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John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.

Anthology is a near-comprehensive survey of John Carpenter's greatest themes, from his very first movie, the no-budget sci-fi film Dark Star, to 1998's supernatural Western, Vampires. Those sit alongside the driving, Led Zeppelin-influenced Assault on Precinct 13 theme, Halloween's iconic 5/4 piano riff, and the eerie synth work of The Fog. Carpenter and his band also cover Ennio Morricone's bleak, minimalist theme for The Thing.

We also get vital new recordings of the themes to '80s classics and fan favorites Big Trouble in Little China, Escape From New York, Christine, and They Live, along with the romantic Starman, which earned Jeff Bridges his first Oscar nomination as a lead actor. The collection is rounded out by the menacing, heavy themes to Prince of Darkness and In the Mouth of Madness, the latter a Metallica-inspired riff originally played for the film by Kinks guitarist Dave Davies, and now played by his son Daniel.

In the weeks following Anthology's October 20 release, Carpenter will return to the road, playing both classic movie themes and material from his two Lost Themes albums. The performances will once again affirm the power of the Horror Master's brilliant work as a composer and musician, and undoubtedly send audiences rushing home to their DVD libraries to dive yet again into the most rewarding filmography in genre cinema.

Deluxe color vinyl editions come with 7" including the themes to Village of the Damned and Body Bags
Collects the classic themes of John Carpenter on one volume for the first time
Lost Themes is the best-selling album in Sacred Bones history

* Dom & Roland's Label has gone from strength to strength from its conception in 2006. Featuring collaborations by Dom with other Artists such as Noisia, Hive and Amon Tobin the label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'. It is currently in A 'Dubs from the Dungeons' Phase releasing sought after unreleased music from the 90's from various accomplished artists every month on limited edition gold vinyl.

* PHOENIX - DOM ft TECHNICAL ITCH

A straight dancefloor DJ smashout made from two of the featured artists most seminal tracks combined. Dom & Rolands Thunder and Technical Itch's Reborn. Nuf Said!

*TEARS IN RAIN - DOM & ROLAND

A futuristic roller from the 'Bladerunner' Era. It perfectly captures the mood of the film. A big hitter at the Metalheadz sessions in the 90's this was smashed by Doc Scott and Randall in many of their sets. Again featuring a reworked alternating clean and distorted "flow break" and big 808 bass this style of production pioneered the way for Dom's later work. This turning point in Dom's history is now finally mastered and seeing it's release on vinyl 20 years later.

* DJ PLAY: Randall, Fabio, Bryan G, DJ Die, Jumping Jack Frost, Grooverider, Peshay, Loxy, Andy C, Break, Fierce, Doc Scott, dBridge, Goldie, Ant TC1, Gridlok, Marcus Intalex, SB81, Ulterior Motive, Noisia.

* RADIO PLAY: Radio 1, Radio 1Xtra , NRG, Noisia Radio, Many other radio stations around the world.

* PRESS: Bandcamp Interview, MIxmag, DJ , Various blogs, Facebook, Twitter, Snapchat, Instagram.

Too many people sleep on Tougher Than Leather, Run-DMC's fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game - Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens' prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic - chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy D(MX) - get lost in their crates. For starters, the album's first single, Run's House' b/w Beats To The Rhyme' is arguably the most powerful one-two punch of the trio's career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world's best DJs, flexing the pinnacle of what would be called turntablism' a decade later. Both songs show a musical telepathy between all three that has rarely been equaled. The second single, Mary, Mary,' driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like Walk This Way,' the song wasn't just bubblegum - there was an edge to it, and the lyrical gymnastics were very real. It wasn't selling out, it was allowing fans to buy in. Papa Crazy,' driven in concept and by a sample from the Temptations' Papa Was A Rolling Stone,' followed a similar pop-leaning path. Overall, the lyrical content on the album was a step up from the group's first three LPs. It's easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like Radio Station' they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. Tougher Than Leather' reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And They Call Us Run-DMC' and Soul To Rock And Roll' both bring things back to their early days, with sure-fire park jam rhymes and killer cuts. Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the '80s output of one of the decade's most important groups. It encompasses the full range of the trio's capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay!

The Trickfinger project was recorded 10 years ago with no intention of being released at the time, made purely for discovery and learning experience. 'In my opinion, making music with no intention of releasing it is the best thing a musician can do for his own development in this day and age. The Trickfinger LP was made in that mindset, and it was the beginning of a new musical life for me. When I hear it, it sounds like I am opening up doorways to new worlds, and I never have had that feeling listening to music I made for the purpose of releasing it and selling it.

Having made her mark on Brazil's rich musical legacy with three best-selling albums to date, Rio's original nu-bossa queen returns with a tour de force of golden-era Brazilian soul music. From the spiritual swing of the early pioneers of modern Samba, to the dizzying hedonism of Brazil's eighties disco/boogie craze, Clareia is a life-affirming journey through the rich and varied sounds Sabrina Malheiros has been immersed in since she can remember. For her most up-lifting and danceable album to date, Sabrina has (as always) enlisted her father Alex Malheiros - bassist of samba jazz-funk legends Azymuth - and visionary London based producer Daniel Maunick (aka Dokta Venom), son of Incognito's Bluey.

Sabrina Malheiros' career has often been characterised by her place in the succession of those special Brazilian women who, with unmistakable talent and effortless grace, have encapsulated the magical energy of Brazil with their voices. Elis Regina, Astrud Gilberto, and Joyce all had it, and Sabrina Malheiros has it in spades.'(MOJO) With her debut album Equilibria in 2005, Sabrina arrived on a wave of instant acclaim, carving out her place as the pioneering voice of a new brand of Brazilian soul music, rooted in the traditions of samba and bossa, but with an edge of contemporary electronic sophistication. Sabrina's innovative nu-bossa sound would continue with the 2006 remix album 'Vibrasons' followed by sophomore 'New Morning' - declared the best album of summer 2008'(Evening Standard), before 2011's best-seller Dreaming.

Six years on, Sabrina returns with Clareia. Itmeans to clear, light, brighten or illuminate, which, after seeing Brazil and the rest of the world go through some very difficult times, is exactly what the writing of this album brought to my life.' All tracks are written by either Sabrina, or in collaboration with her father Alex Malheiros and producer Daniel Maunick. Written and recorded in Niteroi, Brazil, overlooking Gunabara Bay and Rio's beaches, mountains and forests, the music basks in its surroundings and sings of ecological beauty, peace and sanctuary. Echoing Sabrina's emphasis on clarity, Alex notes that the album's title represents an appeal to the minds of our civilization today, to clear our thoughts for good and for peace.'

