Search:original

First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.

Suburban Architecture are pleased to announce the sixth instalment in their 'Architecture Dubs' series of limited edition 10" vinyl releases. While previous editions have seen some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material, this final release from the series sees the remix duties handled by the duo themselves.

Following on from the now sold out release of Architecture Dub #001 to #005 (featuring remixes from Peshay, Blame, Nookie, Ray Keith and 4Hero among others), edition #006 features a pair of VIP versions, previously only heard in Suburban Architecture DJ sets.

The A-Side features a rework of the track that started it all, 'Visions '96', the title cut from the duo's 2019 debut EP. The familiar pitched Rhodes pads, ominous vocals and intricately chopped Apache breaks of the original are all present, but new layers of atmospherics, tougher drum programming and a full, deep bass all serve to elevate the track in this 2025 rework.

On the flip, 'Future Jazz '95', originally featured on the duo's 2020 sophomore EP 'Alternative Futures', gets a musical rework. Maintaining much of the structure of the popular original, the original vocals and some of the drums remain while, Rhodes, Bass, Atmospherics and more are all replaced, delivering a cut which manages to feature largely new material while retaining the feel of the original.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

Repress!

It's been 35 years since the first release of the iconic track Risin' To The Top', yet the track sounds as timeless as ever. Now Keni is about to embark on a '35th Anniversary Tour' in the UK and will include this song, which has now been sampled by over 80 artists. These include Mary J. Blige, L.L. Cool J, Doug E. Fresh, 50 Cent, and KRS-One. This 7' version is also now extremely rare, original copies exchanging hands at vast sums. Hang Tight' also comes from the 1982 Changing' album, another classic which will be performed as part of the upcoming tour and was the original B-side to the first UK issue of Risin' To The Top'

Released in September 1974, the album is regarded as one of the band’s finest and featured a new line-up of the band which saw the departure of Robert Calvert and Dik Mik, but the arrival of keyboard player and violinist Simon House.Featuring such classic tracks as 'The Psychedelic Warlords’, 'Wind of Change’, 'D-Rider’, 'You’d Better Believe It’, 'Lost Johnny’ and 'Paradox’, the album was formed of studio recordings and over-dubbed live recordings made at concerts at Edmonton Sundown in London in January 1974. 'Hall of the Mountain Grill’ was another UK Top Twenty hit for the band.This new edition has been newly remastered from the original master tapes and cut at Abbey Road studios and fully restores the original LP artwork. It also features a bonus 12-inch 45 rpm EP featuring four tracks issued as singles in 1974.

The members of Someone Still Loves You Boris Yeltsin couldn’t list a single music blog until their lo-fi MP3s and low-res JPEGs made them worldwide icons of Blogdom in 2005. Even Spin read an SSLYBY blog, downloaded their music and declared the Missouri band “could succeed The Shins as the band that will change your life."
 
Recorded in the attic and living room of guitarist Will Knauer's home, Broom, SSLYBY's debut record, is an expertly crafted indie pop gem.
 
Originally, SSLYBY had a simple ambition: to make the “Local Releases” bin at CD Warehouse. However, Broomturned into a classic rock ‘n’ roll record -- the kind where pop perfectionism meets studio experimentation and each track flows effortlessly. Seemingly innocuous pop songs are molded by happy accidents of fate -- sometimes involving unexplained swarming sounds and doubled drums tracks --into the warm, ethereal tracks that made the album into a sensation.
 
Originally self-released by the band to sell at shows, Broom was remastered and released via Polyvinyl in late 2006.

Spanning some eight albums and multiple line-ups, "All Ages" contains the very best of Bad Religion"s Epitaph years. It includes live versions of "Do What You Want" and "Fuck Armageddon..." with artwork that is culled from original show flyers! The lyrics sheets are also the original hand-written versions; some of which were scribed on bedroom walls!

Taiwanese pop stars Teresa Teng was enormously popular in Japan in the 70s and 80s!

It's been 20 years since it was released on CD in 2005. This definitive best album, which still boasts overwhelming popularity and contains 10 of
Teresa Teng's ultimate songs, has been released on analog for the first time with a transparent pink color record and a laminated flip-back cover on
the front cover! The sound quality is also the best, using a 96kHz/24bit master converted from DSD directly from the original master tape!

The third album by Popol Vuh, a collective of musicians founded in Germany by Florian Fricke in 1969. 'Hosianna Mantra’ was a departure from the band’s first two records. Leader Florian Fricke abandoned the use of the Moog synthesiser and instead employed acoustic instrumentation such as piano, oboe and tambura. The record also featured evocative vocals by Korean singer Djong Yun and guitar contributions from Conny Veit.

