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Sugar's second effort for Euromantic is a reach for a life that's so easily obscured by the temptations of the modern world. This is musick for the times when you contemplate deleting your Instagram account.

Itzhak Perlman, the supreme violinist of his time, performs the supreme works for unaccompanied violin. In preparing the Bach Sonatas and Partitas, Perlman sought authenticity through the score itself, not through musicological research: “Music is a language, and, performed responsively, with musical logic as guide, it will make sense.”

Bach’s Sonatas and Partitas are a landmark not only of the solo violin repertoire but of all music history. No composer before or since has created a comparable architectural miracle, or made better use of the violin’s polyphonic capabilities, than did Bach in this set of six works. The improvements in instrument-making introduced by such experts in the field as Niccolò Amati and his pupil Antonio Stradivari meant that performers and composers could now push the tone and power of the violin to bold new limits. The Second Partita also includes a Chaconne which appears to stand outside space and time. Its complexity, power and splendor make it in a way the keystone of the entire musical edifice — a magnificent set of variations on a single theme which exploits the violin’s full harmonic and contrapuntal potential. While the great virtuosos of the nineteenth century, Paganini chief among them, expanded the instrument’s technical capabilities, Bach had already established its limits in terms of polyphony.
Perlman made several earlier attempts at recording the set, none of which was ever released, then performed it live on stage at venues around the world. In other words, he had the wisdom to wait until he had achieved a level of excellence in both performing and understanding this music before committing it to disc. The most practised of ears may detect a subtle difference in tone between the C major and A minor Sonatas, which he recorded on the “Soil” Stradivarius, and the other four works, recorded on the Guarneri del Gesù “ex-Sauret”.

Kiwi Jr. are a phenomenal rock and / or punk and / or indie rock (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass) and Brian Murphy (guitar). ‘Cooler Returns’ is their second album and their first for Sub Pop.
Despite being a snapshot of the pandemic-infused beginnings of this decade, ‘Cooler Returns’ is truly a whole lot of fun. For fans of indie pop from down under and things that are smart / exuberant / catchy all at once.
‘Cooler Returns’ was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

This limited edition vinyl release is a double disc pressing on 180g
heavyweight, translucent ORANGE vinyl. The beautiful record sleeve is a gatefold design to fit both LPs.
This vinyl is a limited release to 1000 pressings; each vinyl is hand numbered.
Kate Rusby’s album, Hand Me Down, started life a few years ago whilst she was rehearsing for the Jo Whiley Show on BBC Radio 2. Jo asks her live music guests to perform songs of their own plus any cover version of their choice, Kate’s choice at that time was Oasis’ “Don’t Go Away”; on her second visit to the show she chose by ‘Friday I’m in Love’ by The Cure.
“As a folk singer, it’s what I do, re-interpret existing songs, but usually the songs are much, much older. After playing a version of Oasis’ ‘Don’t Go Away’ on the BBC Radio 2 Jo Whiley show, about 5 years ago, it dawned on me that not just the very old songs are handed down through the generations, but also favourite songs of any age, of any generation.
Songs are precious for many different reasons. With ‘Don’t Go Away’ proving so popular on the last album and hearing the reaction when we performed it on tour, I decided, “Right, that’s it! I am doing a whole album of covers.”
It was always the plan to make this album this year, lock-down just made it more intimate. We have laughed and we have cried, we have danced and we have sung. All of that is here, engrained in every track.”

Never Give Up is Partner’s second full-length album, following 2017’s In Search of Lost Time.
In the years since their first release, the band has developed their “post classic rock” sound, trading their 90s rock influences, for deep power grooves, bona fide guitar heroics, and big-hearted vocals from singers Jos e Caron and Lucy Niles.
Partner deliver a more anthemic, kinder, queerer boogie, for all who love the perfect riff, the perfect drum fill, for all whom Rock is their rock.

Their second album arrived 1994, they had a lot of followers around after their 1992 debut (Kaksi).
Playing on the big stages in Europa - Roskilde, Pink Pop and more, this became a big success. Now on vinyl for the first time, with one side of the 2LP set including bonus material.