This pursuit of clarity continued into the studio: It took a little longer than usual' notes Sabrina, which was good in way, as all my previous albums were recorded in rush and we usually had a week for pre-production and another week in the studio, which always gave me the feeling that I could do better. With this album it was different... we took our time.'

Sabrina's unmistakable voice has never sounded better. Packed out with high-octane swinging samba-soul, like the title-track and 'Salve O Mar', the album also features some bottom-heavy Brazilian boogie cuts, like rejoicing album opener 'Celebrar' which harks back to some of Marcos Valle's cult '80s disco output, and 'Sol Ceu E Mar' is a Tania Maria-esque future classic of scorching latin-funk. Mellower moments are found in 'Em Paz', on which Sabrina's beguiling harmonies find an anchor in the rhythmic acoustic guitar of Ze Carlos', who Sabrina heralds as being the best guitarist I have ever worked with'. Azymuth's keyboardist Kiko Continentino's deft Rhodes, piano, organ and synth playing, add ever more textures of distinctly Brazilian brilliance throughout, while tropical brass and flute arrangements on cool bossa-jazz movers 'Vai Maria' and 'Sandore', come from Brazilian saxophone legend Leo Gandleman, a man who has worked with everyone from Gal Costa to Gilberto Gil. The rhythm section combines Daniel Maunick's seamless drum programming and the organic polyrhythms of Brazilian percussion legend Jakare, all punctuated by Alex Malheiros' inimitable (occasionally slapped) jazz-funk bass, giving the album its irresistibly danceable pulse.

Set for release at the height of summer this year, Clareia is an intergenerational masterclass of Brazil's soulful spectrum, led by a pioneering voice of today's scene on the very top of her game. The up-lifting compositions, which take inspiration from the stunning natural beauty amongst which the album was made, and the call for the clarity of mind needed to preserve it, are enriched by this special team of some of Brazil's most established musicians. Like the sun breaking through tropical storm-clouds, Clareia is a vessel of joy, as Sabrina puts it simply, I hope Clareia brightens the soul of whoever listens to it. That's the spirit of this album.'

Sunlightsquare keeps on exploring multiple style of House music this summer. The previous single from the last month "Oyelo" was a winning combination of authentic Latin Cuban music and classic 909 House beats. It was championed by Ron Trent, Osunlade, Hunee, Bradley Zero, Nick The Record and Atjazz to name a few. This time, the main man and keyboard wizard Claudio Passavanti deployed two remixers for deeper and more spiritual endeavour to showcase his magical composition.

Hailing from the birth place of South African House music Pretoria, the talented young producer Blaqtone laid out beautiful sunset pad, earthy African percussions and solid rolling beats, all work like magic with Claudio's original spiritual keyboard works.

On the flip side, Kay Suzuki pulled off another dubbed out psychedelic mix with "Astro Dub", just like the previous release, and the more dance-floor oriented classic deep House style of "Moon Mix" influenced by the likes of Larry Heard. The track features sequenced Mini-Moog bass line and call & response drum programming before blissful harmonies and melodies kick in.

Short Bio:
Critically acclaimed Jazz pianist, multi-instrumentalist & bandleader Claudio Passavanti aka. Sunlightsquare has been associated with Latin & Cuban music since his top selling vinyl releases such as "I Believe In Miracles"(2010), "Pastime Paradise"(2010) and "Heart's Desire"(2012) as well as producing the main title of the soundtrack on the feature film "Cuban Fury" (Studio-Canal/Film4) starring Nick Frost (2014). Claudio's talent also extends to house music production with the 2016 Osunlade's Yoruba Soul Records release "Celebration Of Oggun", as well as his remix work for Gilles Peterson's Brownwood Recordings.

Bobby Sheen first began singing in late 50s and early 60s vocal groups out of Los Angeles, working with Clyde McPhatter of The Drifters, Phil Spector and even Walt Disney. He recorded singles of note for Capitol (including Dr. Love') and Warner Brothers where Phillip Mitchell penned this evergreen Something New To Do', originally a B side to the also popular modern soul favourite I May Not be What You Want' in 1972, though reversed the following year. This is the first reissue since those two initial releases in the 70s which have become extremely collectable, mint originals selling for over £100.

The second EP by Control Remote finally drops with 3 stunning cuts destined to become phuture classics in years to come. The first EP was a strong seller for the shop and provided the footwork for this second EP to drop. 'Music' on the A side gyrates a house groove with a moody man nod of guidance. This is one sure fire hot jam! On the flip we have the divine acid groove of 'Fragment Of A Sermon' kicking of proceedings whilst riding locked in groove. 'Give My Luv' closes the EP off with a low rider house slide that leans to left whilst moving you to the right! This second EP by Control Remote sets the standard for others to follow. HOTNESS personified!

Following the 2 previous sell out singles on Reed Records Mohawkestra return with a third salvo of the British Invasion flavour Funk! 'Heart Full of Soul b/w West Coast Boogaloo' available on 7' vinyl and download.

Heart Full of Soul was originally recorded by legendary British group The Yardbirds at a point when Jeff Beck joined and introduced Fuzz peddles and Guitar effects to their recordings. Mohawkestra's arrangement is an instrumental burst of heavy Organ and Guitar driven Funk that we've come to expect for their version and again they don't disappoint!

The flip side is a Mohawkestra original titled West Coast Boogaloo which would be right at home in a Jazzy lounge in California in the 60's, perfectly capturing the West Coast Jazz sound filtered through musicians playing in a British basement studio with a 50 year delay.

