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Until The End (The Lost Album) features recordings made by Wil Malone throughout 1970, possibly intended as a follow-up to Wil Malone – Wil Malone, which was recorded in mid-1969 and mastered for release on Fontana Records on July 5, 1969.
Recently unearthed from the Morgan Blue Town tape vaults, these tracks offer a compelling mix of ’60s pop and bubblegum, diverging from the original album’s string-heavy, progressive-psych sound. All the material comprises either demos or finished masters, recorded over several months. With the exception of the brass parts — performed by session musicians — all instruments were played by Wil Malone himself.
It’s a shame the debut didn’t achieve greater commercial success, as it might have brought these follow-up recordings to light much earlier, back in the 1970s.

The Original Lineup Reunited
For the first time since their iconic run in the early 1960s, all five founding members—Eric Burdon, Alan Price, Hilton Valentine, Chas Chandler, and John Steel—came together for a raw, soulful reunion. This is the Animals with the benefit of age, experience, and no pressure to chase hits—just great playing.
A Gritty, Understated Gem
Recorded with minimal fanfare in 1977, Before We Were So Rudely Interrupted is a return to the blues and R&B roots that shaped the band's early success. It's stripped-down, honest, and deeply musical—a perfect record for fans of The Rolling Stones, Van Morrison, or Bob Dylan.
Dylan, Jimmy Reed, and the Blues Canon
The album features a standout cover of Bob Dylan's "It's All Over Now, Baby Blue", along with classics from Jimmy Reed, Joe Tex, and Gospel/Blues deep cuts, reinterpreted with grit and grace.
Cult Classic with Lasting Legacy

In the late 1970s and early 1980s, South Shields, England's politically motivated punk band, The Angelic Upstarts, saw considerable chart success. Jimmy Pursey of Sham 69 produced their debut album, Teenage Warning (1979), which peaked at No. 29 on the UK Albums Chart and featured singles like "I'm An Upstart" (No. 31) and Teenage Warning (No. 29).
Their third album, 2,000,000 Voices (1981), reached No. 32, while their second, We Gotta Get Out of This Place (1980), peaked at No. 54. Angelic Upstarts Live (1981), a live album, did well as well, peaking at number 27.
Two of the Angelic Upstarts' singles made it into the Top 40, and seven of their singles made it into the UK Top 75. Their early work was marked by sociopolitical critique and unadulterated intensity.
‘Live at The Basins Nightclub’ recorded in 1987 represents a unique summary of that undertaking as well as capturing a rare snapshot of the Upstarts during one of the less well-documented periods of their history. Incl. Sleeve notes from Dick Porter.

Two titanic forces in reggae history — Roots Radics and The Mighty Revolutionaires — unite for a powerful dubwise journey on Outernational Riddim. This long-anticipated collaboration blends heavyweight rhythms, militant drum patterns, and deep, atmospheric dubs that channel the essence of Jamaican roots music with a forward-thinking production style.
The Roots Radics, known for backing icons like Gregory Isaacs, Barrington Levy, and Israel Vibration, bring their unmistakable heavyweight style to this session. Meanwhile, The Revolutionaires, studio legends behind countless Channel One classics, lace the tracks with their tight arrangements and classic rockers grooves.
Produced and mixed in true dubwise tradition, Outernational Riddim delivers:
Authentic Studio Vibes – Mixed on analog boards with vintage effects and tape echo for that raw, immersive sound.

Peace and love in late 60s America did not come without parallel feelings of fear and confusion about the social situation – specifically about Vietnam. “Safe In My Garden” is the latest Ace compilation in an acclaimed series compiled by Bob Stanley – it’s a companion piece to the much-praised “State Of The Union (The American Dream In Crisis 1967 – 1973)” Ace CDCHD 1533/XXQLP2 057 2018).

