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Hardwood Vinyl. Narrow Head's highly anticipated new LP 12th House Rock arrives August 28th on Run For Cover Records. The Houston-based band's latest entry is the distillation of the greatest moments in 90's alternative and hard rock with a fresh set of ears, thirteen tracks of their signature brand of bludgeoning lullabies bursting at the seams with creative ideas, new directions and yes, massive, monolithic riffs. In between the sparkle and smash, open-hearted and emotionally naked songwriting showcases a core piece of the band's identity- showcasing 12th House Rock as one of the best releases of 2020.Delving into deep-seated themes of self loathing, desolation, self-medication, the loss of loved ones and hopeful redemption,12th House Rock is, as the title suggests, a rock-focused LP themed on transition- exploring the vast abyss of darkness just before the sun cracks upon the horizon. Using distorted guitars as their primary vehicle, Narrow Head's wall of riffs add stark contrast to their best quality- deceptively sweet pop melodies that channel the lessons of My Bloody Valentine, Cocteau Twins, Helmet, Deftones and Guided by Voices all at once.

Citrus Swirl Vinyl. honeybee table at the butterfly feast is the first album from the elusive Baltimore's band Teen Suicide in years. For over a decade, guitarist, vocalist and project runner Sam Ray has been sometimes quietly and sometimes very noisily setting standards in the indie scene by changing genres, live lineups and even band names, but the one constant has been an undeniable gift for songwriting. honeybee table sits at an interesting point in the teen suicide timeline, following years of relative quiet following the releases a whole fucking lifetime of this (2018) and fucking bliss (2019), both released under the short-lived alias American Pleasure Club. Lockdown times saw a viral moment for the song "haunt me (x3)", a cult-classic catalog track featured on the 2015 Run For Cover reissue of the band's two beloved EPs dc snuff film and waste yrself. Now the band returns with what could be their next classic record, 16 songs that oscillate between noisy garage-rock, intimate acoustic songs and even blistering powerviolence in the vein of 2016's ambitious double album it's the big joyous celebration, let's stir the honeypot. The album is as varied and captivating as the cover art of the record - a painting by Ray's mother - and is held together by his unique artistic vision, captured not only in the genius of his songwriting but the power of lyrics that turn his lived experience of the past few years into harrowing poetry.

Miles Davis' 20-year association as an artist at impresario George Wein's renowned Newport Jazz Festival is a thriving tradition that is celebrated with the release of Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4.

The 8-LP box set, comprised of live performances by Miles' stellar band lineups in 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in Newport, Rhode Island, New York City, Berlin, and Switzerland.

The 4th entry in the critically-acclaimed Miles Davis Bootleg Series, contains hours of previously unreleased material. From Miles' debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan, that immediately led to the trumpeter's Columbia signing), to his final public performance of the '70s in 1975, the box set traces the ascendance of Miles' music as the Jazz superstar he has become known to be.

The full-length concert performances alone of Miles' famed ""Kind Of Blue"" Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in '66 and '67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

2024 Repress

Performed by Nicolas Horvath.


Discover all the beauty of the music from Hayao Miyazaki and Isao Takahata's Studio Ghibli films in this new original production for solo piano!

Based on the official piano scores of the original composer of the Studio Ghibli films, Joe Hisaishi, this album is an initiatory and virtuoso journey into the worlds of Miyazaki and Takahata, performed by pianist Nicolas Horvath, Steinway and Sons Artist, famous for being a first-class interpreter of composers such as Philip Glass, Franz Liszt, Claude Debussy and Eric Satie.

The album contains tracks from all Studio Ghibli films composed by Joe Hisaishi, a complete horizon of the immortal work of the cult animation studio.

The vinyl edition includes 24 tracks on two discs inserted in a sumptuous gatefold sleeve.

Collaboration between Kilbey (The Church) and Kearns (Cactus World News), compiling before unfinished recordigs from late 1990s up to 2016. Initially issued as a 500 run CD available by mail order only in 2016, this is the very first time being released through global distribution, packaged in deluxe gatefold sleeve and containing two unreleased bonus tracks. Kilbey's The Church have returned to a high-profile status with both current albums 'The Hypnogogue' & "Ezra..." being critically acclaimed globally. The two new bonus songs are tracks 11 and 12, which were recorded in 2022. Kilbey and Kearns dive deep into atmospheric soundscapes and vocals and mysterious, yet revealing lyrics as Speed of the Stars. Easy Action will be issuing Steve Kilbey's solo and collaboration albums over the coming years.

Since forming in 2008, Falling In Reverse have racked up a fanatical fan base, so much so that the band"s legendary videos have been viewed over 30 million times. The attitude of the 1980"s Sunset Strip, the bravado of battle-ready rap, the take-no-prisoners bottom end of metalcore and the boundless revelry of underground EDM parties have all beautifully converged in this one band and this new album. It"s for everyone on Instagram, on Twitter, or anyone with a brain and two ears. "My dad raised me on metal, but my first serious love was hip-hop," Ronnie explains. "When I heard Dr. Dre"s The Chronic, that"s when I fell in love. I didn"t know what the hell they were talking about, the beats were intertwined, and it came inside of me and took me over. When we added hip-hop elements I was thinking, "Should I do this? This sounds crazy! Are people going to like this?" Now I"ve never been so proud of something. The final product, Fashionably Late, is the best work I"ve ever done." First time pressing on limited edition Clear w/Hot Pink Splatter vinyl to celebrate the album"s 15th anniversary!