Panorama Bar resident Nick Ho¨ppner gets to Work on his second solo album on Ostgut Ton, connecting the territories of House music with the ease of Alt-Pop.
Work as in labor. An axiom that fuels the capitalist system just as the Techno/House scene economy says that one needs to keep oneself busy to make a living. As a musician, things are complicated of course. It's a long way from the romantic idea of creating music simply for the sake of art to becoming a full time musician. Those who have accomplished this feat often find themselves in a professional loop of writing the music, producing it, promoting it (with an info text like this), releasing it and then hopefully selling it. After leaving his full time job as Ostgut Ton's label manager in 2012, Nick Ho¨ppner went fully freelance, focusing on his musically diverse, deep and dynamic DJing in and outside Berghain's Panorama Bar, but more importantly spending more time in the studio. The result was his critically acclaimed debut album Folk (Ostgut Ton, 2015), various 12' releases and remixes, and now his sophomore LP, Work, which, more than ever, lays out his refined production skills and his talent to work the machines until they reveal their inner ghosts: nine new songs that now dodge the dance floor, then fully embrace it.
Work as in body of work. A record is more than the sum of clocked up hours at the studio, but the result of an artistic-creative process. On Work, Ho¨ppner shows his everlasting lust for musical detail, his increasing technical skills and compositional finesse. Work is a very personal, soulful and deep record that breaks through the usual club/dancefloor narrative by documenting Nick's interest for hybrid sounds and combining elements from varying musical genres. Work's lead single 'All By Themselves (My Belle)' is a very atmospheric, intimate and steadily unfurling IDM piece with ethereal synth and vocal pads; on the album it's contrasted by 'Clean Living' with Tram 78, a modern Ho¨ppner club classic: powerful, kick-heavy, muscular, cheerful and uplifting. It's a very personal track resulting from a recent reencounter with an old friend. Having spent countless hours together in Berlin's clubs in ever changing states of mind a decade ago or longer, things have since changed for both towards a more - clean living'. Connecting to this musical vibe 'In My Mind' follows with a slightly darker tone putting emphasis on bassline, percussion and squeaky sound detailing. 'Hole Head' pays tongue-in-cheek homage to Nick's love for UK club music, when a dashing melody of synths and vibraphone is matched with clattering breaks and syncopation. The dubby, mesmerizing 'The Dark Segment' not only impresses with its hypnotic synth figurines, but also by morphing to a shuffling Jazz rhythm towards it's middle part; 'Forced Resonance' uses Oberheim synth brass stabs to dramatic effect; the percussion- and clap-laden 'Fly Your Colours' comes with an irresistible piano melody atop an energetic kick; and finally the album-closing, shuffling but rhythmic, noisy yet bluesy 'Three Is A Charm' featuring the duo Randweg on clarinet, cajo´n and acoustic guitar is a coherent departure heading towards Indie Pop territory. It sees Nick collaborating with acoustic instrumentalists for the first time in his ten-year- spanning Ostgut Ton release catalogue.
Work as in artwork. Staying in line with the Folk album, the visual companion for this record comes from German collage artist Frank Bubenzer. As with the artwork at hand, Bankentsunami, and his other works, Bubenzer cuts up print magazine advertisements and recontextualizes them into new motifs, removing all human depiction from the source material, here as a commentary on the world of business, big money and the banking crisis.
Work as in work it. As a slogan 'work' has always been one of the genre's most utilized paroles, coined and put on wax by pioneers like LNR, Blake Baxter or Steve Poindexter, to name a few. Not only calling for the crowds to get moving on the floor but also to fully express themselves and their unique individuality inside an all embracing environment. A mindset rooted in House Music that has been an integral part of Nick Ho¨ppner's identity as a DJ and producer from the beginning and all through his decade-spanning residency at Panorama Bar. Work it!

Ikonika's third album 'Distractions' builds on 2013's 'Aerotropolis', and the title answers the question Why has the album taken so long' In the last few years she's been building up a strong CV of remixes, from Chvurches to Dawn Richard, Austra and Junior Boys, as well as DJing and working on this album. 'Distractions' distils the character of Ikonika's music productions across a wider set of styles than previous albums, and she subtly fuses and switches elements from contrasting genres, giving the whole set a uniqueness and consistency that puts it in its own lane. Furthermore what sits at the centre of 'Distractions' more than ever is her love of R&B and hip hop, in all its forms, which has opened the door to bring in a selection of guests in a way she's not fully explored before. From the full throttle blend of grime and 80s synth soul 'Noblest' with Andrea Galaxy, to the reflective 'Sacrifice' with up and coming MC Jammz, a slowjam that merges dubstep with hip house drums. The final vocal track is the languid 'Hazefield' co-produced with Sweyn J and featuring Jessy Lanza on vocals. Its mix of mechanic clunk and minimalist, lulling funk could only happen in 2017. The LP artwork takes its inspiration from West London's Golden Mile, a stretch of the Great West Road where the A4 meets the M4, and the road takes on the character of the arcade game Poll Position, with art deco factories and illuminated, hi-tech signage selling lifestyle products. It's this kind of mix of futuristic and industrious with a touch of gentle glamour that the album exudes.

Aficionado enjoyed a storming start to 2017, serving up a pair of sell out EPs from either end of the Balearic shoreline - now they're back with one more for Good Measure.
Teaming up with the Mancunian fashion house for a second season, this sonic selection pack is softer than velvet, smoother than silk and more durable than Moonboots' P.E. kit.
Pour yourself a spritz, slip into something stylish and bask in the brilliance of 'Good MeasurePt.2' Bird song blends into synth swell as 'Ottimismo' shakes our hand, pulling back a deckchair and inviting us to relax and recline with its simmering percussion, swaying bassline and delicate fretwork.
London's Simon Peter is the man behind the music, following a gorgeous 12" on Claremont 56 with another sun kissed soother perfect for a coastal drive, morning swim or lazy siesta.
We take a small step towards the fiesta on the A2, rolling our shoulders and nodding our heads to the infectious rhythms of Simon Cotter's 'Pianta Road'.Though the claves, woodblocks and guiro may dart like dragonflies over a midsummer drum pattern, the Australian conjures a calming breeze via Casiotone keys, spheric bass and sublime strings.
If that weren't enough to make your ice cube melt, the exquisite cascade of well-tinkled ivories could bring a tear to a glass eye and a smile to a cliff-face.The sultry sounds continue on the B1 as France's Murena charters a yacht from Saint Tropez to Es Canar, cutting through the dazzling azure with 'Un Prueba De Amor'. DX7 chimes and digital pan pipes glisten in the spray while a lilting groove rises from the deep, picking up snatches of distant conversations and the rise of tidal sine waves as it goes.
Drifting, dreamy and more debonair than Boardman's cravat, this is as Balearic as it gets. From here we go sublime, waltzing beyond the sunset to the baroque soul of B&B's 'Read Me'.
Waves crash and strings screech, a roaring storm kept at bay by warm double bass, pizzicato melody and spirit lifting poetry. Hints of hip hop and dub colour the immersive groove, while those neo-classical flourishes favour the cinematic diversions of PCO or Monsieur Tellier. Officially Aficionado.

