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If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos

First Vinyl Release for 1994 Britpop outfit Salad, fronted by Dutch vocalist and former MTV VJ Marijne Van Der Vugt (vocals and keyboards). Originally released on Island records as a compilation made up of their early singles , b-sides and EP material.

Comes with an exclusive hand-signed insert from Marijne.

Paul Kennedy (Guitar, Vocals), Pete Brown (Bass) and Rob Wakeman (Drums).

Supported Blur back in 1993 where they rose to prominence after a couple of EP releases. This compilation takes the best of their early years material. A must have for fans of Brit-Pop, British Alternative Rock and 90’s Indie.

140g Black Vinyl with exclusive signed print.
Features the tracks ‘Diminished Clothes’, ‘Kent’ and ‘On A Leash’.

SEVENDUST is an American rock band from Atlanta, Georgia, formed in 1994 consisting of members Lajon Witherspoon (lead vocals), Clint Lowrey (lead guitarist), Vince Hornsby (bassist), Morgan Rose (drummer), and John Connolly (rhythm guitar). Since formation, SEVENDUST have attained success with three consecutive RIAA gold-certified albums, a Grammy nomination, and have sold millions of records worldwide. The group has released a total of thirteen studio albums, and this compilation features 7 incredible records from their catalog

Emerging from the ashes of Ireland's early rave era - that had been absorbed into the vastly commercialised club scene of the late '90s - was an oft forgotten, but exceptionally fertile period for electronic music in Ireland. Spearheaded by the then Dublin duo of Decal (later becoming the solo project of Alan O' Boyle), nurtured through nights like Phunk City at The Funnel, Model One at Switch and at a later point midweek club haunt Electric City, an unlikely Irish electro movement was born; breeding an abundance of new labels, parties and producers hungry to make their mark. "Dreams of Electric Bleep" revisits a crucial time of development (1999-2005), when production standards on the island of Ireland rose in perfect synchronicity with the collapse of the music industry as we knew it.

While Detroit, The Hague and London heavily influenced the sounds heard in the clubs, clubs in pubs, warehouses and great outdoors of Ireland - it was producers from Belfast, Cork, Donegal, Dublin, Limerick and Mayo who created the first significant chunk of high-quality Irish electro, demonstrated here over a range of styles (originally released a variety of local and international labels). This double 12" release - featuring key tracks from Decal, Magnetize, Metroneem, Americhord, Phil Kieran, Takeover Sound, Chymera and John Braine - comes on picture-sleeved coke bottle clear vinyl, and includes a download code.

Designed by Jonny Costello (Adult Art Club) with liner notes from Stephen Rennicks (Drexciya Research Lab). Mastered by Paul Mac at Hardgroove Mastering, vinyl mastered and cut by Simon Davey at The Exchange Vinyl.

Ein europäischer Jazzklassiker - zum ersten Mal auf LP!

Auf “Over The Years” (erschienen im Jahr 2000) zog die damals 70 jährige Abbey Lincoln ein beeindruckendes Zwischenresümee ihrer Karriere. Dafür stellte sie ein reizvolles Programm mit Stücken aus den 1940er Jahren, Traditionals, romantischen Standards und eigenen Kompositionen zusammen, das selbst für eine notorische Bilderstürmerin wie Abbey eher ungewöhnlich war. Begleitet wurde sie bei der Aufnahme des Albums, das als eines ihrer besten gilt, von einem jungen New Yorker Begleittrio sowie Tenorsaxophonist Joe Lovano und Trompeter Jerry González als prominenten Gästen.

"The Rude Sessions," recorded May 9, 1974, at Rude Sound Studios, Woodstock, NY.

Mailout to relevant music press and radio. Promotion across social media platforms. Advertising in Shindig & Record Collector.

Includes an alternate take of 'Looking Good tonight ' appearing for the first time ever on vinyl.

"Blues for a Reason stands out from much of the work of the period." - The Penguin Guide to Jazz

"It's strange to think that two of the greatest stars of "cool jazz," Chet Baker and Warne Mash, would never record together, given that they were nearly the same age, and that they both rose to fame in Los Angeles around the same period.

However, that would have been the case if Gerry Teekens, founder of the Criss Cross label, had never had the bright idea of bringing them together in 1984.

Surprisingly, they would end up cutting their only collaborative album, Blues for a Reason, in Monster, The Netherlands!" - **** AllMusic

Given more room to freely experiment, Gypsy brings even more latin- flavored progressive rock through frontmen and principle songwriters James "Owl" Walsh and Enrico Rosenbaum's wildly creative minds.

30 Jahre nach seinem Boygroup-Senkrechtstart mit der 90er-Sensationsband Caught In The Act , fünf Jahre nach den ersten Soloerfolgen mit " Egal, was andere sagen " und dem #1-Auftaktalbum "Kopf aus, Herz an" steht Eloy de Jong mit seinem ultimativen Best-of-Album in den Startlöchern: " Viel mehr als das Beste " erscheint am 13. Oktober! Mit gleich 13 Bonustiteln und doppelt so vielen Meilensteinen aus den letzten Jahren vereint es tatsächlich sehr viel mehr als das Beste ?