Together Again!!!! vereint den Trompeter Howard McGhee und den Saxophonisten Teddy Edwards und wurde ursprünglich 1961 auf Contemporary Records veröffentlicht. Neben Edwards und McGhee sind auf dem Album auch Phineas Newborn Jr. (Klavier), Ray Brown (Bass) und Ed Thigpen (Schlagzeug) zu hören. Diese Neuauflage, die als Teil der Acoustic Sounds Series erscheint, enthält (AAA)-Lackierungen, die von den Original-Masterbändern von Bernie Grundman geschnitten wurden, und wird bei QRP auf 180-Gramm-Vinyl gepresst und in einer Tip-On-Hülle präsentiert.

Pressed on heavy-weight 3xLP 180g curaçao vinyl GIANTS is an ambitious video game concept album, meticulously crafted over six years by Tokyo-based record label Brave Wave Productions under the direction of Mohammed Taher. The colossal 98-minute album showcases the talents of legendary composers known for their iconic work on series like Mega Man, Ninja Gaiden, Panzer Dragoon, Sonic the Hedgehog, Final Fantasy, among others. The album is a rich tapestry of new, gameinspired compositions from these celebrated artists, paired with innovative remixes from their classic catalogue as reimagined by their contemporaries. A highlight of the album is its emphasis on collaboration, exemplified by original tracks like Ultramarine_the first collaborative effort from Mega Man 2's Takashi Tateishi with Mega Man 3's Harumi Fujita and Sonic Mania's Tee Lopes. Another standout track, Ronin, marks a historic reunion for the Ninja Gaiden composer trio_Keiji Yamagishi, Ryuichi Nitta, and Kaori Nakabai_collaborating for the first time since their work on the NES Ninja Gaiden titles. The collaborative spirit extends to the remixes as well, such as Final Fantasy series composer Yoshitaka Suzuki's cinematic reimagining of Mega Man 2's Wily Stage, featuring Bayonetta co-composer Takahiro Izutani on acoustic guitars and producing, as well as Celeste composer Lena Raine's tranquil rendition of Panzer Dragoon Saga's Art Thou the Holy One, crafted in harmony with original composer Saori Kobayashi. GIANTS transcends traditional boundaries, featuring a diverse array of genres and styles brought to life by over two dozen talented musicians, making it a celebratory anthology of game music's rich history and evolution, led by Brave Wave's in-house rock band Super Strikers and a legion of legendary game composers.

Return To Disorder welcomes Evighet Records label head Marco Bruno for some brilliantly controlled sonic chaos on this new electro exploration. His Sharp Focus EP brings together ambient, breaks and techno to snappy electro rhythms of the sort that he has already showcased in style on labels such as Blueprint Records and Machine. This one opens with the sleek, future-facing and speedy sounds of 'Storyteller' before 'Values Over Ego' gets more textured and raw with knick-snapping hits and prying synth lines making for real turbulence. 'Twist Of Fate' is a jungle workout that ducks and dives on warped bass and 'Karmic Pattern' is a slow but textural and intense closer with rueful chords.

One of the hottest talents emerging from the New Zealand underground, Brassic, returns to DDD with a tour de force of a record, Into Chaos EP.

Switching from the sublime to the ridiculous, while simultaneously traversing a mental cliff edge under the constant threat of experimental torture - this EP is a no hold bars attack on all your senses.

Out on a limited edition six track vinyl and digital EP, come and get lost in the deep caves of Brassic’s warped and psychoactive mind.

Ranging from the grunge-influenced broody opener, Antagonist, to the outright naughty system banger, Alienated, through to the string punctuated grime influences of title track Into Chaos and the epic EP closer I Am - this body of work is a true gaze into the mind of a truly visionary creative and at points the producer’s soul.

Will you step Into Chaos?

As deep and wonky as it gets, Buffalo bass wizard isded is back with some potent dubstep saucery in the form of Swang EP - the latest release on Truth’s Deep, Dark & Dangerous imprint.

One slurp of the producer’s potion will see you hypnotized and intoxicated in equal measure as the four cuts of the most matured and delectable bass seep through your veins.

Tribal feels, sub-shattering lows and crisp percussion all coalesce to create the perfect conditions to take the step into the unknown crevices of your own mind.

Ready to get swang? We didn’t think so.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cut 'Selim' being an anthem of the scene.

The Ohio born player had made his name at Riverside where his 1965 album "The Village Caller" made him a star. When Riverside ceased trading, owner Orrin Keepnews collaborated with Lytle on two albums which came out on the Detroit label, Tuba

Ace reissued the first album “The Loop” last year (HIQLP 115). We are delighted to now put out the second, “New And Groovy”. The line-up features Milt Harris (organ) Wynton Kelly (piano), George Duvivier (bass) “Peppy” Hinnant or Jimmy Cobb (drums) Montego Joe (congas) and Lytle on vibes. The band power through a selection of original material such as ‘The Snapper’, ‘The Pulpit’ and ‘Screamin’ Loud’. The album also contains Lytle’s radical reworking of Miles Davis' 'Miles' which Lytle retitles 'Selim'. With poor distribution, “New And Groovy” barely made it to the shops back in 1967 and was ignored for twenty years until DJs such as Bob Jones and Gilles Peterson started playing it in the 80s making it a sought-after LP.

The popularity of “New And Groovy” has remained, and this is first time it has been legally reissued on vinyl. “Snapper one up…!”

Bolbec, brand new project of childhood friends and multi-instrumentalists Axel Concato and Barth Corbelet, present their debut record, "Victime De L"aube", on Batov Records. Drawing on their wide blend of musical tastes, from spiritual jazz and folk to classical and electronic sounds, to create an imaginary soundtrack that could easily sit beside the best of Piero Piccioni or Michel Legrand.