REISSUE OF SUPER-RARE ALBUM WHICH SELLS FOR SILLY MONEY ON DISCOGS.
REISSUED FOR RSD AUSTRALIA 2017..NOW WE HAVE A FEW COPIES FOR EUROPE..LIMITED
For decades the mysterious Hiroshi & Claudia LP has been an elusive jewel amongst the curious world of Australian private press LPs. With nothing more than cryptic broken-English album sleeve notes to reference, the mythical Six To Six LP is a bewildering and intriguing jazz oddity. With prices of the rare original record hitting three figures, collectors began demanding to know who was 'Hiroshi', who was 'Claudia' and why did a group of unknown Japanese musicians record an album in Australia in the late 1970s only to issue it in micro-quantities, then seemingly disappear back into obscurity. For years no trace of whom they were nor any clue as to the origins of their peculiar yet entrancing music had surfaced. Until now....

Welcome to the brainchild of Gilles Germain and Carmen Fabro, a French/Italian husband and wife team of restaurateurs and film producers operating in Sydney during the 1970s. Establishing the custom record label 'Atom', the duo released a handful of highly obscure vanity jazz LPs and promotional horse racing 45s. (Yes it's all very strange...) The highlight undoubtedly being the album Six To Six, a session recorded in Sydney in 1979 by a group of touring Japanese jazz musicians led by guitarist Hiroshi Yasukawa, and a forgotten and still undocumented Mauritian cabaret singer performing under the alias 'Claudia'. Sitting somewhere between spacey Balearic disco, haunting soul and hectic funk reminiscent of electric Miles Davis, the Six To Six LP is a curious beast to say the least.

Released specially for Record Store Day 2017 Northside Records and The Roundtable present a limited edition exact reissue of this legendary Australian rare groove LP.  

Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a one sound autobiography that exhibits the skill, feeling and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally.

And full-length it is:

The Golden Ravedays is an epic album of 24 tracks that was released in January 2017 and is stretching over 12 respective chapter albums during a one-year period.

The fourth chapter of The Golden Ravedays saga will be released on Hippie Dance in April 2017.

Number 4 of the series introduces two further tracks of the sound adventure that Superpitcher is taking us on this year.

Side A features Blood and Berry.

It is a captivating track that reminds one of the very first years when Superpitcher made music under the alias Sir Positive.

The beat is broken and the going is slow and rolling and the listening is a warm bath. There are flutes there that one never wants to stop and they almost don't. However essentially sweet this track is, like a berry on the tongue, it might lead to some blood on the dance floor!
Listening to Side B of this Golden Ravedays edition is entering a ghost town, alone, under a full moon.

Howl is a confluence of melodies and rhythms from Africa to Arabia where the snakes are being charmed out of their baskets and it is downright creepy.

A spooky voice is saying something but we don't know what exactly and it is bothersome because deep down we know that tonight when we are alone in the dark, we should be ready with the answer - or else.

All we can do is wonder:

Did Superpitcher sell his soul to the vampires for the vocals he let lose in this track

He answers by howling at the full moon behind thorn trees, in the shadows.

Entertaining, thoughtful and brave!

We salute the wolves and their master.

Hooo-oooowl!

Gospel Disco time Again!!!! After the sucess of "The Power of You're Love" we deceded to pull out a couple more of our gospel disco dancefloor favorites. Elbernita "Twinkie" Clark-Terrell ( who was in the the Clark Sisters before going solo) Recorded this beast for the LP Ye Shall Receive Power in 1980-81 for Armen Boladian's Sound Of Gospel Records out of Detroit (A Sub of the mighty Westbound Records). Both tracks featured on the LP only so desperatly need some 45 action. I'm not going to try and sell you this one with tales of its history all you need to do is drop the needle (or press the little play icon)..... Straight up monster dancefloor destructor.

(180 gr) Talamanca System are the unlikely trio of Gerd Janson, Phillip Lauer of Tuff City Kids and Mark Barrott. Their sole release in late 2014 became one of the best selling on the International Feel imprint. My Past Is Your Future brings them back together for a trio of magical productions that cumulate the power of their production skills and winks at a forthcoming album coming on the imprint this summer.

Talamanca System are the unlikely trio of Gerd Janson, Phillip Lauer of Tuff City Kids and Mark Barrott. Their sole release in late 2014 became one of the best selling on the International Feel imprint. My Past Is Your Future brings them back together for a trio of magical productions that cumulate the power of their production skills and winks at a forthcoming album coming on the imprint this summer.

Talamanca System's debut set them alight across the dance music press and the follow up catapults their distinctive take on modern dance music back into the current consciousness. The EP delivers a nirvanic state, with My Past Is Your Future's use of delicate chords, cascading keys and effortless groove. This is a divine record, paired with a Beatless Stars Is Space mix that strips it back to its core and the Chukka Chukka Dance mix squares up to the dancefloor with an end of night classic.

Best known for his burgeoning Running Back imprint, Gerd Janson is a DJ's DJ, a connoisseur of dance music with an inimitable style that cross genres. His production partner Phillip Lauer forms part of Tuff City Kids and Black Spuma, who have also released on International Feel, with a style that fuses the rhythms of house music with bold melodies to form structured songs. The result is music that can sit comfortably in many worlds.

Mark Barrott started out in the mid 90's as Future Loop Foundation and since has composed music for numerous films & TV shows and founded one of the world's leading music consultancies. His highly-respected International Feel label has featured albums from the likes of DJ Harvey and Jose Padilla, with a huge portion of the releases dedicated to Barrott's own anonymous pseudonyms. Barrott's Sketches from an Island project has gained support from Pitchfork, the Fader, the Guardian and even the Financial Times for its bold and quirky take on Balearic music.

The three of them form an exhilarating partnership in Talamanca System and this EP gives a snapshot into their forthcoming album due to be released on International Feel in May 2017.