The resulting album was one of the most inspiring, evocative and beautiful works to emerge in Germany in the 1970s and its fusion of ethnic, classical and ambient influences remains unique.

It is little wonder that 'Hosianna Mantra’ remains regarded as one of the finest works by Popol Vuh and continues to be held in high regard by both critics and aficionados alike.

This Esoteric Recordings edition has been cut at Abbey Road studios and replicates the original album artwork.

'In den Garten Pharaos’ was the second album by Popol Vuh, a collective of musicians founded in Germany by Florian Fricke in 1969. The record successfully fused the experimental sounds of the Moog synthesiser with ethnic percussion which resulted in an album of stunning originality.

The record was an influence on successive generations of musicians and it continues to inspire.

This Esoteric Recordings edition has been cut at Abbey Road studios and replicates the original album artwork.

Das 1970 veröffentlichte, selbstbetitelte Debüt von Funkadelic war eine radikale Kollision von psychedelischem Rock, Gospel, Blues und Soul - ein chaotisches, genreübergreifendes Statement, das die Möglichkeiten der schwarzen Musik neu definierte. Wo Motown auf Hochglanz und Crossover-Appeal abzielte, stürzten sich Funkadelic kopfüber in Verzerrungen, Improvisationen und spirituelle Zweideutigkeiten, mit einem Sound, der so düster und unberechenbar war wie die Ära selbst. Unterstützt von einer wilden jungen Band, lehnte das Album Konventionen zugunsten von rohem Groove und existentiellem Lärm ab. Als Teil der Westbound Records Reissue Serie von Org Music stellt diese Ausgabe die volle Wirkung des Albums wieder her. Die Deluxe-Doppel-LP, die von Dave Gardner direkt vom analogen Band mit 45RPM neu gemastert wurde, bietet das bisher beeindruckendste Hörerlebnis dieses Klassikers. Gardner und die Restaurationsspezialistin Catherine Vericolli archivierten und restaurierten die Original-Masterbänder in den 54 Sound Studios in Ferndale, Michigan, mit Unterstützung des hauseigenen Ingenieurs Nick King. Neben CD, Kassette und digitalen Formaten ist auch eine einfache LP-Ausgabe erhältlich, die von hochauflösenden Bandüberspielungen geschnitten wurde. Funkadelic waren zu ihrer Zeit eine klangliche Revolution mit bleibendem Einfluss, ihr selbstbetiteltes Album ist ein bahnbrechendes Zeugnis für Musik ohne Regeln und Freiheit ohne Grenzen.

Das 1970 veröffentlichte, selbstbetitelte Debüt von Funkadelic war eine radikale Kollision von psychedelischem Rock, Gospel, Blues und Soul - ein chaotisches, genreübergreifendes Statement, das die Möglichkeiten der schwarzen Musik neu definierte. Wo Motown auf Hochglanz und Crossover-Appeal abzielte, stürzten sich Funkadelic kopfüber in Verzerrungen, Improvisationen und spirituelle Zweideutigkeiten, mit einem Sound, der so düster und unberechenbar war wie die Ära selbst. Unterstützt von einer wilden jungen Band, lehnte das Album Konventionen zugunsten von rohem Groove und existentiellem Lärm ab. Als Teil der Westbound Records Reissue Serie von Org Music stellt diese Ausgabe die volle Wirkung des Albums wieder her. Die Deluxe-Doppel-LP, die von Dave Gardner direkt vom analogen Band mit 45RPM neu gemastert wurde, bietet das bisher beeindruckendste Hörerlebnis dieses Klassikers. Gardner und die Restaurationsspezialistin Catherine Vericolli archivierten und restaurierten die Original-Masterbänder in den 54 Sound Studios in Ferndale, Michigan, mit Unterstützung des hauseigenen Ingenieurs Nick King. Neben CD, Kassette und digitalen Formaten ist auch eine einfache LP-Ausgabe erhältlich, die von hochauflösenden Bandüberspielungen geschnitten wurde. Funkadelic waren zu ihrer Zeit eine klangliche Revolution mit bleibendem Einfluss, ihr selbstbetiteltes Album ist ein bahnbrechendes Zeugnis für Musik ohne Regeln und Freiheit ohne Grenzen.