Audiophile reissue of the first RSD release from legendary jazz bassist Ron Carter, the most-recorded jazz bassist in history and member of the second great Miles Davis Quintet (1963 - 1968).
180g double vinyl, gatefold sleeve.
Carter leads his “Foursight” quartet on this live recording from Sweden recorded in November 2018. The group includes drummer Payton Crossley, tenor saxophonist Jimmy Green, the and star pianist Renee Rosnes.
“With us, nobody knows exactly what happens when,” Carter praised the Foursight Quartet’s unique selling point. “This is precisely why every concert is a real challenge. We almost always play 35 to 40 minutes without a stop at the beginning. No breaks, just slight changes that show the beginning of a new song. If we were a classical music band, it would be called a symphony with five movements.
This kind of thing only works with this band!”

Personnel: Ron Carter (bass), Renee Rosnes (piano), Jimmy Greene (tenor saxophone), Payton Crossley (drums)

Magnum II is the eponymous second studio album by English hard rock band Magnum. Originally released in 1979, the album highlights the band’s trademark harmonies and punchy instrumentals very well. Magnum II is a diverse record, as it features ballads and adult contemporary rock, but also hints of prog and heavy metal. A track like “Great Adventure” contains catchy vocals, dynamic guitar riffs and inspired keyboards, while the acoustic “Reborn” showcases a more mellow side of the band. Magnum II is released with a special mirror sleeve, and it includes 2 bonus tracks: “Lonesome Star” and “Everybody Needs”. The limited edition of 1000 individually numbered copies is pressed on silver coloured vinyl.

Dancepieces, originally released in 1987, presents music that American composer Philip Glass created for two separate dance performances. The first half of the album accompanied the Twyla Tharp Dance Foundation in a show called “In the Upper Room,” and the second piece accompanied choreographer Jerome Robbins’ “Glasspieces”. Glass writes the majority of his music for visual performances, most frequently dance and opera, and the presence of a visual twin to his music is evident throughout the selections from Dancepieces.

In discussing his technique for writing music to accompany dance, Glass has stated that melody, harmony and rhythm are key factors. Within the first seconds of each song on Dancepieces, the strength of Glass’ strong rhythmic sense can clearly be heard.

Houston’s reputation for developing first-class jazz acts is well-established, as a stream of young players have been distinguishing themselves for decades…among those musicians and mentors who stood tallest, Bubbha Thomas was no exception (and a major key-player) in this long tradition of talent.

Before becoming an artist and educator, Bubbha Thomas (born 1937) was a Fourth Ward kid who grew up in a music-filled household. In High School he divided his time between music & basketball (he excelled at both) and studied with jazz legend Conrad “Prof” Johnson. “Prof” would later bring jazz glory to Texas with the Kashmere Stage Band, the group of teenagers who would win the “Best High School Stage Band In The Nation” prize in Mobile, Alabama in 1972 and who were anthologized in 2006 on Now-Again’s ‘Thunder Soul’ (which led to the 2010 Jamie Foxx documentary of the same name).

After finishing college, Bubbha got drafted in the service (he was a Korean War veteran) and would return to Houston in the early 1960s where he found work as a session drummer for the Duke and Peacock labels. Thomas drummed on recordings by O.V. Wright, Buddy Ace and the Mighty Clouds of Joy. He was playing his own stuff and backing luminaries such as R&B singer Chuck Jackson and homegrown legends like Lightnin’ Hopkins. Bubbha Thomas also teamed up with some of his equally legendary peers (like guitarist Melvin Sparks & organist Leon Spencer) and eventually established his own group, the Jazz Merchants.
Bubbha learned every style that was thrown at him and he played straight-ahead jazz with renowned artists before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane and Sun Ra…the result of these new found influences was the incredible spiritual jazz ensemble ‘The Lightmen’, who released four incredible recordings in the 1970s. Their first album ‘Free As You wanna be’ predates the deep-set, maverick jazz issued by the likes of Tribe and Strata East and is a harbinger of some of the best in the 1970s jazz underground. The Lightmen albums eventually fell out of print until 2017 when the Now-Again record label brought them back into circulation and generated new interest in Bubbha Thomas’ work.
Thomas had a storied career as a drummer and bandleader, but perhaps his most enduring work is that as founder of Houston’s Summer Jazz Workshop, a remarkable program that nurtured upcoming talent for generations...we can’t begin to count the number of young people who benefitted from the exposure to music-arts because of Bubbha Thomas and what he meant to the Houston music community. In his career he earned five Grammy nominations and authored a pair of books. Next to this he was also a writer/editor for several local newspapers, ran one of the first Houston African American Television shows and he hosted a radio program on KYOK. Impressive to say the least!