Cookin' On 3 Burners are Australia's foremost organ trio joining the dots between funk, soul, boogaloo & jazz. Long time partners Lance Ferguson (guitar), Ivan Khatchoyan (drums) and Jake Mason (organ) have taken their home brew of soulful Hammond get down everywhere from jazz festivals to after hours bars and clubs. Their top notch reputation led to them supporting Sharon Jones & The Dap Kings in Sydney, jamming live with Breakestra and becoming THE in demand band south of the equator. With a musical CV that includes names like Joe Bataan, Alice Russell, Mark de Clive-Lowe and The Quantic Soul Orchestra, as well as the world beating outfit The Bamboos, it's not surprising this latest CO3B album has generated huge interest even prior to its' release. Their first Freestyle album 'Baked, Broiled or Fried' featured the group in a hardcore funk groove but on 'Soul Messin' sees the sound, feel and influences widened further with some quite magical results. Versatile singer Kylie Auldist (Tru Thoughts Recordings) opens proceedings on the deep funk groove of 'Push It Up' but it is the Freestyle 45 'This Girl' (FSR7057) that provides the mellow, beautiful and incredibly catchy vocal highlight of the entire collection, shimmering horns ride over this laid back, future deep soul classic. We don't yet know what Gary Numan will make of CO3B's version of his 80's synth pop hit 'Cars' (CD only) but Jake Masons organ playing (including simultaneously supplying the super funky bass lines via his Hammond foot pedals and left hand) takes this track in a direction no one was expecting! Drummer and top notch singer Fallon Williams provides his gritty, searing voice on 'Hole In My Pocket' and 'Seen Through Your Disguise' sounding very much like US soul legend Robert Moore and the band display their versatility whilst doffing their caps in the direction of The Meters on the numbers 'Dog Wash' and 'Piranha' The down tempo, moody album closer 'The Proving Grounds' (CD only) once again shows the groups expanding musical textures and rounds off 'Soul Messin' the bands most varied and accomplished recording so far.

Recent Mark Lamar Live Session on Radio 1

"This Girl" has been Freestyle's top selling single of 09 so far !

- Weller's landmark, multi-platinum selling No. 1 album which stayed 87 weeks in the chart. It spawned the classic hits 'The ChangingMan', 'You Do Something To Me' and 'Broken Stones'.
- Gatefold LP sleeve featuring legendary Peter Blake design
- Colour inner sleeve with photos and lyrics

Produced by Dallas Austin, Jermaine Dupri, Babyface, Jon-John Organized Noize, and Sean 'Puffy' Combs, CrazySexyCool (1994) is the second studio album by American girl group TLC. The album peaked at three on the Billboard 200 and spent over two years on the Billboard album charts, and spawned two Billboard Hot 100 number one singles, including the worldwide smash hit, 'Waterfalls', and earned them two Grammy Awards.CrazySexyCool has sold over 23 million copies worldwide, becoming the best-selling album by an American girl group, and the second best-selling album worldwide by a girl group behind Spice Girls' Spice. The album was certified Diamond, making TLC the first girl group in history to be awarded Diamond status.
All four singles from the album reached the top 5 of the Billboard Hot 100, two of them ('Creep' & 'Waterfalls') reaching number one.

Here is an introduction to the Betty Hill story.
Barney and Betty Hill were an American couple who were allegedly abducted by extraterrestrials in a rural portion of New Hampshire from September 19 to September 20, 1961.

The incident came to be called the "Hill Abduction" or the "Zeta Reticuli Incident" because the couple stated they had been kidnapped for a short time by a UFO. It was the first widely publicized report of alien abduction, adapted into the best-selling 1966 book The Interrupted Journey and the 1975 television movie The UFO Incident.
Very interesting is that Betty drew a star map of, by the time she was drawing it, an unknown star collection. Later scientists started to investigate it and discovered it really existed. They called it Zeta Reticulli.

This music is inspired by the story and the interviews with Betty Hill.

Another off-the-books mission to the OUTERZONA !
Consistent best-sellers, these little collections of secret weapons have made many friends out there on the floor
No.6 delves once again into the ammo cupboard, but reassembles this devastating array of weaponry into altogether more potent smart-bombs
From a wigged-out Jazz-Rock monster to familiar & timeless symphonic Disco licks, to a hidden mid-Seventies Soul rewire Once again, Outerzona refresh the parts other edits cannot reach !These are never around for long, so you know what to do

We certainly have a soft spot and a proven track record here at All Ears for these kind of magical, mysterious morsels
Elaborate Hoax follow up last year's instant sell out 001 with Another fine EP of lovingly mined tracks, expertly reshuffled for contemporary floors From a buried Brazilian Jazz-Funk gem, to a killer early 70's jam outta France, to a super addictive Hot Gossip rewire...Seek, and ye shall find !

The Untold Stories offer up their next double pack collection on their trademark transparent yellow and black vinyl. For Chapter V they welcome some new artists into the label with Jerome C, Jarz=Polors, Volta Cab, and MD Wallholz, all featuring for the first time. This combined with some superb works from Franco Cinelli and UNTLD regulars Ztrl, Ivan Lopez, Pheek, and Jonas Sella: makes for a memorable album of highly identifiable music, with varying vibes from the Street Knowledge track by Volta Cab to Ztrl's one perfect for summertime afterhours, altogether another very enjoyable collection.

For the first time in more than a year, Because Music is running a limited repress of Selah Sue's sold out EP 'Alone'. Released in late 2014, it paved the way for her second album 'Reason' (more than 185,000 copies worldwide since its release in March 2015). Shifting to a more pop-oriented sound under the supervision of producers Robin Hannibal (Rhye, Kendrick Lamar) and Ludwig Goransson (Childish Gambino, Haim), this EP features her flagship collaboration with American rapper Childish Gambino 'Together' and an exclusive acoustic version of the track 'Won't Go For More'. A throwback to the exciting times when everybody was impatient to hear Selah's new creations after her best-selling debut album.