The music on “Safe In My Garden” is harmony-laden, beautifully produced soft rock. Sunshine pop, even - a melodic, innovative style of American music that grew in the mid-60s out of the folk and surf scenes, exemplified by the Beach Boys and the Mamas and Papas. You will hear orchestral arrangements, and soft boy-girl vocals. But it wasn’t made in isolation from what was going on in the outside world. There are clouds and minor chords, plenty of melancholy in those harmonies.

“Safe In My Garden” includes songs of escape (Mark Eric’s ‘Move With The Dawn’, the Groop’s ‘A Famous Myth’), loss (the Eighth Day’s ‘How Can I Stop Loving You’, the New Colony Six’s ‘Prairie Grey’), dreamscapes (Tommy James and the Shondells’ ‘She’, Nancy Priddy’s ‘Christina’s World’), rebirth (Smokey and his Sister’s ‘Creators Of Rain’), a simpler world (the Free Design’s ‘My Brother Woody’) and a philosophically sounder future (Chad & Jeremy’s ‘The Ark’, Best of Friends’ ‘Summer Sound’).

It contains some surprisingly dark messages paired with beautiful melodies, as well as songs of hope. Thousands of young musicians in cities, suburbs and small towns across the States from the mid to late 60s spent their mornings hiding from the mailman, dreading the draft. This is the Sound of Young America in the late 60s, keeping its fingers crossed.

Knucks’ upcoming album 'A Fine African Man' marks his first full-length project since the breakthrough 'Alpha Place', which soared to #3 on the OCC charts. Across 13 tracks, 'A Fine African Man' delves into themes of duality, reflecting his experience as a British‑Nigerian navigating both cultures and identities. The album’s title underscores that bicultural journey. Expect a compelling evolution from the sound that defined 'Alpha Place. Knucks’ acclaimed album Alpha Place marked a major milestone in UK rap, debuting at No. 3 on the Official UK Albums Chart and topping both the UK Hip-Hop & R&B and Independent Albums Charts. The album was certified Silver by the BPI and has amassed over 480 million streams to date, with the deluxe version adding another 490 million. Praised for its sharp lyricism and rich production, Alpha Place received strong editorial backing from outlets like Complex UK and GRM Daily, while fan response on platforms like Reddit cemented its status as one of the year’s standout releases. Tracks like “Three Musketeers” and “Alpha House” became immediate fan favourites. Knucks’ MOBO win for Best Grime Act in 2022 further reflected his cultural impact, and his live shows—bolstered by previous EP runs—have built him a reputation as one of the most compelling voices in the UK scene.

Lénok’s 'Langue of Tongue' is a descent. An unhinged pinballing down a realm of incomprehension and lunacy, a darkly psychedelic ego-death-spiral into a world of pure, deranged disquiet. It is, and this cannot be emphasised enough, a truly fucked up place. It comes complete with clearly marked borders delineated by its opening and closing tracks '(Entrance' and 'Exit)’. The message is clear: this is less album than zone.

There's no comfort to be found here. It’s like the inner monologue of some insectile, cyborgian abomination, something unfeeling and hostile, something that could only thrive in a mirror world that perverts light and sullies warmth. It's a netherworld: tracks jut out and stab like cold, craggy wastelandscapes, tangled meshworks of alienic transmissions bleed out into deformed knots of gurgling white noise, lacerations of sound roil and heave and claw as if imprisoned within oppressive waveforms.

‘Tongue’ is marked by a kind of wackiness, a demented slapstick that renders its darkness all the more sinister. Voices wail and taunt like schizophrenic spirits trapped between torment and cackling ecstasy. Tracks giggle and skitter as if populated by grinning, snaggletoothed shadows.