Originally released in 1992 (as a single LP), Turns Into Stone pulled together many of the Stone Roses finest non album tracks - early singles, B-sides and extended versions – into one compelling collection. It begins with their first release from their ultimately turbulent tenure at Silvertone Records, ‘Elephant Stone’ and includes perhaps the bands finest moment, ‘Fools Gold.’ An essential companion to their timeless debut album, like the latter it contains some of best British guitar-driven pop/rock of the era, here spread over four sides of vinyl, the better to showcase the stretched-out grooves that helped them to become, for a time, probably the most exciting and influential band in the country.

The definitive best of collection from “the only band that matters”, Hits Back was originally released in September 2013 and sequenced to replicate the set played by the band at the Brixton Fair Deal (now the Academy) on 10 July 1982, with the addition of some essential numbers that were not included in the set that night.

Back by popular demand! Dive deep into the depths of the underground with Waterworld, the singular and legendary collaboration between two of hip-hop’s most innovative minds — Cage and Tame One — operating together as Leak Bros. Originally released in 2004 on Eastern Conference Records, Waterworld has remained a cult classic: a surreal, grimy, and conceptually bold record that transforms the world of PCP (aka “leak”) into an immersive sonic hallucination.

Woozy textures, gritty East Coast production, and vividly warped lyricism, earned the album its iconic status among underground heads. Across tracks like “G.O.D.,” “Dead Out,” and “Got Wet,” Cage and Tame One embody fictional leak fiends navigating an absurd, paranoiac landscape of drug-fueled delusion. The beats, handled by producers like Mighty Mi and Camu Tao, are hypnotic and lo-fi, dripping with eerie samples and warped loops that match the narcotic haze of the lyrical content.

Both a conceptual experiment and a raw snapshot of early 2000s hip-hop’s shadowy edges, Waterworld remains as strange and captivating today as it was two decades ago. This repress preserves the original tracklist and aesthetic, with newly remastered audio pressed on high-quality vinyl — perfect for longtime fans and new listeners ready to get wet.

The album C.Q. was originally released in 1968 by the Dutch Nederbeat band The Outsiders, featuring Wally Tax (vocals), Ronnie Splinter (guitar), Leendert "Buzz" Busch (drums), and Frank Beek (bass guitar)._x000d__x000a_The Outsiders, hailing from Amsterdam, were a key figure in the Dutch Nederbeat movement—a local interpretation of beat music inspired by the British Invasion. Though the album C.Q. initially struggled commercially, it has since gained recognition as a psychedelic and garage rock masterpiece._x000d__x000a_C.Q. is available as a limited edition on yellow coloured vinyl and packed in a gloss laminated gatefold sleeve.

Mit nur 14 Jahren begann Trelane als Backgroundsängerin bei Billy Childish und CTMF und sprang bei einer BBC6 Session als Leadsängerin für einen Ramones-Song ein. Als die Band Trelanes großartige Stimme hörte, beschloss sie, ihn bei einigen Monkees-Covers als Leadsängerin auszuprobieren. Trelane kam auf die Idee für den Bandnamen. Weitere Aufnahmen sind geplant. Der folgende Text steht in englischer Originalsprache auf der Rückseite der ersten 7"-Single der Band... "Wir trafen Trelane zum ersten Mal im Jahr 2267 n. Chr. während einer Versorgungsmission zur Kolonie Beta VI. Trelane war jung, mutig, trug knielange Mokassins - angeblich aus dem Besitz eines gewissen Peter Tork - eine Cowboyjacke mit idiotisch langen Fransen und ,hippe" Hosen. ,Steht ihr auf die Monkees?", fragte Trelane. ,Natürlich", antworteten wir. ,Groovy", lachte Trelane, ,ich taufe euch auf den Namen The Squires of Gothos. Habt ihr ein Cembalo?" ,Nein, tut mir leid." ,Keine Sorge, ich zaubern eins her - und hier ist ein Studio. Jetzt hört auf, rumzualbern, und lasst uns aufnehmen!" Und so kam es, und hier ist das Ergebnis. Dig!!!" - Mister Schneider: The Vincent van Gogh-Gogh, Malibu, LA Lead-Gesang - Trelane The Squires of Gothos: Bass / Backing-Gesang - Jableeta Schlagzeug - Ginger Chunks Gitarre - Sir Quentin Gaydish - eine Childish Produktion!

Ein Meilenstein der elektronischen Clubkultur kehrt zurück: Generator 7/8 von Moskwa TV erscheint erstmals als farbige 12“ Maxi-Single – in einer streng limitierten Sammleredition!

Der 1985 veröffentlichte Club-Hit gilt als Vorreiter des europäischen Electro- und EBM-Sounds und prägte mit seinen treibenden Sequenzen, kraftvollen Vocals und futuristischem Stil eine ganze Generation. In dieser exklusiven Neuauflage sind mehrere Mixe des Klassikers enthalten – darunter rare und extended Versionen, die den Track in neuem Klanggewand erstrahlen lassen.