What Ever Not is the variegated music outlet from experienced Dodi Palese and Dan Mela, Italian DJs and producers supporting, selling, playing and releasing instrumental and dance music for two decades. What Ever Not tenth record, 'Galegos Bar / The Ritual', sees a split release signed by Dan Mela and Marco Erroi. Label co-founder Dan Mela inaugurates a new moniker 'Man Dela' for 'The Ritual' - the original track gets remixed by Anton Zap, with whom Mela already collaborated for a digital release on his own Ethereal Sound. Flipping on the other side, Marco Erroi, head of Common Series Ltd, continues his production career with 'XXXV Gold Fingers' for the 'Galegos Bar' side - one of the many different aliases he personifies - also contributing by realizing the artwork. 'Galegos Bar / The Ritual' offers two sides of the same coin and we can have both things with one stroke. The common denominator is the ethnical ritual. It is fully expressed in the Man Dela side with deep and hypnotic ride out turned upside down by Anton Zap with a dynamic electronic waltz. The same item, however, is magically hidden in the XXXV Gold Fingers side, where we can find it in the form of drink beer and play cards just like in most terrible bars in South of Italy.

Following the frankly huuuuuge Norsk Tripping release (one of this year's best sellers here are All Ears) we get another XL Rune portion, this time on his own Drum Island imprint...
Disko Romeiko, as the title may suggest is a stomping, campfire lit and admittedly unlikely culture clash of Greek and Norwegian music. A vocoder laced, up-tempo workout of Norse Disco technique and traditional Greek melodies that is a surefire dancefloor delight. Remixes come from Rune collaborator in chief, Oyvind Blikstad, who pitches the vocoder vox front and centre and strips back the groove while amping up the drama.
Finally Baz Reznik opts for a rumbling, acid laced House take...
Quite a package

Raised in a musical family Anastacia first developed a career as a dancer, appearing in video clips and on MTV shows. Her debut album Not That Kind was released in
2000 and immediately struck a nerve in Europe, Asia and
Australia, before hitting it big in the US.


Her striking looks and most of all her remarkable vocals had her searing up the charts, helped by hit singles such as 'I'm Outta Love', 'Cowboys & Kisses' and the title song. Teaming up with some of the most successful songwriters of the time, her expressive alto voice had that rough edge needed for an identity of her own in blasting Pop/Rock/Soul tracks that did well both at home and on the dance floor.

Influenced more by Aretha Franklin and Tina Turner than contemporaries Britney Spears or Christina Aguilera she appealed to an adult crowd, eventually turning her into the 'World's Best Selling New Female Pop Artist' at the 2001
World Music Awards.

In 1989 Oumou Sangare, a young singer from the Wassoulou region of southern Mali, went to the JBZ
studio in Abidjan, Cote d'Ivoire to record her debut album. Except for electric guitar and bass, the
line-up was traditonal - kamalengoni or 5-string 'youth's harp', karinyang (iron scraper) and violin
(substtutng the local one-string fddle). The music they recorded was exactly the kind of music per-
formed by hunters to charm the wild animals and invoke the protectng spirits, but with updated lyrics
refectng the concerns of young women living in African cites today.

The music of Wassoulou, with its funky beat and strong melodies has become increasingly popular
in Mali over the last few years. But no one could have foretold the wild success of Oumou Sangare's
recording, which within a few months had sold over one hundred thousand copies in West Africa
alone - not countng bootlegs. This was Mali's best selling cassete ever. And not a drum machine or
synthesizer on it!

What is the secret of Oumou Sangare's astounding rise to fame Partly the sheer force and beauty
of her voice - she frst trained with the Mali Natonal Ensemble and then lef to join the independent
group Djoliva Percussions (with whom she toured France and the UK in 1986). And undoubtedly, be-
cause of her powerful lyrics, which address the problems of young Malian women - torn between the
old values of the countryside and the modern ways of city life. But it's also the brilliant arrangement
of the typical Wassoulou sound - with its slow-driving rhythm punched out on the bass strings of the
harp and its soaring melodies. 'Moussolou' ranks among the best recordings of Malian music of all
tme.

Now for the very frst tme World Circuit are releasing this iconic album on deluxe single vinyl.
Mastered at Abbey Road the vinyl is pressed on 180 gram heavyweight vinyl and presented alongside a
beautful 10 page booklet and download card.

This is the new digitally remastered 2015 expanded edition of Soul Jazz Records' biggest ever selling release, 100% Dynamite! Ska, Soul, Rocksteady and Funk in Jamaica.
Since the album's original release nearly twenty years ago, 100% Dynamite has become a cornerstone of reggae: eighteen killer tracks that show the influence that American Jazz, Funk and Soul music had on Jamaican Reggae.
The proximity of the West Indies to the USA meant that many Jamaican musicians were influenced by American styles of music whilst at the same time defining new styles of their own such as Ska, Rocksteady and Dub.
100% Dynamite features some serious Jamaican funk by Jackie Mittoo, The Upsetters and Toots & The Maytals, the cream of Jamaica's jazz musicians such as Tommy McCook, Cedric Brooks and Lennie Hibbert. Also included here are heavyweight Reggae versions to Soul classics by Marlena Shaw's 'Woman of the Ghetto', Aretha Franklin's 'Rocksteady', Syl Johnson's 'Is It Because I'm Black', William DeVaughan's seminal 'Be Thankful' and more.
100% Dynamite also features revolutionary tunes such as Johnny Osbourne's 'We Need Love', Sound Dimension's 'Drum Song' and Lloyd Robinson's 'Cuss Cuss', songs that helped define a unique sound for Jamaican music in the sixties and seventies. These influences went both ways - check Brentford All Stars massive 'Greedy G', the basis for Boogie Down Productions' 'Jack of Spades', or Willie Williams' 'Armageddon Time', later covered by The Clash.
This new expanded edition features seminal tracks from the greatest Jamaican producers - Clement Dodd, Lee Perry, Winston Riley (Techniques) and many more.
The album is available as CD, heavyweight double vinyl (+download), plus digital.

Eleanore Mills is a classic Soul singer with a sweet and sophicated voice, who recorded her debut album 'This is Eleanore Mills' for the Sylvia Robinson's All Platinum subsidiary Astroscope in 1974. The album has a broad range of Soul and early Disco/Soul cuts. It did not sell in vast numbers on its initial release but has become heavily in demand in the last 20 years and appeals to a broad spectrum of Soul and Disco collectors and DJ's.. Original copies are highly collectable and in mint condition now sell for around £300- £400. Eleanore went on to record with Norman Connors on his 'This Is Your Life' album in 1977 (recently issued on CD by Soul Brother) and then developed into singing Soulful house having a huge record with 'Mr Right' in the late 80's.