Black Truffle is thrilled to announce a reissue of Chico Mello and Helinho Brandão’s self-titled release from 1984, the first return to vinyl of this classic of Brazilian experimental music with its original cover art and complete track listing. An under-recognised figure whose work inhabits a singular terrain where radical new music techniques and music theatre meet musica popular brasileira, Mello has lived and worked in Berlin since the late 1980s. A student of Dieter Schnebel, Mello played in the 90s iteration of Arnold Dreyblatt’s Orchestra of Excited Strings alongside compatriot Silvia Ocougne, with whom he produced a radical and hilarious deconstruction of MPB classics on Musica Brasileira De(s)composta (an early and rather atypical release on Edition Wandelweiser).

On this release, his only recording predating his move to Europe, Mello works with the alto saxophonist Helinho Brandão, who appears to be otherwise unknown outside Brazil. The record’s six tracks range from solo saxophone improvisation to densely layered ensemble works bridging minimalism, acoustic sound art and a plaintive melodic sensibility that calls up Edu Lobo or Milton Nascimento. Beginning with a dramatic, dissonant wind and string surge from which emerge ominously pounding piano chords, opener ‘Água’ slowly builds in intensity, a halo of clustered vocal harmonies gradually closing in on Brandão’s squealing sax until the piece opens up to reveal a gorgeous passage of melodic singing. The piano accompaniment reduces to tolling bass notes as the voice begins a repeated incantation, suggesting a ritualistic atmosphere reminiscent of parts of Xenakis’ setting of Oresteia. Dissonant, sawing tremolos on the strings climb to a crescendo before disappearing into the sounds of water being poured and splashed into metal vessels, presented not as a field recording but as a percussive element performed by the ensemble. A child’s voice then appears, singing to piano accompaniment the same melody heard earlier in the piece. After a brief solo alto improvisation from Brandão, working with the guttural pops and fleeting melodic gestures of Braxton or Roscoe Mitchell, the remainder of the first side is dedicated to the leisurely unfolding of ‘Baiando’ over the course of twelve minutes. A trio for Brandão on soprano saxophone, Mello on a very period-appropriate phased nylon string guitar and Edu Dequech on bongos, the performance eases its way hypnotically through subtle variations on a set of rhythmic and melodic patterns, almost derailed at points by Brandão’s wild forays into extended technique but held together by Mello’s droning guitar notes.

The second side opens with another multi-part epic for a larger ensemble, ‘Matraca’, which makes use of strings, electric guitars and a wide range of South American percussion instruments. Rasping violin harmonics hover as drum hits, repeated guitar notes and triangle accompany a slowly descending bass glissando. A sudden change in direction introduces a thrumming, incessantly repeated bowed bass tone, beginning a series of episodes of minimalist phasing and pattern variation, the combinations of electric guitars and orchestral instruments giving the ensemble an ad hoc charm like the early Penguin Café Orchestra but with more percussive drive. Eventually the piece is overrun by a cacophony of the titular matracas (a kind of ratchet/cog rattle). Following a lyrical trio improvisation by Mello, Brandão and Gerson Kornin on bass, the final ‘Danca’ focuses entirely on Mello’s layered acoustic guitars and vocals, using this restricted palette to build up a haunting piece of almost orchestral density, reminiscent of the 70s work of Egberto Gismonti in how it thickens a folkish ambience with harmonic sophistication.

Arriving in a starkly beautiful gatefold sleeve and sounding better than ever in its new remaster, one might call the stunning music contained on Chico Mello/Helinho Brandão ahead of its time. But what (other than some of Mello’s own work) produced in the years since its initial release has really touched the organic fusion of minimalism, free improvisation, radical instrumental technique and popular song achieved here? Forty years after its first release, Chico Mello/Helinho Brandão remains music of the future.

LP+7" (Clear Vinyl). When the Ramones lost it, the Zero Boys found it; Adding a slam brigade fist to the Blitzkrieg Beat. The Zero Boys managed to come with one of the best early 80's punk records, or one of the best records ever, period. From 1979 to 1983, the Indianapolis-based Zero Boys were the finest hardcore blitz in the Midwest if not all the lower 48 states. Compiled and released as a post-mortem following the band's breakup, History Of_ is the proof, if more was needed, that their take of American hardcore wasn't all white bread numbers. Yeah, they played shows with Minor Threat, Dead Kennedys, Subhumans, and others but in Terry "Hollywood" Howe's guitar there was harmonious terror and unstoppable cadence. Terry's licks and chops _ a leap beyond two or three chord punk _ offered a zone and measured count for drummer Mark Cutsinger and bassist David "Tufty" Clough, a rhythm unit in par with the Minutemen if not The Meters, to run lines like quicksilver. Meanwhile, frontman, Paul "Z" Mahern provides a constant wash from beginning to end. Originally released in 1984 with a limited-edition reissue in 2009, this 40th anniversary edition includes the original LP of `History Of...' and a 7" featuring four live recordings never previously pressed to vinyl and recorded at iconic hardcore/punk venue Crazy Al's in 1980: "Livin' In The 80's", "Stick To Your Guns", "Commies", and "I'm Absent".

Fera’s trajectory sticks out like a sore thumb, you need to invest time, carefully divided between body & mind, to truly take a deep dive into his audacious output. After the acclaimed ‘Stupidamutaforma’ and ‘Corpo Senza Carne’, Fera is back with ‘Psiche Liberata’, an oblique, imperfect and broken record, in other words, exactly the type of magical voyage you want to be on. The mind, finally liberated.

Fera is Andrea De Franco, electronic composer from Southern Italy now residing in Bologna, also known for his work as visual artist/designer and member of the Undicesimacasa collective. His musical cosmos is profound and imaginative, intergalactic atmospheres that condense fragmented IDM, scintillating textures, distorted synthscapes, crunchy technoid rhythms and swirling abstractions that weave gently, sometimes moody and stark, more often celestial and awe-inspiring.