„How Big, How Blue, How Beautiful“, das dritte Studioalbum von Florence + The Machine feiert 10
Jähriges Jubiläum! Das Album verkaufte sich weltweit über eine Million Mal und enthält die Hitsingles
„What Kind of Man“, „Ship to Wreck“, „Queen of Peace“ und „Delilah“. Außerdem wurde fünfmal für
den Grammy Award nominiert.
Anlässlich des 10-jährigen Jubiläums von „How Big, How Blue, How Beautiful“ wird das Originalalbum in
einer limitierten Auflage auf blauer Marmor-Vinyl und mit 2 bedruckten Innenseiten und einem 4-seitigen
Booklet veröffentlicht.

Wayne Shorter war ein amerikanischer Jazz-Saxophonist, Komponist und Bandleader. Er wurde 1959 als
Mitglied von Art Blakey’s Jazz Messengers bekannt, für die er schließlich der Hauptkomponist wurde. Er
trat 1964 dem Second Great Quintet von Miles Davis bei und war 1970 Mitbegründer der Jazz-Fusion-Band
Weather Report. Als Bandleader nahm er mehr als 20 Alben auf. Viele Shorter-Kompositionen sind zu
Jazz-Standards geworden, darunter „E.S.P.“ und „Footprints“. Seine Musik wurde mit 12 Grammy Awards
ausgezeichnet. Der Musikkritiker der New York Times, Ben Ratliff, bezeichnete Shorter 2008 als „den
wahrscheinlich größten lebenden Small-Group-Komponisten des Jazz und einen Anwärter auf den größten
lebenden Improvisator“.
Das Debütalbum des legendären Jazz-Saxophonisten, Introducing Wayne Shorter, wurde ursprünglich 1960
auf Vee-Jay veröffentlicht. Es enthält 5 Shorter-Originale und eine Coverversion von „Mack The Knife“,
wobei Shorter von Lee Morgan (Trompete), Wynton Kelly (Klavier), Paul Chambers (Bass) und Jimmy
Cobb (Schlagzeug) begleitet wird. Diese Neuauflage des Albums erscheint als Teil der Original Jazz Classics
-Serie auf 180-Gramm-Vinyl, das bei RTI gepresst wurde, mit analogem Mastering von den Originalbändern
bei Cohearent Audio und einem Stoughton Tip-On Jacket.

Released exclusively in Germany in March 1966, "Black Monk Time" by The Monks has become a cult classic -praised as a groundbreaking forerunner to punk and krautrock. Though the album was overlooked at the time, its bold sound and sharp lyrics have earned it lasting influence and critical acclaim. The Monks were five American G.I.s stationed near Heidelberg, West Germany. Originally performing as a typical beat group under the name the 5 Torquays, they evolved into something far more radical. After discovering guitar feedback by accident and embracing a raw, percussive approach, they caught the attention of two German ad men-Walther Niemann and Karl Remy-who became their managers and helped reinvent their identity. Dressed in monks' robes with tonsured hair and noose neckties, the band developed a confrontational, rhythm heavy sound. Nowhere is this clearer than in the album's opening track, 'Monk Time,' which captures their entire aesthetic in under three minutes. A pounding, repetitive groove of bass and drums anchors the track, layered with distorted guitar bursts, percussive electric banjo, chaotic organ stabs, and unrestrained, shouted vocals. It's a declaration of intent-urgent, jarring, and unforgettable. Their sole studio album, produced by Jimmy Bowien and recorded in Cologne in late 1965, defied musical norms. From the explosive opener 'Monk Time' to the fierce 'Complication,' "Black Monk Time" rejected flower power for something more urgent-anger, humor, and innovation. At the time, Polydor Records deemed the music too radical for American audiences, delaying its U.S. release. Despite its initial commercial failure, the album is now seen as a pivotal moment in rock history-loud, strange, and unapologetically ahead of its time. The Monks' story is as unlikely as their sound: five ex-soldiers and two ad executives creating one of the most daring records of the '60s. The band never sparked the revolution they hinted at, but decades later, "Black Monk Time" still resonates. This is your chance to experience the album that dared to be different - don't miss it. Remastered sound from the tapes, pressed on 180g vinyl.