Eloy de Jong hat dieses Jahr so einiges zu feiern! 50. Geburtstag, 30 Jahre Bühnenjubiläum und vor allem fünf Jahre ganz oben als Solokünstler, der nach seinen ikonischen 90er-Erfolgen nun auch ein paar der größten Hits der jüngeren Popschlagergeschichte verbuchen kann!

Zum fünften Jahrestag seines Durchbruchs mit der Sensations-Single "Egal, was andere sagen" präsentiert der sympathische Musiker aus den Niederlanden sein ultimatives Best-of-Album, für das er insgesamt gleich 13 Bonustitel eingesungen hat - "Viel mehr als das Beste"!

Originally released on white vinyl for Record Store Day 2021, this much sought after soundtrack is now available on a limited run of Transparent Red Vinyl.
2020 saw the release of the critically acclaimed “Audrey”, a documentary film taking an intimate look at Audrey Hepburn’s life with access to never-before-seen footage from her family’s personal collection and produced by the multi award-winning team behind “McQueen” and “Churchill”.
The soundtrack was composed by Alex Somers, an American composer and producer who has written and collaborated on soundtracks including “We Bought A Zoo”, “How To Train Your Dragon Trilogy”, “Aloha”, “The Circle”, “Captain Fantastic”, “Shia LaBeouf's Honey Boy” and Taylor Swift's Netflix original documentary “Miss Americana”. His work was first noticed in 2009 with Riceboy Sleeps, his ambient album collaboration with partner Jónsi (Sigur Rós). Following “Riceboy Sleeps”, Alex co-produced Jónsi’s 2010 debut solo album “Go”. He then opened his own recording studio in Reykjavík where he co-produced and mixed Sigur Rós’ 2013 album “Valtari”, and continued to collaborate with artists Jónsi, Julianna Barwick, Jóhann Jóhannsson, Gyða Valtýsdóttir, Damien Rice, Amiina, Sin Fang, Briana Marela.

After an international tour, the multi-instrumentalist FKJ presents his new 6-tracker jazz EP : Ylang Ylang

Produced in an intimate context, the project, both bright and melancholic, is a real journey within the artist's time capsule.

Its numerous instruments - often accompanied by warm choruses - between apotheosis and rhythmic lull, tell the different parts of his life. Story of musical and familial love, loneliness and passing time, this project spotlights his name, coming from a soothing local flower.

Full of influences, there is Bas - the first rapper signed on Dreamville, label created by J.Cole - on the single "Risk", which deals with similar themes. French Kiwi Juice introduces us to a sweet orchestral ballad. Finally, between gratitude and lightness, he states "I am still the same".

Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) is the latest entry in Rhino’s ongoing, GRAMMY-winning series exploring the vast untapped archives of rare Joni Mitchell recordings — a project guided inti-mately by Mitchell’s own vision and personal touch. Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) will be available as a 4 LP with an accompanying book featuring photos and a conversation about this period between Joni Mitchell and longtime friend Cameron Crowe.

The collection begins with an early cut of “Cold Blue Steel And Sweet Fire,” one of two songs (along with “For The Roses”) test-driven during a visit to a Graham Nash David Crosby recording session at Wally Heider’s in Hol-lywood.

From there, listeners are treated to early demos and alternate versions from sessions from For The Roses, Court & Spark, and The Hissing Of Summer Lawns; historic live show recordings, including the entirety of Mitch-ell’s triumphant 1972 return to Carnegie Hall and a definitive gig with her Court And Spark backing band Tom Scott & the L.A. Express; and tracks from sessions cut alongside James Taylor, Graham Nash, and Neil Young.


















q 5. Sunrise Raga [3:41]

If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his
first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos

Holy Hive haben in der kurzen Zeitspanne von 3 Jahren zwei Alben und eine EP veröffentlicht und dann beschlossen, sich aufzulösen. Während die Fans diese Nachricht zweifellos nicht mögen werden, bleibt uns allen die zeitlose Musik, die sie während ihrer gemeinsamen Zeit gemacht haben, erhalten, und produktiv waren sie sicherlich. Springs zartes Falsett über dem schweren Schlagzeugspiel von Homer Steinweiss erwies sich als eine himmlische Kombination und sie schufen einen Sound, der die Ohren und Herzen aller Hörer verzauberte und den Begriff "Folk Soul" prägte. "Big Crown Vaults Vol. 3 : Holy Hive" gräbt in der Schatztruhe unveröffentlichter Aufnahmen und holt einige heraus, die nie den Weg auf Vinyl gefunden haben. Diese Aufnahmen entstanden größtenteils während ihrer zwei Album-Sessions, einige wurden sogar aufgenommen, bevor sie bei Big Crown unterschrieben.

Owners Club call themselves a "pub rock four piece" - but they are so much more than that. There's a through line in their taut, visceral guitar sound going from British greats like Roxy Music and Marc Bolan, through The Buzzcocks and The Jam before taking a detour off to NYC and nodding towards The Strokes and The Walkmen. The Dorking-based four piece are a blistering live act, with songs that range from singing about the long discontinued Double Diamond beer to vampires, the occult and an England that feels like a distant memory.