Mixed in Berlin by Steve Scanu ‘Psiche Liberata’ encapsulates Fera’s dense and intricate thought process in contrast with his simple and direct approach to writing and recording that finds its more natural output in his rapturous live sets where a mono signal runs through a few analog pedals transforming instantly into menacing alien grooves and fluid ecstasis.

Like ‘Psiche Liberata’s artwork, hand-drawn by Fera, every detailed miniature leads to a single cell of sound, tracks collide against each other in a psychotic kaleidoscope where every safe space is confronted with subsequent noise, alterations or interruptions. The black terror of ‘Celestial Anacusma’ is followed by the space-jazz banquet of ‘Milk Tears In The Hug Chamber’ doped up cyber Sun Ra extravaganza featuring Laura Agnusdei and Luigi Monteanni (Artetetra) on saxophones and flutes; ‘Silenzio Solare’ sprinkles Mille Plateaux era minimalism all over hallucinations, while ‘Diluvia’ crosses industrial acid with perpetual motion; title track ‘Psiche Liberata’ murmurs mechanically, a downtempo drifter for the wide-eyed 7AM comedown: ‘Simulacrima’ melts Boards Of Canada’s mellow pastoralism with dystopian meta-level dreamland and ‘Riposa’ showcases an overwhelming melancholy executed with elegance in a slo-mo world where the ineffable transcends notions of ambient and becomes a warm embrace.

Created on a Monotribe, MS20 & Volca Sample/fm, ‘Psiche Liberata’s velvet heaviness was achieved by re-amping many of the instruments through a Leslie Rotary Speaker and a reel-to-reel Telefunken. Fera’s sonic tapestry is in constant flux, underlying themes of love longing and affection run through the record but in a turbulent, volcanic, unleashed fashion, almost on the brink of utter noise or complete silence, reminding us that this is an artist like no other amidst the ever changing electronic scene. These are transmissions from the gutter, where the inevitable meets the unattainable and collapses.

"Fera’s tarnished materials are destined for ruin; “Stupida,” full of longing and regret, sounds like an elegy for a fallen world." Pitchfork

"A cut of dark magic that fits like a glove to overcast days, wild winds and lashing rains. Insistent, the treacle-thick bassline oozes out, soaking the space between the melancholic synth lines." Inverted Audio

"The songs on Stupidamutaforma feel hypnotizing...it establishes De Franco as a composer who uses space and time to create a set of rich, immersive works." Bandcamp 'Album Of The Day'

It is our distinct pleasure to offer up two more killer sides from the critically acclaimed long-player Come Around and Love Me, now available on the convenient, DJ-friendly 45rpm format. "That's All I Wanted From You" is a hard-hitting, sophisticated dancer already making waves on the UK soul scene and abroad. On the flip is "So Glad I Found You", an earnest ballad that showcases Jalen's elegant voice and knack for writing world-class soul music. Grab one before they're gone!1

How could Canadian heavy metal band 3 Inches of Blood dial up the intensity even more after their 2004 masterpiece Advance and Vanquish? Well, by bringing in Slipknot drummer Jordy Jordison to produce their next record, and adding a new instrumental line-up of former Allfather lead guitarist Justin Hagberg and former Walls of Jericho drummer Alexei Rodriguez to the band’s unique dual vocalist assault of Cam Pipes on “clean” vocals and Jamie Hooper on “scream” vocals. The result was 2007’s Fire Up the Blades, which, as Hooper put it, was “a faster, more intense version of us.” Which means that albums don’t get any faster and more intense than this one; that the epic lyrics are good enough to have been penned by George R.R. Martin of Game of Thrones fame is just a bonus. Speaking of bonus, for the vinyl debut of Fire Up the Blades (and after consulting the band) we’ve upped the stakes with a 2-LP release featuring an entire side of extra tracks that were released right around the time the album was, including their cover of the Lucifer’s Friend song “In the Time of Job When Mammon Was a Yippie.” All pressed in “Crimson Fire” vinyl housed inside a gatefold jacket with lyrics…limited to 1250 ferocious copies!

Mr. B recorded by Chet Baker with his trio, is considered one of the best from that period. Baker plays compositions from “Dolphin Dance” (Herbie Hancock), “Strollin” (Horace Silver) and “In Your Own Sweet Way” (Dave Brubeck). The sadness of the songs is felt throughout, in a lazy sometimes slow and sluggish tempo. The album includes two bonus tracks “White Blues” and “Father X-mas” and band members include Michel Graillier (piano) and Ricardo Del Fra (bass). Mr. B celebrates its 40th anniversary and is available as a limited edition on translucent blue coloured vinyl. The album sleeve contains liner notes by Wim van Eyle.

"Waxwork Records, in conjunction with Hollywood Records and Paramount Pictures, is thrilled to present SLEEPY HOLLOW Music From The Motion Picture by Danny Elfman for the very first time on vinyl! SLEEPY HOLLOW is a 1999 gothic supernatural horror film directed by Tim Burton and starring Johnny Depp, Christina Ricci, and Christopher Walken. It is based loosely on Washington Irving’s 1820 short story “The Legend of Sleepy Hollow”. The plot follows police constable Ichabod Crane (Depp) sent from New York City to investigate a series of murders in the village of Sleepy Hollow by a mysterious Headless Horseman.

Danny Elfman is an award winning American film composer, singer, and songwriter. He has garnered international recognition for composing over 100 feature film scores. Elfman is a longtime collaborator of director Tim Burton having scored such films as Beetlejuice, Edward Scissorhands, and The Nightmare Before Christmas.