"Ben Harper has unveiled his new album Winter Is For Lovers, and in many ways his entire musical life has culminated in this moment. The solo recording, which features just Harper and his Monteleone lap steel guitar, is a 15-song work of original instrumental compositions imagined as a symphony. Harper has pushed musical boundaries since his 1994 debut and his lap steel guitar has played a tremendous role in his distinct sound throughout his career. But he"s never made an album that so purely distills his reverence for the instrument, and his mastery of it. Meditative and affecting, the music featured on Winter Is For Lovers is deeply ingrained in Harper"s DNA and leads directly back to The Folk Music Store, the influential California instrument shop his grandparents opened in the 1950s. The store hosted luminaries of all stripes, including Sonny Terry, Brownie McGhee, the Rev. Gary Davis, Doc Watson and John Fahey. While Harper worked in the shop throughout his childhood, he met and even strung guitars for iconic players like Ry Cooder, Leonard Cohen, Taj Mahal, David Lindley and Jackson Browne.

Celebrate the 20th anniversary of one of hip-hop’s most iconic albums with Jeezy’s TM:101 Live, a once-in-a-lifetime reimagining of Let’s Get It: Thug Motivation 101, now backed by a full live orchestra.
Originally released in 2005, TM:101 didn’t just introduce Jeezy to the world; it immortalized trap music, debuting at #1 on the Billboard Hip-Hop and R&B charts and #2 on the Billboard 200. Widely hailed as a critical and cultural classic, the album became the blueprint for a generation of street anthems and dominance.
Now, Jeezy elevates his legacy with an epic live performance, merging raw lyrics with rich orchestral arrangements lending to a new level of sonic depth. Featuring stunning live renditions of tracks like “Soul Survivor,” "Go Crazy,” “My Hood" and “Trap or Die,” this release captures the emotion, scale and storytelling that defined a movement.

Lard’s Pure Chewing Satisfaction is the second landmark album of the industrial-hardcore collision between vocals of Jello Biafra with the patented wall of noise assault and studio wizardry of Ministry founders Paul Barker and Al Jourgensen!
Originally released in 1997, Pure Chewing Satisfaction is a dark, frightening look at everything wrong in America, and it rings as true now as it ever has. Lyrically its pessimistic and apocalyptic, tackling topics like looking for work, the legacy of the Me Generation and their failures, to environmental disasters. Sonically, the album is an avalanche of both real and electronic drums, menacing effects galore, and layers of machine gun guitars. Not quite punk rock, nor completely industrial—this is Lardcore for the people!

A must have for fans of Jello Biafra’s work and of Ministry, the result remains another classic release from this legendary collaboration. This long awaited repress now features in addition to the wide release on black vinyl, a limited solid-pink vinyl edition!
Praise The Lard!

"This digitally re-mastered version of ""Generator"" contains two bonus tracks for ""Heaven Is Falling"" and ""Fertile Crescent"" that originally appeared on the split 7"" with Noam Chomsky put out by Maximum Rock"N Roll in "91. ""Generator"" knocks about stirringly with a steadfast, mid-tempo punk roar, keeping the songs simple but continually on the upsurge. Brett and Greg Hetson"s guitars piggyback to ever-rousing heights, utilizing the essential chords and keeping limits on flashy things like solos or effects, never letting the enthusiasm or sentiment wane. With all players striving to turn each listening experience into a placard-waving melee, Bad Religion emblazons honest, dissatisfied-with-the-status-quo lyrics with an Uberpunk spirit, Greg Graffin"s vocals growing more gravelly and endearing with each record. With the implicit understanding that strength lies in brevity, Bad Religion hew mighty exhortations to action out of a well-trampled happy-punk base, and the sheer motivational impact of ""Generator,"" ""Only Entertainment,"" ""Atomic Garden"" and ""No Direction"" sweeps clear any charges of oversimplification or sameness. Generator is a brutal noise that is louder, faster & angrier than ever! A plethora of power punching punk pedagogy."