Bubbha Thomas passed away in March 2020 at the age of 82. It was obvious he was a principled, fiery & wise person…and any anger he felt at America’s (and the world’s) injustices he met with music, intellect, activism and unity!

Next to his work with ‘’The Lightmen’’, Bubbha also released the fantastic (solo) album ‘Life & Times’ in 1985. ‘Life & Times’ (which we are proudly presenting you today) is particularly interesting to boogie-enthusiasts because of its high doses of funky twerks, solid grooves, crazy synth work, soulful vocals and excellent drum-beats courtesy of Mr. Thomas himself. You’ll quickly find yourself shaking hips the moment the needle hits the first track! The whole album is backed by a fantastic cast of all-star players and includes Howard Harris (Ruth Copeland), Dwight Sills (Bobby Lyle - TLC), Jerry McPherson (Donna Summer), Leo Polk (Kashmere Stage Band), John Gordon (Strata East) and Jackie Simley (Queen Latifah - Lionel Richie). All of the above makes this LP an essential purchase for any self-respecting fan and collector.

Tidal Waves Music now proudly presents the FIRST ever vinyl reissue of this fantastic album (originally released in 1985 on Lightin’ Records). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork.

These newly remastered editions of Bill Fox’s second album are the first since its 1998 release, including the first-ever vinyl pressing. Listeners will hear a wider soundstage, more detail, and improved listenability. Recorded on 4-track cassette, the fidelity belies the sophistication and nuance of the songwriting, This adept remaster by John Golden Sr helps bring definition to the intimate, at-home feel of the album. It sparkles.Very similar in feel and quality to Fox’s debut album, much of Transit Byzantium draws from the same group of recordings. It has the same feel of musical inevitability, that the songs exist beyond time itself, their eventual manifestation guaranteed by Apollo. He could’ve given them to the Everly Brothers, or the Byrds, or the Who, but instead they were channeled through an everyman from Cleveland with an aversion to the limelight. And while a traditional folk influence colors several songs, even those possess the indelible stamp of Fox’s charismatic voice and personality. Although nearly entirely acoustic and with minimal percussion, these eighteen songs cycle through a remarkable variety of textures and moods.While much has quite rightly been written about the god-tier songwriting here (“Song of a Drunken Nightingale,” “My Baby Crying,” “I’ll Give It Away” for starters), it should also be noted that this is a guitar player’s record, though more in terms of conception than flash. Lines of harmony and counterpoint wander between parts, sublime in their invention though sometimes crudely documented.

The Danish quartet Yung returns with their second full-length Ongoing Dispute, their first with PNKSLM Recordings (ShitKid, Hollow Ship, Les Big Byrd etc). Arriving 5 years after their acclaimed debut A Youthful Dream on Fat Possum, Ongoing Dispute finds Yung leaping forward, with stronger and more confident songwriting and a broader sonic palette. After the receiving the attention of Pitchfork, NPR, Stereogum and more with the debut, Yung took a step back after returning home following multiple tours around the world and after reassessing themselves and the band they started working on what would become Ongoing Dispute, delivering on the early promise and firmly establishing themselves as one of the premier bands in their genre.

The Danish quartet Yung returns with their second full-length Ongoing Dispute, their first with PNKSLM Recordings (ShitKid, Hollow Ship, Les Big Byrd etc). Arriving 5 years after their acclaimed debut
A Youthful Dream on Fat Possum, Ongoing Dispute finds Yung leaping forward, with stronger and more confident songwriting and a broader sonic palette.
After the receiving the attention of Pitchfork, NPR, Stereogum and more with the debut, Yung took a step back after returning home following multiple tours around the world and after reassessing themselves and the band they started working on what would become Ongoing Dispute, delivering on the early promise and firmly establishing themselves as one of the premier bands in their genre.

Trumpet genius Booker Little appeared on many seminal records such as Max Roach's "We insist", Eric Dolphys' "Far Cry" and John Coltrane's "Africa Brass". Recorded in 1960 for the Time label, this is Booker Little's second album as a leader (there would only be four) and a major statement in his too short career. A dynamic and yet relaxed session with Little as the only horn in the band, a fine quartet featuring Winton Kelly or Tommy Flanagan on piano, Scott LaFaro on bass, and Roy Haynes on drums. A highly interactive combo inspired by Little's unique trumpet approach. "Little's immediately recognizable melancholy sound and lyrical style are heard in top form" as Scott Yanow stated in his 4½ stars album review.