Sleepy Hollow stands as one of Elfman’s largest orchestral scores and utilizes weighty brass, eerie choral pieces, and unnerving strings. His use of romantic themes cut a calming tone throughout the dark and mysterious gothic-fairy-tale.

Waxwork Records is proud to present the debut vinyl release of SLEEPY HOLLOW Music From The Motion Picture by Danny Elfman as a deluxe double LP album. Album features include 150 gram colored vinyl (Metallic Silver and Blood Red Swirl), new artwork by Steven Reeves, heavyweight gatefold jackets with matte satin coating and spot UV gloss varnish, and a 11”x11” art print."

"Fucked Up formed in 2001 in Toronto, Canada. Meeting each other through the local diy hardcore punk scene they developed a cult following early on which blossomed into a long career of releasing genre expanding music.

""Another Day"" is their 7th full length album, they have released over 60 7” singles, countless hours of open-format guitar music, and toured consistently all over the world since early in their career.

Their first three LPs, “Hidden World,” “the chemistry of common life,” and “David Comes to Life” have all been canonised as classic, critically acclaimed, genre defining efforts. The three to follow, “Glass Boys,” “Dose Your Dreams,” and “One Day” have challenged expectations in scope, style, and delivery, the latter which was written and recorded within the span of 24 hours.

Alongside their LPs, the band have been releasing their more experimental “Zodiac” series since 2006. Fucked Up have released 9 12”s of compositional, genre-less, long format songs (20mins plus) corresponding to the Chinese Zodiac, diving ever deeper into narrative forms including a 4 act opera (year of the horse), a musical palindrome (“onno”).

Fucked Up has toured the world extensively and under extraordinary circumstances – a vegetable oil powered school bus through the mountains of the American West Coast, a literal slow boat to China across the sea of Japan, and of course a humble van on any highway that will have them – and bring the same idiosyncrasy to the stage that they do to their records."

When we were offered the most welcome opportunity of choosing another “virgin” (as in never released on vinyl before) volume from the Dick’s Picks catalog, we did our Dead diligence, combing through the many chat rooms online to see which one the fans really wanted to see come out on LP. It will come as no surprise that opinions were varied and vehement…but a consensus emerged that Dick’s Picks Vol. 12—Providence Civic Center 6/26/74 & Boston Garden 6/28/74 was the one. Which is interesting, because that Pick is a little different, combining the second sets of two different nights instead of offering a single show. But it’s the exception that proves the rule—the playing is so extraordinary, and the repertoire so unusual, that one can understand why Dick Latvala played more curator than archivist here. Side A picks up the second set from Providence three songs in, featuring a short jam that leads into what many have labeled the most extraordinary live version of “China Cat Sunflower” ever recorded, complete with a sublime transition (“Mud Love Buddy Jam” a.k.a. “Mind Left Body Jam”) into “I Know You Rider.” The revelatory moments continue throughout the Providence set, highlighted by a dazzling, 15-minute “Spanish Jam.” But the second set of the Boston show—which appears here complete, after a superb encore performance of “Eyes of the World” from Providence—is the one that has passed into legend among Dead fans (a performance of Phil Lesh and Ned Lagin’s electronic music piece “Seastones” provides an appropriately adventurous interlude). The set boasts one of the most renowned live jams of the band’s career, a flawless, 14-minute “Weather Report Suite: Prelude/Pt. 1/Pt. 2-Let It Grow” leading into a 27-minute “Jam” that is simply one of the most far- ranging, telepathic improvisations ever played by, well, anybody. That this set also includes a separation of the “Sunshine Daydream” section from “Sugar Magnolia” for only the second time ever is just gravy. This is, of course, a “Wall of Sound” concert, so we’re working with something of a special audio source to begin with. So, we enlisted Jeffrey Norman to master the release for vinyl from the original tapes (pictured on the enclosed insert), and enlisted Clint Holley and Dave Polster over at Well Made Music to cut the lacquers. Gotta Groove Records, our manufacturer of choice, has pressed the 6 LPs on to 180-gram black vinyl housed inside a two-piece hardshell box, and we have a little stencil surprise for ya on Side L. Limited edition of 3000 hand- numbered copies!

At the muddy miracle that was Woodstock, the most miraculous performance just might have been Jefferson Airplane’s. The band had been one of the first to sign on for the festival, their imprimatur prompting many other acts to hop on board, and their stature had landed them a coveted headlining slot closing Saturday night’s schedule. But, as the torrential downpours and the unexpected crush of half a million people kept on delaying their set, the chances of putting on anything approaching a quality performance seemed to diminish.

According to Paul Kantner, “We were supposed to go on at 10:30 at night and we’d been up and down about four or five times on acid that night, getting ready to go on, and then everything was delayed for whatever reasons. So, we didn’t get on until like 7:00 the next morning and everybody was pretty much burned out.” Kantner’s protestations to the contrary, the Airplane (with guest pianist Nicky Hopkins in tow) played a scorching two-hour set that defied the elements and the circumstances. Grace Slick led the charge as the band plunged into a frenetic version of Fred Neil’s “The Other Side of This Life”: “Alright, friends, you have seen the heavy groups. Now you will see morning maniac music. Believe me, yeah. It’s a new dawn!” What followed was an adventuresome (and surprisingly tight) set that not only featured the band’s big hits like “White Rabbit” and “Somebody to Love” but also premiered songs from the Volunteers album that was still three months away from being released, including a 21-minute version of “Wooden Ships!” Indeed, about the only members of the crew who weren’t up to snuff were the ones filming the concert documentary, which explains why the Airplane is not one of the acts that commonly come to mind when thinking about Woodstock; they didn’t appear in the film due to subpar footage, and only one of their songs (“Volunteers”) was included the chart-topping 3-LP Woodstock release.