Raw & Alive – The Seeds In Concert“ ist möglicherweise das beste „Live“-Album, das es je gab. Das Album wurde 1968 gegen Ende der Karriere des ursprünglichen Quartetts veröffentlicht und war ein Versuch, die Live-Begeisterung, für die diese Garagenlegenden bekannt waren, auf Vinyl zu übertragen. Das Album wird von Seeds-Fans hoch geschätzt, da es spannende Versionen von Bandklassikern wie „No Escape” und „Up In Her Room” sowie hervorragende neue Originalsongs wie das punkige „Satisfy You” enthält, wobei letzteres eine klare Rückkehr zur alten Form nach dem blumigen Longplayer „Future” darstellt. Die meisten wissen jedoch nicht, dass die Aufnahmen tatsächlich live im Studio gemacht wurden und der Applaus erst nachträglich hinzugefügt wurde. Ursprünglich war geplant, eine Seeds-Show vor Publikum aufzunehmen. Im Februar 1968 wurde eine Live-Studioaufnahme vor dem Fanclub der Band aufgenommen, die jedoch in letzter Minute verworfen wurde. Die zweite CD unserer Deluxe-Vinyl-Neuauflage enthält dieses geplante Album in der Form, in der es für die Veröffentlichung vorbereitet wurde, direkt vom bisher unveröffentlichten Masterband. Die frühe Version enthielt den seltenen Titel „Hubbly Bubbly Love“, der für „Raw & Alive“ nicht neu aufgenommen wurde. Die neue 2LP „Raw & Alive“ ist die vierte Ausgabe der erweiterten Seeds-Reihe und enthält ein 8-seitiges Booklet mit Anmerkungen des Herausgebers Alec Palao, der die Geschichte des Abgesangs der ursprünglichen Seeds-Besetzung detailliert beschreibt, illustriert mit bisher unveröffentlichten Fotos des Quartetts auf der Bühne in ihrer Blütezeit Mitte der 60er Jahre.

Reissue of Philemon Arthur and the Dung's debut album, originally released in 1972. Comes with a bonus 12" where Philemon Arthur play a Bob Hund track, and Bob Hund play Philemon Arthur. Two still anonymous youngsters from Skåne, in the far south of Sweden are making music that divide music Sweden in two halves with their bold vocals, experimental lyrics and fantastic songs. Either you love them or the opposite. Clearly there are influences from early rock bands as Velvet Underground and Rolling Stones and others. But they make something completely of their own out of it with accordion, guitar, biscuit jars, granny's radiator and some other stuff. 1972 they were awarded a Swedish Grammis. Of course there was no one to receive it. The Grammy awards were shut down for 15 years after that.

Jackpot Records is extremely proud to announce our re-issue of the revered reggae album 1976’s War Ina Babylon by Max Romeo & The Upsetters. Originally released on Island Records, the album is considered one of the greatest Reggae albums of all time and was a massive influence on the UK punk movement that was just starting to bubble to the surface.
The record’s incredible power belies an unlikely partnership between one of the world’s greatest producers (and experimenters in sound), Lee “Scratch” Perry, and vocalist Max Romeo (who by 1976 had performed on over 120 7” singles) Romeo had been transforming from his “rude” records to writing lyrics with social themes as the era in Jamaica was rife with poverty, gangs, and politically motivated killings. As he was looking to produce protest music at its most powerful alongside music that would never leave the listener’s souls, Lee Perry and Max Romeo started collaborating together.
Recorded in two weeks in 1976, utilizing Lee Perry’s kitchen sink production, War Ina Babylon is considered part of Lee Perry’s ‘holy trinity’ Black Ark produced LPs released by Island
Records (Junior Murvin’s Police and Thieves and The Heptones’ Party Time being the other classics LPs in the trinity), this LP continues to find new fans with every passing generation.

Alone (original release date: 12 December 1981): 180g vinyl weight, clear deep blue vinyl.
Remastered & cut by Alex Wharton (Abbey Road Studios, London).

Eighth original album. This speed, this sparkle, this comfort, this unquestionably Takanaka World!
The film record ‘WHITE LAGOON’ was included as a bonus with the first pressing, but this time it is included as an EP.

Released in 1989 by the noted audiophile label Chesky Records, Portraits is a testament to the prodigious talent of the legendary trumpeter, flugelhornist, and jazz educator Clark Terry.

The first of four albums for the Chesky label, Portraits was recorded when the St. Louis-born hornblower, then 68 years old, was a much-venerated jazz elder. By then, he had 35 albums under his belt and boasted a resume that included stellar collaborations with Duke Ellington, Charles Mingus, Quincy Jones, and Dizzy Gillespie.

For Portraits, produced by David Chesky, Terry assembled a quartet comprising pianist Don Friedman, bassist Victor Gaskin, and drummer Lewis Nash. With Terry alternating between flugelhorn and muted trumpet while also showing off his chops as an occasional vocalist, the quartet breezes through a blend of familiar jazz standards, like 'Pennies From Heaven,' and Terry's hard-driving original tune, 'Finger Filibuster,' where he shows off his athletic scat singing.

Other highlights include the Louis Armstrong favorite 'When It's Sleepy Time Down South' and 'Sugar Blues,' a nostalgic nod to New Orleans jazz. The album is reissued on 180g One Step Pressing Vinyl LP and SACD Hybrid Stereo.