Legendary Turkish psych innovators Moğollar grace the Artone Studios in Haarlem for a masterclass in the original Anadolu psych roots, cutting a compendium of their rawest hits and most-wanted psychedelic rock classics – including the J.Dilla-sampled ‘Haliç’te Güneşin Batışı’ – for the latest edition of Night Dreamer’s essential Direct-to-Disc series.

In the beginning, there was Moğollar.

Formed at the end of 1967 with five young musicians, Moğollar were the original Anadolu psych originators. They were the first Turkish pop band who tried to blend the microtonal folklore and traditional instruments of rural Anatolia with Western pop and rock; they were the first Turkish psychedelic band to achieve overseas recognition, winning the prestigious French Grand Prix Du Disque in 1971 after a period in Paris; and they coined the very phrase ‘Anadolu Pop’ with their first album release. They were radical, innovative, and hugely popular, and when the great artists of the Turkish rock revolution appeared on the scene, Moğollar were already there – stars including Barış Manço, Selda, Cem Karaca and Ersen all recorded with them or briefly joined the line-up. Moğollar were and are the undisputed pioneers of the style.

More than fifty years after first forming, Moğollar materialised in the Artone Studios to give a masterclass in fuzzed-out folklore and Turkish psychedelic roots for Night Dreamer’s Direct-to-Disc series – a fitting follow-up to Night Dreamer’s BaBa ZuLa set, coming straight from the group who laid the foundations of the genre.

In 1971, having already released numerous singles, they secured an album deal with French label Guild International du Disques. Travelling to Paris that year, they recorded their first major statement, Danses Et Rythmes de la Turquie d’Hier à Aujourd’hui, a set later released in Turkey as Anadolu Pop. The album won a prestigious French award – the Grand Prix du Disque from the L’Académie Charles Cros, an honour that had been won in the past by Jimi Hendrix, Pink Floyd and Soft Machine. Moğollar, and Anadolu psychedelic pop, had arrived on the international scene.

In 1976, after many more releases and line-up changes, and pressured by an increasingly difficult political situation in Turkey, the group dissolved for seventeen years, and various members dispersing to exile in Paris and Berlin. However, after a petition from their fanbase asked them to reform, they agreed to play a comeback concert in 1993. It was a huge success, and reunited, they went on to record some of their greatest work. Led today by original member Cahit Berkay alongside original bass player Taner Öngür, and joined by Cem Karaca’s son Emrah, Moğollar continue to push their uniquely original brand of fuzz-scorched folk-rock and crackling Anadolu psychedelia forward into a new millennium.

For this Night Dreamer session, Moğollar spent two days in the Artone studios, recording sides A and B on the first day, and C and D on day two. With BaBa ZuLa’s Murat Ertel adding contemporary sonic punch behind the boards, the band revisited their most renowned hits to lay down energised new versions, and dusted off some of the most sought-after cuts from their enormous catalogue. The result is a showcase set by a band that are one of true pioneers in global psychedelic rock, and a masterclass in the true roots of the Anadolu psych sound: fuzzed-out, committed, and straight from the source.

Highlights of the set include:
-‘Haliç’te Güneşin Batışı’, an Anadolu psych classic which was first issued as the b-side to the ‘Ternek’ single in 1970, before being recorded again for the Danses Et Rythmes de la Turquie d’Hier à Aujourd’hui LP in 1971. A tense slab of roughneck psychedelia, the final breakdown of the original recording was sampled by none other than J. Dilla for the ‘Intro’ cut on Welcome To Detroit.
-‘Gel Gel’, a 1974 song with head-nodding tempo change, originally featuring Cem Karaca. It is here voiced by his son Emrah Karaca, now a permanent member of Moğollar.
-‘Çığrık’, a 1972 cut which originally appeared on one of Moğollar’s most coveted singles, is a funky psych-rock workout with an unforgettably riff, a ringing guitar motif, and twist of Led Zeppelin.
-‘Düm Tek’, the title track of the bands second full LP (Düm Tek, 1975), a raw psych screamer, laced with hardcore davul drum patterns.
-‘Bi’Sey Yapmali’, first recorded for the 1996 Dört Renk album, became the anthem of huge street protests that took place in Turkey that year after an investigation uncovered a huge network of state, police and mafia corruption.
-‘Dinleyiverin Gari’, a hit from the 1994 come-back album Moğollar 94, addresses a notorious corruption scandal of the era.