Now, Real Gone Music is proud to present Jefferson Airplane’s complete Woodstock performance. The 3-LP set comes inside a gorgeous, double-gatefold jacket sporting photos of the band at Woodstock, most of them taken by the legendary Henry Diltz; liner notes by folk-rock guru Richie Unterberger complete the package. Pressed in iridescent, “clouds breaking” blue for its 55th anniversary, this release makes a convincing claim that Jefferson Airplane’s Woodstock performance ranks right up there with those of Jimi, Sly, and Santana as a festival highlight. Limited to 1000 copies!

Reggae Charmers is the 1970 album by Lloyd Charmers, born Lloyd Tyrell. His career spans some of the most fertile periods of Jamaica's musical history. From the late-'50s era of Jamaican shuffle R&B and the subsequent ska boom, to the rocksteady and roots reggae of the late '60s and early '70s, Charmers made valuable contributions not only as a vocalist, but as a session musician and producer, as well. Charmers took up the piano in 1966. A few years later, he was an accomplished enough player to form a band of his own with a few friends. The band eventually backed Ken Parker, Max Romeo, Pat Kelly, John Holt, and Slim Smith & the Uniques (Charmers would also spend some time singing for the Uniques). Buoyed by their reputation for laying down some of the rawest and driving rhythms of the time. Charmers is joined by Byron Lee and the Dragonaires on this record, that is a must for all true fans of vintage Jamaican sounds. Reggae Charmers is available as a limited edition of 750 individually numbered copies on orange colored vinyl.

Bad Man Possee is a classic early Eighties dub reggae recording by Junior Murvin, who made his name working with Lee ""Scratch"" Perry on his 1976 debut album Police & Thieves. This album features some stirringly hypnotic tracks to go along with the hit title track. ""Guitar"" is an eerie ode to Murvin's first guitar, riding craftily over a headnodding rhythm provided by Dread At The Controls studio musicians the Roots Radics Band. While Murvin changes speeds quite mercurially, from the love lost recollection ""Never Fall in Love"" to the politically charged ""Rebellion,"" the high quality of the music remains even throughout. Murvin's outstanding doo wop-inspired falsetto is a uniquely inspired nod to the R&B tradition as well as the stylings of ska, rocksteady, and dub. Murvin tops the album off with simply astonishing version ""Man Is the Fire."" Bad Man Possee is available as a limited edition of 750 individually numbered copies on translucent yellow coloured vinyl.

Don’t let the list of stellar sideman gigs (with Elvin Jones, Miles Davis, Freddie Hubbard, McCoy Tyner, Woody Shaw et al.) make you overlook the solo work of saxophonist Azar Lawrence; for over 45 years he has recorded a string of spiritual ‘n’ soulful jazz albums that come closer to the ethos and aesthetic of John Coltrane than probably any of Lawrence’s contemporaries. Recorded for the legendary Prestige label in 1976, People Moving is his third solo album, and it’s one of his best; it features such luminaries as Lee Ritenour, Patrice Rushen, Harvey Mason, and Mtume on a soaring set of funky tunes produced by a young Skip Scarborough, who would go on to helm recordings by Bobbie Humphrey, Con Funk Shun, and Phyllis Hyman among others. First vinyl reissue!

ohn Fahey’s Takoma label is best known for pushing the envelope when it comes to acoustic guitar playing, but in 1967 it released a record that has become one of the true cult classics of the ‘60s free jazz movement. Charles Martin Simon was an aspiring writer whose artist wife died in 1965. When he tried to pick up the torch and become an artist using her art supplies, he was, in his words, “reduced to nothing,” and thus created an alter ego or “psyche fragmentation,” Charlie Nothing. Under that moniker he became most famous for creating “dingulators,” working guitar sculptures made from parts of American cars; in 1967, though, he recorded The Psychedelic Saxophone of Charlie Nothing/In Eternity with Brother Frederic, an album consisting of two separate saxophone improvisations accompanied only with gong, tabla, and ukelele. Its cover adorned by Nothing’s own hand-drawn art, this record has since become not only something of a “secret handshake” among free jazz fans, but also a classic of outsider art, fitting right next to your Moondog records if not in sound than in spirit. For its first ever reissue in any format, we’ve gone back to the original tapes to present an all-analog release of The Psychedelic Saxophone of Charlie Nothing/In Eternity with Brother Frederic on black vinyl with the original art intact, offering an unfiltered experience of this man’s cracked genius. A memorable look ‘n’ listen to say the least.

Itʼs been five years since the last BELONG long player, as the duo works slowly to organize their sound works. Both the time invested, and the wait, have been well rewarded with this return.

Common Era shows extraordinary progression from that first album of dense, scorched earth instrumentals, hints of a new direction having been revealed on the Colorless Record EP from 2008 which contained covers of four should-have-been classics from the original psychedelic era.

The new material has such common pop elements as “songs”, vocals and drum machines, but the results could hardly be called conventional and are like little else happening on the current “scene”. The songs themselves are akin to radio transmissions received from another time and place, just as likely to be the future as the past, or even from a contemporary alternate universe.

They are both passionate and dispassionate, grey yet technicolor, ghostly and palpable, distant yet immediate, grainy and focused. Upon listening these conceptual contradictions are dismissed with ease, as the recordings reveal that they fit all of these descriptors simultaneously, an extraordinary balancing act.

Following last year's ground-breaking return with "The Course of The Inevitable", Lloyd Banks is back with more hunger on this 2nd instalment! Featuring guest appearances by Jadakiss, Dave East, Vado, Conway The Machine, Benny The Butcher and Tony Yayo.