Large Music proudly presents the long-awaited reissue of David Brown – “Feel Love”, originally released in 1994 and now making its triumphant return on vinyl for the first time in decades. Cataloged as LAR010, this essential piece of Chicago house history has been lovingly remastered and pressed to wax, reaffirming its legacy as a cornerstone of the genre.

Produced by Sherman Rogers and Darren Brandon of the acclaimed Black Ice Productions, “Feel Love” is a quintessential expression of the raw, soulful energy that defined the Windy City’s deep house scene in the early '90s. Blending hypnotic rhythms, warm synths, and David Brown’s emotive vocal delivery, the track captured the hearts of underground dancefloors from Chicago to the world.
Adding to the release's weight is an all-star lineup of remixers who need no introduction:
• Ralphi Rosario, one of house music’s original architects and a member of the legendary Hot Mix 5, brings his signature peak-hour intensity and timeless groove.
• Derrick Carter & Chris Nazuka, operating under their cult alias Red Nail, deliver a raw, stripped-back interpretation, dripping with analog grit and deep, jacking flavor.

This reissue isn’t just a nod to nostalgia—it’s a powerful reminder of house music’s roots and enduring spirit. Whether rediscovered or experienced for the first time, “Feel Love” stands tall as a classic slice of Chicago house, as relevant on today’s dancefloors as it was over 30 years ago.

LQ (label owner of Echo Chamber Sound/Run It Red) sent me a track he had done with Kloke called "2049" and as soon as I listened to it, I knew I had to have it for the label. It's the kind of tune where I hear it and it makes me wish that I was the one that had made it!

When I was considering producers best suited for remixing "2049", Equinox was the first that came to mind because I knew that he'd be able to build on the dark amen flavour of the original whilst taking it to a new place that still respects the vibe. They were up for it & so was he, so thankfully it all came together & here's the end result.

"Anti Todo" is Eskorbuto's most celebrated album, recorded in the shortest time imaginable and released in 1985. It shows what the Spanish punk band did best: hitting the studio with as much raw energy, provocation, inspiration, and natural talent as possible. A new remastering for this edition has given the album the richer, more vibrant sound it always deserved. We can once again enjoy the urgency, simplicity, and rage of this refreshed "Anti Todo", a true classic recorded at Eskorbuto's peak of their creativity and energy. It includes a large poster and insert with notes. DESCRIPTION 1985 was a landmark year for punk rock in the Basque country, and possibly for the whole of Spain. Punk merged with the Basque Radical Rock (Rock Radikal Vasco or RRV) movement, although this was not necessarily always the case. For instance, Eskorbuto invariably kept their distance from the movement and everything related to it. Hardship was part and parcel of Eskorbuto's life and musical career. All their albums were recorded in the shortest time imaginable, partly due to tight budgets (studios were expensive, labels were close-fisted), and partly because Josu and Jualma needed to spend the money on other things_ When it came to recording "Anti Todo", Eskorbuto stuck to what they did best: hitting the studio with as much raw energy, provocation, inspiration, and natural talent as possible. It was their best record and we have to ask: what would Eskorbuto have been capable of if they had more time, a bigger budget, and tighter control? The song 'Tamara' was practically composed on the spot in the studio in less than two recording days, as was much of 'Ha llegado el momento'. The experienced sound technician did an outstanding job, but a new remastering for this rerelease has given the album the richer, more vibrant sound it always deserved. We can once again enjoy the urgency, simplicity, and rage of this refreshed "Anti Todo", a true classic in our musical history, originally released in 1985 at Eskorbuto's peak of their creativity and energy. This edition of the album includes a large poster and insert with notes.

'The story of IDM in the USA begins in Miami’ - Fact Mag

Control Freak Recordings are thrilled to be launching its new reissue sub-label with Soul Oddity’s Tone Capsule - a seminal electro/IDM classic from mid-90s Miami.

Originally released as a series of 3 EPs, the reissue compiles these into an album, newly remastered by Keith Tenniswood (Radioactive Man) - available digitally and, for the first time, on 2x12" LP album.

Soul Oddity marked the first outing for a pair of musicians who were instrumental in bringing the UK's post-rave IDM scene to the US. Having bonded over a love for the Warp output at the time, the pair fused this influence with the sound of their native Miami, where hip-hop, breaks and bass soundtracked a lively party scene.

A masterpiece of machine-driven, emotionally abstract storytelling, Tone Capsule rivals some of the best of 90s leftfield electronica. Twitchy beats and gloopy synth-funk are melded into jams that make for a seriously otherworldly listen - as forward-thinking now as it was in 1996.