WEvery artistic scene is lead by their artists and kept alive by their fans, but mostly by its talents, who can look outside of the box and have a great relationship with their crowd. Junior C is a great example of how this theory comes true for a DJ and Producer.
Junior C is a very versatile artist, who consolidated his career in three columns: Technique, Feeling and Crowd-Reading, Important skills that added to his strong musical taste made him able to adapt his sets to many dance-floors, from underground to mainstream without loosing his musical identity.
As a producer, he got a lot of attention by his latest tracks Relax' and Sweet Acid Talk' released by Impact Records, produced in partnership with Wehbba and Propulse. Both tracks in just a couple of weeks hit the top 20 in tech-house at Beatport receiving compliments from: Sven Vath, 2000 and One, Karotte, Hector Couto, Joseph Capriati and many more, afterwards Sweet Acid Talk' was the best seller of Ibiza Underground 2013' released by Toolroom Records.
In this EP he has worked with H.O.S.H., Gui Boratto and Gunjah to create new approaches of his latest single Coming Over' and the result are 3 different interpretations of this dance floor timeless song, full of groove, lush harmonies and organic undertones. It doesn't take much to imagine this EP owning dance floors in the months and years to come.
Engineered to perfection by label head GUI BORATTO, it's an exciting step for the imprint and the project alike.
it's an exciting step for the imprint and the project alike.

Utterly magnificent, sublimely soulful survey of the Gospel Roots label, subsidiary of the mighty TK Records at the height of the Miami Sound. Beautifully presented... the LPs with a 12"-square, full-colour, sixteen-page album of photos and original artwork. Check!!
A&R was co-ordinated by Gospel legends Ira Tucker — from the Dixie Hummingbirds — and Ralph Bass, veteran producer with Savoy, King and Chess. The label was run by Timmy Thomas, who had recently smashed with Why Can't We Live Together, for another TK spin-off, Glades. Operations were overseen by Henry Stone himself, unlikely King of Disco, who had recorded a young Ray Charles, and pushed forward James Brown. They drew in artists from all over the US, from St. Louis, Columbus, Memphis, Brooklyn, Cabrini Green in Chicago: unknowns like Camille Doughty, reluctant to jeopardise her job at GM ('Generous Motors') in Detroit, and huge-sellers like the revered Brooklyn All Stars, who started out on Peacock in 1958.

Choral belters, deep ballads, harmony quartets, epic city-blues, gritty funk, powerhouse female soul... Killer-diller Philly like a scorching version of Harold Melvin & The Blue Notes' Wake Up Everybody, and Jean Austin's raw Spirit Free, co-written by Ronnie Dyson, produced by Jesse James at Future Gold. Chicago Sound like The Fantastic Family Aires — named after the family's furniture store on North Cicero, but reminiscent of the Staple Singers at their best — through to the full-blown glory of The Fountain Of Life Joy Choir, led by Marvin Yancy from The Independents, and featuring Natalie Cole... Singers like Versie Mae Gibson, from the Jordans, by rights up there with Irma, Etta and Ree... Bangers 100%-guaranteed to find their way into Theo Parrish sets, and mortal delirium for the prissiest of soul and gospel purists.

Within the House of Soul, the Daptone Staff is affectionately referred to as The Hate Crew,' a name they have earned from their years of ruthless evisceration of anything which doesn't meet their impossibly idealistic expectations. Armed with rolling eyes and barbs of sarcasm, they are the true guardians of the Daptone Sound.
The problem is, this new James Hunter single has turned them all into adorable little kittens. They spend all day mewing to the ballads and scampering about to the uptempo cuts instead of selling records.
In an effort to save the company, label Boss Neal Sugarman declared a Hunter Free Zone,' but when he tried to pry the test pressing of Hunter's latest single from the office turntable and replace it with something a bit more hate-able, the needle slipped and dropped back into the grooves of Something's Calling,' irreversibly morphing him too into a small playful kitten. Meow, James Hunter. Meow. grooves of 'Something's Calling,' irreversibly morphing him too into a small playful kitten. Meow, James Hunter. Meow.

Michael Ludwigs, 45 RPM Audiophile — 'Atlantic 75: Genesis, Bad Company, Phil Collins Against the Original Pressings.' YouTube video.

On his first solo album, 1981's Face Value, Genesis drummer-singer Phil Collins showed that he wasn't about to be left behind in the mire of classical-rock sludge. That LP boasted shorter songs and demonstrated that Collins had a true pop sensibility. Hello, I Must Be Going! continues that trend, with some familiar patterns emerging, wrote Rolling Stone's John Milward.

"First, there are the dramatic rock dirges that use drums as a lead instrument; 'I Don't Care Anymore,' with Collins' one-man band playing alongside Daryl Stuermer's atmospheric guitars, wins in this category. Then there are the buttery ballads, of which "Don't Let Him Steal Your Heart Away" is the best by virtue of a Beatles-like melody that buoys Collins' anonymously sweet voice. Both of these styles were already Genesis staples; it was Collins' uptempo soul tunes on Face Value and Genesis' Abacab that surprised old fans and found new ones. 'I Cannot Believe It's True,' with Earth, Wind and Fire's Phoenix Horns casting out clean lines, clobbers the other soul contenders on Hello, I Must Be Going!, especially his remake of the Supremes' 'You Can't Hurry Love.' Collins took the golden-oldie route on that song and the result isn't soulful, it's superfluous. Despite its trend-bucking boast of an 8-track recording, the album's rich luster is of the old classical-rock school. In fact, the LP sounds like stripped-down Genesis, ornamental but not too ostentatious. — John Milward, Rolling Stone (3 Stars)."

This Analogue Productions (Atlantic Series) reissue of Hello, I Must Be Going! has the essential elements that make it a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Hello, I Must Be Going! was a triple-platinum-selling hit in the U.S. for Collins in the 1980s and it stayed on the U.K. album charts for more than a year, peaking at No. 2. For the fans it is a drummer's album, a record that expresses rage and desperation as well as loneliness and longing. Not an album for every day, but one that really speaks to you when you need it, wrote Martin Klinkhardt.