In this musical journey, Banks weaves together a compelling storyline, sharing pieces of his own pain and struggles, inviting listeners to connect with his authenticity. With Method Man's signature lyrical prowess, Cormega's poetic finesse, and the raw energy of 38 Spesh, the album boasts a stellar lineup of features that enhance its impact.



Banks' sharp lyricism and introspective storytelling shine throughout the album, exploring themes of resilience, triumph over adversity, and the complexities of life. Each track serves as a piece of his soul, revealing layers of vulnerability and strength. With the collaborative efforts of his fellow artists, "The Course of the Inevitable 3: Pieces of My Pain" delivers an immersive and powerful listening experience, solidifying Lloyd Banks' position as a master in the rap game and the one and only Punch Line King.

Step into a world where authenticity meets emotional resonance with Maxo's 2018 album, "Smile," produced by the mastermind Lastnamedavid. This release marks the genesis of a new era, a departure from prevailing trends, and an introduction to the genuine artistry of Maxo.

"Smile" is a testament to Maxo's effortless storytelling and emotional delivery, setting a refreshing tone in the contemporary music landscape. Lastnamedavid's soulful production serves as the perfect backdrop, creating a sound that is as real as the content it supports. The album captures a range of emotions, painting a vivid picture of Maxo's journey through the realms of honesty, youthfulness, troubles, and hope.

From the reflective "Same Hoodie Since ‘05," a sobering exploration of identity and roots, to the anti-romantic ballad "Evelyn," Maxo invites listeners to join him on a personal and introspective journey. "Smile" serves as a reminder, not just to Maxo but to an entire generation, to appreciate every situation, irrespective of the circumstances.

The project features a notable collaboration with Sharp, adding an extra layer of depth to the already rich tapestry of "Smile." As Maxo unfolds his narrative, the synergy between his lyrical prowess and Lastnamedavid's production creates a sound that is not just music but an authentic expression of self.

"Smile" is more than an album; it's a sonic exploration of the human experience, capturing the essence of Maxo's voice and vision. In a world of fleeting trends, Maxo and Lastnamedavid deliver a timeless record that resonates with honesty, making "Smile" a standout release in the musical landscape of 2018.

Celebrating their 10th anniversary, Slowly Rolling Camera's sixth studio release, 'Silver Shadow,' is inspired by the dynamic interplay of film montages—infused with soul-stirring rhythms, magnetic melodies, and a lush spectrum of emotional tones.

Since bursting onto the scene in 2013, Cardiff's Slowly Rolling Camera has crafted a distinctive niche in the European jazz tapestry, effortlessly weaving together soul-stirring rhythms, magnetic melodies, and a rich palette of emotional hues. Known for alchemical compounds of jazz finesse, cinematic gravitas, and electronic flair, Slowly Rolling Camera fashions sound, perpetually pushing the boundaries of musical creativity.

"This album reflects our fascination with the cinematic approach, not just in sound, but in how we construct our music". SRC’s latest album, 'Silver Shadow,' delves even deeper into that cinematic realm. Inspired by the visual and musical interplay infilm montages, 'Silver Shadow' centers around a fictional protagonist, encapsulated both in the album’s narrative arc and its striking artwork. The tracks, concise and emotionally consistent, mark a departure from earlier long-form composition, aiming instead for more immediate impact.The core trio of Dave Stapleton (keys), Deri Roberts (sound design & production), and Elliot Bennett (drums) drive the band's collective ethos, further ornamented by a vibrant ensemble of collaborators including Jasper Høiby on bass, Josh Arcoleo onsax, Stuart McCallum on guitar, and Verneri Pohjola on trumpet. The band’s genre-defying approach and profound emotional depth has earned comparison with iconic groups The Cinematic Orchestra and GoGo Penguin and captured the hearts ofmany thousands of fans worldwide.

In the early 1990s gangsta rap was becoming more popular. KRS-One took to the mic and continued to write socially conscious raps resulting in the hard-hitting 1992 album Sex And Violence which would be the fifth and final studio album under the Boogie Down Productions name. Produced by KRS-One, Pal Joey, Kenny Parker, D-Square, and Prince Paul, the album explores the darkest sides of the American urban landscape and psyche, with KRS as narrator, detailing all sides of the matrix. While singles like the alarming drum-driven "Duck Down" and the funky-as-hell "We In There" got most of the attention in ‘92, the deeper sequence reveals plenty of additional gems: the history lesson of the dark and dusty "Drug Dealer"; "Ruff Ruff", with scowling MC favorite Freddie Foxxx (aka Bumpy Knuckles); the grooving "Questions and Answers," and the frantic record industry track "How Not To Get Jerked." The album kicks off with an intro skit featuring KRS-One as a DJ in panic needing vinyl which at the time was a dying format while cassettes and CDs became the dominant format. Thirty-two years later vinyl DJs and Hip-Hop vinyl collectors no longer need to panic. Get On Down in partnership with Sony Music's CERTIFIED is proud to bring back to vinyl this underrated gem in the BDP catalog. Featuring one of the dopest album covers by American artist Robert Williams, Sex and Violence is pressed on colored vinyl and packaged in a gatefold jacket with full lyrics.