It seems that every major jazz artist has a one-off sort of record in their discography, be it with strings, voices, spoken word or - as in this case - a foray into the funkier side of jazz. Charlie Rouse (going here as Charles Rouse) gets his chance on Two Is One, a funky soul jazz excursion on Strata-East, the artist-run label where creativity and pushing boundaries was at the forefront. Playing mostly with a group of session musicians, Rouse put together an album that may stray a bit from his hard bop roots, but is nonetheless an enjoyable and at times inventive record. The style of music played here - sophisticated soul jazz with some post bop and spiritual jazz thrown in for good measure - is very much a product of it's time. 1974 saw a whole slew of artists stretching the boundaries of what jazz music could be, combining elements from the past two decades into electric jazz adventures. The piano-less group that Rouse put together is a funky one, with lots of rhythmic playing behind either the searching solos of Rouse on the tenor or some inventive electric guitar work from either George Davis or Paul Metzke who appear together on all but a couple of tracks. Cal Scott gets plenty of time to shine throughout on what sounds like an electrified cello, an unusual instrument for modern jazz to be sure, but one that manages to fit in just fine here.

The first side of the album is all slow burning soul jazz, highlighted by the opening track "Bitchin'" where Rouse shows off that he is more than capable of setting down soulful lines over a funky backbeat. The second side is where the group gets a whole lot more inventive, particularly on the title track where they mix some post bop madness with the soul jazz sound. "Two Is One" features different tempos throughout: in the "first section" the bass plays in 9/8 time, the drums in 6/8 time and the cello and tenor are in 3/4 time. For the "second section" the rhythm section switches to 7/8 time while cello and tenor move to 4/4 time. Stanley Clarke is on bass here and his deep and twisty electric bass line is placed prominently up front.

"Two Is One" is certainly the highlight of the album from a pure jazz standpoint, and it lives up to it's title, which according to Gene Lewis' liner notes is taken from a Thelonious Monk phrase meaning two people so in tune with one another that they become one. The album finishes off with "In His Presence Searching," a spiritually informed jazz number that is reminiscent of the work being done during this period by the likes of Pharoah Sanders and Gary Bartz, (while not being quite as out there as their best work). The tune is all rhythmic glory, with Rouse and Scott playing introspective and penetrating solos throughout. It's a nice album closer, and a good reminder that while Two Is One may be best known for it's funkier excursions, Rouse had a few tricks up his sleeve and the album, when taken as a whole, is a complete statement from a legendary jazz musician.

It was inside Jeff Tweedy’s second home, The Loft in Chicago, that Love Is The King was recorded in April of 2020. Surrounded by an assemblage of treasured instruments and loved ones in a world that felt more and more alien by the day.

Out on dBpm Records, Love Is The King, a “beautifully honest ode to love and hope,” is the follow-up to 2018’s WARM and 2019’s WARMER, and comes on the heels of Tweedy’s second book, How To Write One Song, out October 13th via Penguin Random House's Dutton. “At the beginning of the lockdown I started writing country songs to console myself. Folk and country type forms being the shapes that come most easily to me in a comforting way. 'Guess Again' is a good example of the success I was having at pushing the world away, counting my blessings — taking stock in my good fortune to have love in my life,” comments Tweedy. “A few weeks later things began to sound like 'Love Is The King' — a little more frayed around the edges with a lot more fear creeping in. Still hopeful but definitely discovering the limits of my own ability to self soothe." –Jeff Tweedy

Non stop 4/4 kicking acid Hardtek in da Nederlandish mood. Acid Casualties sounds, reminding me some Kill It picture disc. Superb second Solo EP for Sifres after his Acidz 01. ENJOY !

Just when America received a Grammy Award for Best New Artist in
1973, they released their second album Homecoming to great critical and popular acclaim. The single “Ventura Highway” preceded the album and hit a Top Ten status. The album followed suit and stormed the Billboard Top Ten. Polishing their sound, they built further on the Folk Pop formula they invented on their debut America a year earlier. Dewey Bunnell, Dan Peek and Gerry Beckley delivered a compelling and top quality set of songs, by many regarded as their best work..

Available as a limited edition of 1500 individually numbered copies on
flaming gold coloured vinyl.

• 180 GRAM AUDIOPHILE VINYL
• TRIFOLD SLEEVE, FOLD OUT SLEEVE
• LIMITED EDITION OF 1500 INDIVIDUALLY NUMBERED COPIES ON FLAMING GOLD COLOURED VINYL