Marcos Valle - EstrelarMarcos Valle is back again, this time with the almighty 'Estrelar', his most well-known disco/boogie track co-written with Leon Ware. Added hints of Yacht Rock too!
Marketed as workout music" at the time, 'Estrelar' was his best-selling record with a total of around 90,000 sales.'Estrelar' is taken from his 1983 self titled LP released on Som Livre. 
Robson Jorge & Lincoln Olivetti - AlleluiaTwo of the masters of the Brazilian Boogie sound joined forces to make a self-titled LP released in 1982 that epitamised the sound of early 80's Rio de Janeiro. Synths and keys float over razor sharp samba, jazz and 2-step drum grooves backed by huge layers of horns. Production is as shiny, bright and ultra clean as it ever got!'Alleluia' is a mid tempo groover, with rich horns, guitar, synth and vocal lines. An end of the night jam if ever there was one.Released on the LP mentioned above and also on 7' in 1983.

Norman Jay MBE presents his latest compilation, titled 'Good Times Skank & Boogie', set for release 9th October 2015 on Sunday Best Recordings. This is his first compilation since 2011's Good Times 30th Anniversary Addition and follows on from his hotly anticipated Good Times Goes East party at St John Church at Hackney on 29th August.
Norman Jay is undoubtedly one of the finest and highly respected DJs in the world today and yet again pulls from his impressive collection to provide the ultimate eclectic selection.
For this 12th compilation, for those of you counting, Norman kicks off with St Germain's version of Henry Mancini's Pink Panther Theme. A cult favourite from 2004s Pink Panther Penthouse Party album, it of course immediately brings Peter Sellers to mind and a smile to your face. Next up former Uniques front man Slim Smith's Everybody Needs Love is a classic from 1968, cut at the legendary Duke Reid's Treasure Isle studio. Penned originally by Motown heroes Norman Whitfield and Eddie Holland and covered by household names including The Temptations and Glady's Knight & The Pips, Slim's version became something of a signature tune until his mysterious death in 1971. Sticking with Motown, Stevie Wonder's Living For The City is up next but it's the Michael McDonald rendition from his 2008 album Soul Speak, which proves the man who gave us the sublime Sweet Freedom had lost none of his class 20 plus years on.
D-Influence's Good Lover takes things up and brings them closer to home, to the streets of London infact. After a couple of independent releases the band, who had strong connections to the London Jazz and Soul scenes, served up this contemporary boogie tune as part of their 1992 debut long player for East West. They would subsequently score hits as a production team for a number of British R&B acts. Homegrown soul continues with Paul Johnson's Better Than This, released here via longstanding UK soul imprint Expansion to deserved acclaim last year. It's quality and appeal are simply timeless, whilst master Dego and Kaidi's mix adds a classic 80s soul dimension to proceedings.
The Chi-Lites I Keep Comin' Back To You and The Real Thing's Love Takes Tears continue and expand the 80s theme, bringing in 2-step and boogie, as does Deodato's Never Knew Love from the same period.
We switch again with Delroy Wilson's Better Must Come, a massively popular sufferers lament from 1971 by this former Jamaican child star, it would go on to be used in election campaigns by various Jamaican political parties. Kent People by Laurel Aitken & The Gruvy Beat is the next one out the box and was the flip to the 1969 anthem Skinhead Train. It features the UK's top reggae band of the era The Rudies, who along with Aitken, the widely-proclaimed Godfather of Ska, comprised of Earl Dunn (lead guitar), Trevor White (bass), Sonny Binns (keyboards) and Danny Smith (drums). They would go on to enjoy UK chart success backing singer Freddie Notes before they evolved into Greyhound. From the same year Splash Down by The Crystalites is another slate that ignited dance floors in both Jamaica and the UK upon release. Some of you will have noticed the rhythm track is the same as that of the earlier Kingstonians' best-seller, Sufferer, which came courtesy of legendary producer Derrick Harriott.
As the end draws close The Stone City Band featuring Rick James serve up some hard edged boogie, hotly followed by a classic Tom Moulton slice of late 70s disco courtesy of The Fantastic Four and their I Got To Have Your Love. If that doesn't have you dancing then Chanson's superb Don't Hold Back featuring James Jamerson Jr. on bass will leave you no choice. Classic Good Times indeed.

The last tune of this EP is the reason why i wanted to press these tunes from HFK...
Then i saw he did a cover version of the Jones and Stephenson famous rebirth....
As Mr Gazmask did one on Acid Night i decided to press these tunes on Acid Night and not on Rouge De Colère... just for the eye-blink...
And then HFK introduced my to his second projects (of many) called « Molecule SCAM »... And this long a-side tune, 180 BPM killer was the thing... reminding me very strong another famous tune Prime Assault it was called...
Well, this project is a bit special compared to the othe Acid Night... Not an easy record to sell probably... But what a bomb...
LOVE THIS MUIC ! So, fuck the sales and go for it:)

Double 180gm vinyl LP pressing. The original Buena Vista Social Club album became a surprise international best seller and the most successful album in the history of Cuban music.

It was recorded for World Circuit Records by Ry Cooder over seven days in Havana in 1996,

bringing together many of the great names of the golden age of Cuban music in the 1950s, several of whom were coaxed out of retirement for the sessions.

In the years that followed the original release, Buena Vista veterans toured the world and were the subject of a celebrated feature film directed by Wim Wenders.

2015 REMASTERED 180g VERSION

Buena Vista Social Club release 'Lost and Found,' a new rarities compilation packed with previously unheard live and in-studio material.

Coming almost two decades after the release of the original Grammy-winning, self-titled LP, the new album is a collection of previously unreleased tracks—some of which were recorded during the original album's sessions in Havana and others from the years that followed. Lost and Found is available to pre-order in iTunes and the Nonesuch Store (and outside of North America in the World Circuit Store) with an instant download of the album track "Macusa."

The studio tracks on Lost and Found were recorded at the 1996 Egrem studio sessions in Havana and during a period of rich and prolific creativity stretching into the early 2000s following the recording of the original album. Lost and Found also features live recordings from the world tours of Buena Vista's legendary veterans.

"Over the years we were often asked what unreleased material was left in the vaults," says World Circuit's Nick Gold. "We knew of some gems, favorites amongst the musicians, but we were always too busy working on the next project to go back and see what else we had. When we eventually found the time, we were astonished at how much wonderful music there was."

The original Buena Vista Social Club album became a surprise international best seller and the most successful album in the history of Cuban music. It was recorded for World Circuit Records by Ry Cooder over seven days in Havana in 1996, bringing together many of the great names of the golden age of Cuban music in the 1950s, several of whom were coaxed out of retirement for the sessions.