITE / NEON MAGENTA VINYL, limited to 100 copies. REPRESS of the legendary album. Prior to the formation of Queens of the Stone Age, bassist/singer Nick Oliveri recorded some originals with ex-Kyuss bandmates Josh Homme (guitar) and Brant Bjork (drums), plus Karma to Burn's Rob (drums) and others. But once recording was completed, Oliveri decided to shelve the tapes; it wasn't until several years later (well after Queens of the Stone Age began to establish themselves) that the bassist decided to release the songs on a friend's indie label, Southern Lord Records. Going by the name Mondo Generator, 11 tracks were compiled for the 2000 release Cocaine Rodeo. The majority of the songs are much more raw and hardcore/punk-based than Oliveri's output with QOTSA, as evidenced by such tracks as "Shawnette," "Uncle Tommy," "Unless I Can Kill," and "I Want You to Die."

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

The James Taylor Quartet proudly release their brand new single 'Hung Up On You', from their forthcoming studio album.

A slice of Medway style punky/new wave Rock'n'Roll, 'Hung Up On You' is a fast and furious rant about an obsessive unrequited love that refuses to die. Since covid James has been working again, writing and playing, for his original band from the 80's, The Prisoners and making albums of late with Billy Childish.

"The track (Hung Up On You) was left over from a writing session for my other band 'The Prisoners' and it was interesting to see how my JTQ guys, usually funk players, took to this approach. We had a lot of fun in the studio and I think you can hear that in the recording.' - James Taylor.

Iconic early 90's Ibiza downtempo sound, “Daybreak” would have undoubtedly been the soundtrack to many sunrises in the Baleares. Simon Monday mixes the essential ingredients for bliss in perfect balance, a production so simple yet so effective, no rocket-science just pure intuition, honesty and sharp club sense. All elements coming together to make such an effortlessly powerful sounding instrumental house classic that will forever stand the test of time. Repacked in this new remastered re-issue with full artwork and with 2 new mixes: an extended 9 minute dub version with a new religious edge to it along with an additional re-drummed percussion heavy “bonus beats” for good measure. A no brainer buy-on-sight release for any proper record collection, just in time for the summer season.

In 2018 Diagonal Records released an intriguing, three track, hand stamped, white label
12” of dancfloor sampledelia by Shit & Shine onto an unsuspecting world. The lead track
on this 12” ‘You Were Very High’ turned a lot of heads and became a club oddity, being
played out by DJ’s around the world – and some movers and shakers have hailed the 12”
as “Shit & Shine’s best ever release.”
Now in 2024, as the original 12” has become a bit of a collector’s item, trading hands for
£60+ on Discogs – Shit and Shine and Rocket Recordings have decided ‘You Were Really
High’ deserves a one off repress. This expanded version of the EP, which is housed in new
art and ltd to only 300 copies, also features a mighty extra track called ‘Dave, Have You
Ever Been To London.

"We Can Live Together is the first full LP by Earthtones on Wonderwheel. The title is a message, a prayer, and a vision for humanity. It is a reminder that we are in this life together, that love binds us all, and it is only the ideologies and social systems built to prohibit our ability to recognize how close we are that hold us back. We can live, together. The record is based in Folkloric Futurism, a movement that explores the convergence of global folk traditions with technology. Channeling the influence of proto House & Techno pioneers like Mr. Fingers, Kevin Saunderson and Inner City, Earthtones combines analog synthesizers & vintage drum machines with folkloric vocals and instrumentation in a way uniquely his own. It's a celebration of the intersection of past and future, here and there, ancestry and technology. It celebrates themes of spirituality, feminism, love, and most of all, peace. Highlights include "Ọ̀sanyìn", a prayer to the Orisha Ossain, with Maikel Alberto Salazar of rumba super-group Obbatuké on vocals. Recorded in Santiago De Cuba, the track is evocative of Mala's classic "Mala In Cuba" album that broke down barriers between electronic music & traditional music. "La Mujer Serpiente", having seen a sellout 7" last year features Polaris prize winning artist Lido Pimienta-behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of uplifting womxn and femmes everywhere. Ancestral and contemporary Colombian voices are present on the mid-tempo dancefloor track that is the single "Limones" with Semblanzas Del Rio Guapi, Oliwa & the chugging analog rap soundscapes of "Quiero Que Mami" with Verito Asprilla . The album also touches into ambient moments ("Song of the Wind" , Waves") – inspired by friends Carlos Nino, Matthew David, Colloboh and the vibrant West Coast environmental sound movement. credits







g 07: Selam (Dub) [feat. Etsegenet Mekonnen]

Charly Records proudly presents Chapter Two in the Wigan Casino Northern Soul series. A very special double-LP gatefold edition celebrating the 50th Anniversary of the legendary Mr Ms club that opened its doors in the early hours of Sunday 22nd September 1974. Every Saturday night, for eight years, the faithful made the pilgrimage to the desolate mill town of Wigan to a pre-war dancehall on Station Road. It was a sanctuary, a place of togetherness, elitism, and the catalyst for the music scenes longest enduring sub-culture… Northern Soul. Our exclusive playlist highlights key records from the thousands played at the famed all-nighters by its original, founding, deejays, Richard Searling. Russ Winstanley, Kev Roberts and Dave “Mr M” Evison. Keep The Faith…