‘Langue of Tongue’ is recommended for the curious and advanced listener. This is music for whatever the opposite of escapism is — it’s REAL twisted. But sometimes morbid fascination takes hold. Sometimes you lift the rock, because you can’t help it, and you observe the squirming mess of life it plays host to. What you experience may not be pleasant, but you might just struggle to tear yourself away.

f *Goodbye, Asshole* was the wild night—tequila-sharp riffs, sticky floors, and last-call chaos howled into the void of a disappearing city—then *Boone* is the merciless morning after. The sun cracks the blinds. The brain throbs. Every bad decision gleams in the hard light, raw and undeniable.

Fuckwolf’s second album pares their scuzz-wave blitz down to exposed nerves: Eric Park’s basslines stalk like a hangover pulse, Simon Phillips’ drums land like a palm slapping the alarm into silence, and Tomo Yasuda’s guitar wirings spit like diner coffee left to burn on the hotplate. The fog has lifted; the damage is inventoried. These ten tracks are crime scene Polaroids, tales of longing and woe, fresh mystery bruises and eulogies.

There’s no wallowing here, just the tight, terrible beauty of a band that’s stared down the void and come back swinging.

The party’s dead. Long live the reckoning.

Fuckwolf have been around the SF scene for a while, and it took Ethan Miller (Silver Current / Comets On Fire / etc) ages to get them to record the debut album, they then toured Japan and released a limited split mini with Green Milk From The Planet Orange. They reconvened late 2024 and recorded Boone..

This new album "Boone", polishes and extrapolates the fizzing psychedelia of their first album, and turns Fuckwolf into the heirs to the crown of mass-consumptive Sike-rock. This album is in the same vein as Mercury Rev's "Yerself Is Steam", Butthole Surfers' "Rembrandt Pussyhorse" and Flaming Lips "Telepathic Surgery", there's sheer pop in amongst the mind's eye rattling dollops of psychedelic wallop... the Koolaid was drunk and the songs were made.. plug it in, turn on...drop out.

Master by the one and only Mikey Young!!

as the shadows assume
shapes
we fight the slow
retreat

A samba funk essential. This debut album from Jorge Ben's iconic backing band blends Brazilian rhythms, soulful vocals, and American funk energy into one unforgettable groove. Includes the hit single 'Coqueiro Verde' along with standout tracks like 'Meu País,' 'Aleluia, Aleluia,' and 'O Canto da Ema.' A timeless gem for fans of Brazilian soul, vintage funk, or global grooves. Trio Mocotó is best known for being the powerhouse backing band behind Brazilian legend Jorge Ben during the height of his creative explosion in the early 1970s. But their contribution to music goes far beyond the supporting role-they were instrumental in shaping what would become known as samba funk, a vibrant fusion of traditional Brazilian rhythms with the groove and energy of American soul and funk music. Formed in Sao Paulo's iconic Jogral nightclub, Trio Mocotó-featuring Fritz Escovao, Joaozinho Parahyba, and Nereu Gargalo-began their musical journey as resident musicians, providing live accompaniment for a rotating cast of performers. It was here that Jorge Ben first encountered their raw talent and unmistakable chemistry, ultimately inviting them to join his band. The collaboration would go on to define an era. In 1971, Trio Mocotó stepped into the spotlight with their debut solo album, "Muita Zorra! (...Sao Coisas Que Glorificam a Sensibilidade Atual)." The record made an immediate impact, climbing the charts with the infectious single 'Coqueiro Verde' and marking the start of a prolific period in the group's career. "Muita Zorra!" is a dazzling blend of styles-mixing the baroque funk and melodic sophistication of artists like Marcos Valle with the soulful spirit of Jorge Ben. Layered with elements of American funk, the album delivers a dynamic, rhythm-driven sound that still feels fresh today. The trio's vocal harmonies are front and center, weaving through each track with warmth and richness, creating a captivating sonic tapestry that energizes every beat. This album isn't just a snapshot of a musical moment-it's a cornerstone of Brazilian soul. A must-listen for fans of global grooves, vintage funk, and timeless Brazilian music, "Muita Zorra!" is once again available and ready to take its well-deserved place in your collection. First time official reissue.