This EP will be the band's debut release on vinyl. Recorded at Small Pond Studios in Brighton in April this year, and produced and mixed by Matt Gleeson of WELLY fame, it presents three songs that brilliantly demonstrate what a ferocious, tightly-wound sound this Dorking four-piece can produce.

The lead single will be Double Diamond - a song that came about after a chance purchase of a Double Diamond-branded ashtray from a car boot sale by Dorking train station. The song is a romantic and messy vision of the life the ashtray’s lived, the pub it came from, the punters who left their fag ends in it and the messy nights and bar fights it’s witnessed. With sprawling synths, punchy guitar lines and tongue-in-cheek lyrics, the song is an anti-advertisement for a drink which no longer exists, as well as a look through rose-tinted beer googles at what Britain's night life - for better or (almost certainly) for worse - was once like. As the advert used to state: you know where you are with Double Diamond. It works wonders.

Highly anticipated by his legions of fans, Andrew Rayel's album Lifeline limelights the incredible versatility - and the innate musicality - of the Moldovan DJ, producer, radio show host and label boss. Flaunting his melodic prowess across eighteen tracks, this body of work underlines Andrew Rayel's intentions to remain amongst dance music's key figures as he gives all his loyal supporters yet another reason to smile.

Lifeline contains several of his biggest hits to date, including “Silver Lining”, “Wild Feelins”, “Closer”, and “Stars Collide”. The album features guest performances by Takis, Zagata, Florentin, Sam Gray, AVIAN GRAYS, Olivia Sebastianelli, Mike Schmid, Amanda Collis, Robbie Seed, and That Girl amongst many others.

The 2LP Lifeline is available as a limited edition of 500 individually numbered copies and includes an insert.

Seit den 1990ern ununterbrochen erfolgreich, ein Superstar in Frankreich, asl Solo-Künstler und auch Songschreiber. Dies ist Pascal Obispo's 14. Album mit bislang nicht veröffentlichten Songs. Aufgenommen in seinen Studios in Paris, Frankreich. Produziert von den beiden New-Wave-Jazzern Fred Nardin und Max Pinto. 17 Titel auf Doppel-Vinyl und 14 auf CD. Auf dem Album sind als Gäste Giordana Angi, ein französisch-italienischer Star, und Alexia Gredy, eine junge französische Liedermacherin, mit dabei. Das Album zum ersten Mal gemeinsam mit Pierre-Dominique Burgaud geschrieben, der jetzt mit Alain Chamfort zusammenarbeitet, aber auch für seine Arbeit an Le Soldat rose und Gaëtan Roussel bekannt ist. Begleitet wird er von berühmten Musikern wie Manu Katché und Laurent Vernerey und einem Gastauftritt von Gautier Capuçon. Es ist ein Album mit Liedern, die sich um das Thema der sublimierten oder demontierten Schönheit drehen. Aufgenommen und gemischt von seinem Partner Youri Benaïs und gemastert von Miles Showell in Abbey Road, ist "Le beau qui pleut" eines der poetischsten Alben von Pascal Obispo.

A selection from the Jamaican singer's large catalog, recorded at Channel One Studio with the likes of Sly & Robbie, The Tamlins, Don Drummond Jr., Dean Fraser, Ansel Collins, Winston Wright. The songs have been engineered by Soldjie, Barnabas and Scientist! A legendary cast for a series of unbelievable numbers. Roland was born in Pennants, Clarendon in Jamaica and was destined to become a star from his early days at John Austin School which set the stage for a career in the music field. Growing up in Trench Town, he met Bob Marley and Toots Hibbert who gave him inspiration and counseling as he would often ‘jam’ with them. During his growing artistic years, he sang with a group called The Shades, where he encountered Lee ‘Scratch’ Perr. Along with Conrad Brown, they produced “Lonely Man.” Thereafter, Roland quickly rose to popular fame when he recorded the chartbuster “Johnny Dollar,” a song that topped the Jamaican charts in Europe, USA and Japan. He recorded his first album, “Johnny Dollar” for Tanka Records which included the hit songs “Hey Mama” and “Stormy Night.”

Previously unreleased live soundboard recordings from this groovy group from the '60s San Francisco Bay Area scene. Along with The Sopwith Camel, The Beau Brummels, The Mystery Trend, The Great Society, Jefferson Airplane, The Warlocks and The Grateful Dead, The Final Solution were part of the first wave of San Francisco rock bands having formed in 1965. They were very popular all over the Bay Area and appear on countless early posters of the period, but they never released anything. If you dig The Great Society and The Warlocks 'Emergency Crew' demos, this is for you!

Shakey Graves, the brainchild of musician, actor, and artist Alejandro
Rose-Garcia, returns with his 4th studio album 'Movie of The Week,'
featuring the bona fide streaming hit "Ready or Not (feat Sierra Ferrell),"
which has garnered over 15M streams