This record kickstarts our new reissue sub label Capsule Freak - marking the beginning of our dive into the rich past of dance music history which has brought the scene we love to where it is today. We can’t think of a more fitting time capsule to begin this journey with - over two years in the making, we hope you find this release as wild and intriguing as we do.

The legendary 'Rhythm of Life' by American soul star James Mason returns with a series of remixes on this vinyl-only EP. Fresh interpretations come from DJ Mitsu the Beats, Dego and Yukari BB who all do their thing to cuts from sometime Roy Ayers Ubiquity man Mason's 1977 solo album. Dego's jazzy remix of 'Free' and Yukari BB's synth-heavy take on 'Good Thing' are standouts and DJ Mitsu the Beats adds percussive warmth to both 'Free' and 'Mbewe' by infusing the originals with mellow funk and hip-hop grooves. This one packs a super hot jazz-funk punch for the more open-minded dancefloors

Grupo Yoyi's rare gem 'Paco La Calle' comes from 1977 and is now available on its own 45rpm for the first time ever, and is a fine window into the artist's pioneering blend of Afro-Cuban rhythms, jazz, funk and disco. Originally released on Cuba's iconic Egrem label, it's the only known solo project from producer Jorge Soler. It's brimming with lush horn arrangements and warm analogue synths, so both sides effervesce with genre-crossing spirit that feels timeless even now, almost half a century on. These are the sort of sounds that are perfect for both soundtracking a sunlit afternoon or heating up a dancefloor and will have Latin fusion freaks and crate-diggers alike in a spin.

Zur Feier des 30-jährigen Jubiläums erscheint das bahnbrechende mit Multi Platin ausgezeichnete Album
und Meisterwerk der Cranberries „No Need To Argue“. Das Album enthält neu abgemischte Remastered Audios vom Produzenten des Originalalbums Stephen Street, 2 brandneue Remixe von Iain Cook
von Chvrches, unveröffentlichte Live-Musik von Woodstock ’94 und das unveröffentlichte Demo des FanFavoriten „Zombie“.

2025 Repress


Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)


Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

2025 Repress

Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)


Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

Chickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to our knowledge, only one: Debris'. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver "Rectomo" Powers and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock 'n' roll this side of MX-80 Sound.

When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris' came in well-rehearsed – nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones' debut album, Debris' would release their lone record onto the world.

Opener "One Way Spit" could easily be mistaken for a lost KBD single – from Chuck's bizarre count-in to the band's trashy start-stop rhythms, unfurling a Dadaist flag around Johnny's visceral vocals. On "Tricia," a reference to the then-current Patty Hearst trial, Oliver's gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-'70s Cleveland scene.

Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges' Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris' were one of the first to do so.

Debris' had a standing invitation to play New York at Max's Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as Static Disposal, which was actually the label name printed on the original front cover) has since become a collector's item and is even namechecked on the infamous NWW list.

The Fuse album was remastered at Abbey Road in 2023.  The album includes an extra unheard track from the period called New Liberty. Artwork is by Chris Bigg of V23.
The second in a series of archive releases by Cranes, Fuse was recorded in Portsmouth, their home town by siblings Alison and Jim Shaw. It originally appeared as a cassette album in 1986 on the Bite Back! label. With an initial run of only 200 copies, over the years this album, with its distinctive purple cover has been highly sought after amongst fans, often exchanging hands for more than £100. 

FUSE showcases a sparser, darker and more industrial, post punk sound. From the hypnotic allure and rhythmic intensity of the title track to the ferocious and challenging beats of Wrench, the songs are just as mesmerising as Cranes' later, critically acclaimed releases.  

Recorded in a garage on a 4 track porta-studio, the band spent many months experimenting and became obsessed with the recording process. Jim Shaw used a very early sampling pedal to create the drum sounds, which were all individually triggered. The only and first ‘industry’ person to hear anything by Cranes at this time was Martin Hannett (legendary producer of Joy Division and New Order).  He was looking for unsigned bands to appear on a new music TV show in Manchester and so Ian Binnington from Biteback! sent him a compilation tape of many Portsmouth bands. Hannett picked out ‘Fuse - original version” by Cranes and told Ian that the track was ‘fucking great’.   

Following their sold out gigs in October 2023 in London and Portsmouth, Cranes will be playing the following shows in May, supported by deary*: Tue 30th April BRUSSELS, Botanique, L’orangerie (Sold-Out) Thu 9th May LEEDS, Brudenell Social Club* Sat 11th May LONDON, Islington Assembly Hall* Mon 27th May BARCELONA, Primavera @Apolo.