sentiment is a meditation of the poignant emotional terrains of loneliness, nostalgia, sentimentality, guilt, and sex. The album"s narrative arc is guided by delicate musical gestures and artistic vulnerability, audaciously synthesizing disparate and unexpected influences. claire rousay is a singular artist, known for challenging conventions in experimental and ambient music forms. rousay masterfully incorporates textural found sounds, sumptuous drones and candid field recordings into music that celebrates the beauty in life"s banalities. Her music is curatorial and granular in detail, deftly shaped into emotionally affecting pieces. rousay"s vocals and guitar take center stage on sentiment. Her intimate, diaristic lyrics contrast with her mechanical-inflected vocal effects, emphasizing a powerful desire for connection, a deep yearning and a lingering sense of separation. The spare guitar playing and laconic tempo both drive the songs and exude a sense of resignation. Her delicate mastery of nuance draws on her explorative musical past that she, with sincerity and admiration, seamlessly interweaves into her adventurous textures and distinctive compositions. "I want to belong to the worlds and communities I look up to. Same as someone using a Fender guitar or dressing like Kurt Cobain. Emulate your heroes," says rousay. The album balances the poetic soul of her influences with a documentarian heart, rousay capturing moments of her life while living alone in houses across the country, learning to play guitar, and reconnecting with pop music. Her innate ability to conjure pure feeling from sound derives from her delightful embrace of pop forms, the vulnerability found in field recordings, minimalistic arrangements and innovative sound choices. sentiment is blissfully, achingly melancholic, and an undeniably sensual listening experience.

The ever-present and unstoppable Welsh legend Sir Tom Jones continues to grow his deep-rooted legacy around the world. His recording of ‘It’s Not Unusual’ (released in 1965) has been covered by a number of incredible artists including Cher, Brenda Lee, Glen Campbell and more. The song first resurged in the 90s when it was synced on ‘The Fresh Prince Of Bel-Air’ bringing the world ‘The Carlton Dance’, and many times since Along Came Jones, the debut album from Tom Jones, contains the monumental hit ‘It’s Not Unusual’ alongside a beautiful renditions of ‘Autumn Leaves’ and Spanish Harlem. Presented on vinyl for the first time since it’s release, this will be a real collectors item for Tom Jones fans worldwide.

The ever-present and unstoppable Welsh legend Sir Tom Jones continues to grow his deep-rooted legacy around the world. What’s New Pussycat?, is the sophomore album by Tom Jones, includes the title track which was created for the film of the same name. The album also contains the beautiful ballad ‘With These Hands’ and upbeat hit ‘I’ve Got A Heart’. Presented on vinyl for the first time since it’s release, this will be a real collectors item for Tom Jones fans worldwide.

Originally part of an exhibition curated by Elysia Borowy last September, Scott Grooves' contribution to After The Dance transcends the dancefloor, exploring experimental expressionism in visual arts and electronic music. Critiquing capitalist culture and drawing from afrofuturism, his work prompts reflection on consumerism and futuristic themes. The CD release features deep ambient pieces that caccaompnied six thought-provoking installations: Sweet Dreams Anakin, Foot Work, Vinyl, For All-Dee People, Yellow Sun Bricks, and Found Sound. It shows another side to the deep house don's work and is just as essential.

Recorded on a hot night in a one-room gospel music studio in Accra, comes Gbɛfalɔi -- a remarkable record exploring the edges of contemporary African music. It's at once traditional and Avant Garde,
extremely local and thoroughly cosmopolitan. Anchored in folkloric instruments and free improvisation, the music is more like the Art Ensemble of Chicago than the court drummers of the Ashanti king.

Isabell Gustafsson-Ny joins Warm Winters Ltd. with Rosenhagtorn, a suite of short pieces for piano, violin and voice. Absorbing in its profound focus on listening, this collection is a striking exploration of these sound sources; their repetitions, harmonics and oscillations. Conceiving of the release as a house, a different song is playing in each room, Gustafsson-Ny was able to explore the rawness and fragility of each instrument with incredible freedom and sensibility. She describes the album in the following words: "In the music there is both repetition and flow, but also the creak of the pedal organ. Here are Radigue traces and slow slow piano. Here is the violin again, resumed after many years of almost fallow. Here are the overtones and the scratchy strings. Here I dare to open the door to the voice." A unique kind of dusty, intimate folk music.

Vinyl Packaging: Full color jacket featuring original artwork by Callum Rooney. Can I Communicate With the Unknown? is the new album from Go By Ocean, moniker of Northern California based singer / songwriter / producer Ryan McCaffrey. Co-produced alongside Tim Bluhm (The Mother Hips) and David Glasebrook, the album features contributions from a wide cast of characters, ranging from the tight knit community of Phil Lesh’s much loved Terrapin Crossroads to the wider West Coast indie-rock scene, including members of The Mother Hips, Sugar Candy Mountain, ALO, Tea Leaf Green, and more. Building upon McCaffrey’s catalog of songs, the new album finds inspiration in the down-to-earth music of 1970’s Marin County, when songwriters like Michael Hurley and Jesse Colin Young lived out in Olema and Point Reyes, the kind of places where songs blow in on the breeze from the Pacific Ocean. Lyrically, the album traces a hero’s journey as the narrator struggles with addiction, eventually finding peace and freedom in a tumultuous world, wrestling with metaphysical and spiritual ideas along the way. Highly anticipated new album from Go By Ocean, co-produced by Tim Bluhm of The Mother Hips. Press coverage includes reviews and features in Austin Town Hall, Glide Magazine, Psychedelic Baby Magazine, and more. UK/EU Publicity handled by Chris Carr & Mal Smith. “...washed with breezy beachy vibes…” - Glide Magazine // “...marries the bright guitar arrangement of The Byrds with an updated indie appeal.” - The Wild Is Calling // “...you can almost feel the hope over the hills waiting for you with open arms.” - Austin Town Hall // “‘...satisfyingly artful and I would venture to guess you’ve never heard anything quite like it.” - Ear To the Ground Music // “We will be spinning the hell out of this record for the rest of the summer.” - Up To Hear Music // “...it’s not hard to imagine some of these songs floating in on the coastal fog, ascending ghosts indeed.” - Psychedelic Baby Magazine