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Nada Surf are an American alternative rock band formed in the 1990s in New York. High/Low is their debut studio album, released in 1996 to positive reviews. All tracks were written by frontman Matthew Caws and bassist Daniel Lorca. Combining indie punk with grunge, emo and even pop, High/Low is a record full of high quality riffs and catchy melodies. It contains the smash hit single “Popular”, which reached the top 10 in several countries and remains a classic song among fans of alternative music.

High/Low is available on gold coloured vinyl as a limited edition of
1000 individually numbered copies.

• One of the first punk rock bands of the 70s music revolution, and certainly the first in Ireland, the Radiators From Space came roaring out of a 7-inch 45 with (I’m gonna smash my Telecaster through the) ‘Television Screen’ in April of 1977, a month after ‘White Riot’.

• Before the year’s end, a second 45 ‘Enemies’ (sometimes NMEies) and the “TV Tube Heart” long-player had appeared. Although the second single was on there, the debut was recorded in an altogether more relaxed style, presaging that there would be more to the Radiators than three chords and a polemic. In fact, they were obviously more sophisticated players than some of their contemporaries.

• The album was a full-on assault on all that any self-respecting youth would find wrong about the world at the time. All band members contributed to the songs, but it was Philip Chevron’s acerbic, angry, pointed and literary lyrics that gave the band such an edge. Philip strutted a gritty lead guitar counterpointing Pete Holidai’s underpinning rhythm, with Mark Megaray’s flowing bass lines belying the instrument’s more usual role to sit in with drummer Jimmy Crashe’s taut, driving rhythm. Steve Rapid fronted the band on some tracks, but Pete and Philip carried most of the lead vocals. Steve left before the record came out – he became a successful graphic designer and has re-imagined the sleeve for this 10-inch issue. He also designed the original.

• A second album, “Ghostown”, produced by Tony Visconti, came out in 1979, hailed now as one of the classic Irish albums of all time. Over the years the band periodically re-formed, first with the gay love song of great yearning ‘Under Cleary’s Clock’, and then making two more great albums in “Trouble Pilgrim” and “Sound City Beat”, covering great Irish 45s of the 60s and early 70s.

• Philip went on to a career as a Pogue, sadly leaving us way too young in 2013. Mark Megaray likewise departed at an early age. Pete and Steve keep the flame alive with Trouble Pilgrims, and if you are lucky you can catch them at a Dublin club sometime – well worth it.

• But “TV Tube Heart” is where it all started for Dublin’s finest.

Florence Adooni shares a long history with Philophon. Being part of Guy One's group she is the voice on his radio hit "Estre". Furthermore, she is a member of Alogte Oho's Sounds of Joy and can be heard on his smasher "Mam Yinne Wa". Last but not least, Jimi Tenor chose her to sing on his instant club classic "Vocalize My Luv". In addition to all these cooperations, Florence has locally released a series of albums under her own name and with no doubt she can called the queen of Frafra-Gospel.

"Mam Pe'ela Su'ure" is a typical Frafra-Gospel Hymn, sung during Sunday services accompanied only with shakers and hand clapping. Our version here is backed up by Kumasi's finest High Life players, who transform the song into a massive wave of groove. "Naba Aferda" is a homage to the Chief of Zuarungu, Florence's home village, which was also the home village of the legendary Christy Azuma, who became the first international Frafra-Star in the 70s. Christy was always a big inspiration for Florence and makes her proud to be from a small village called Zuarungu.

The latest from Mr. K and Most Excellent Unlimited pairs lowdown and stomping disco from an unlikely source with a funked-out floorfiller from some very familiar voices.

Minnie Riperton’s 1977 single “Stick Together” was an outlier in her catalog of smooth modern soul, an intentional nod in the direction of the prevailing disco sound. Co-written with Stevie Wonder, “Stick Together” in its original single release was divided into two parts, the first a fairly conventional uptempo cut with all the catchy qualities you’d expect from Stevie and the husband and wife team of Richard Rudolph and Minnie. It was the second half of the song that caught the ears of DJs who played for funkier dancefloors, however. Freddie Perren, a former member of Motown’s legendary Corporation collective of songwriters and producers, and a man then red-hot off his success with Tavares’ “Heaven Must Be Missing An Angel” and the Sylvers’ “Boogie Fever,” was on production duties, and the song clearly benefits from his disco-friendly touch. In Mr. K’s epic edit we are treated to a lengthy exploration of the second part of “Stick Together,” featuring keyboardist Sonny Burke (veteran of Marvin Gaye’s band and fresh from playing on Candi Staton’s disco smash “Young Hearts Run Free”) working out an irresistible Jingo-esque piano part, Riperton’s sensual ad-libs, and, as if that wasn’t enough, a cameo appearance by Pam Grier on finger snaps! Krivit’s 8-minute-plus edit passes way too quickly to get enough of the hypnotic groove — rewinds are called for!

Our flip side, “Body Language,” originated as an album cut on the Jackson Five’s last album of original material for Motown, Moving Violation, recorded before Jermaine left to go solo and the remaining brothers joined Epic Records in a new incarnation as the Jacksons. For such an obvious heater it’s puzzling why the label never released it as a single; but regardless of that apparent misstep, “Body Language” has long been a sure shot in many DJs’ bags. With his new edit, Mr. K presents the track in its ultimate form, loud, remastered, stretched out and rippling with energy over a full six minutes. With an iconic bass line that just doesn’t quit, and Michael and the boys in fine form, it’s impossible to imagine a situation where this wouldn’t set the room on fire.

“I made this record for young women to feel invincible.” - Izzy B. Phillips, Black Honey Having last week been pre-empted by the landing of their colossal new single ‘Run For Cover’, today Black Honey have announced their brand-new album – ‘Written & Directed’. ‘Written & Directed’ will be released on the 29 th of January 2021 on Foxfive Records. ‘Written & Directed’ is Black Honey’s second album. It follows their outstanding self-titled debut released back in 2018 when the world that surrounded the Brighton four piece looked and felt like a very different place. Black Honey however are still the bad-ass, truly original band they have always been, they’ve just graduated from the intriguingly anomalous newcomers to becoming one of UK indie’s most singular outfits. They've travelled the world and released a Top 40 album; graced the cover of the NME and become the faces and soundtrack of Roberto Cavalli's Milan Fashion Week show; smashed Glastonbury and supported Queens of the Stone Age, all without compromising a shred of the wild, wicked vision they first set out with. It's now time for the next instalment of their story – ‘Written & Directed” – which see’s Black Honey deliver one, very singular, message – a 10 track mission statement that aims to unashamedly plant a flag in the ground for strong, world-conquering women. For fierce frontwoman and album protagonist Izzy B. Phillips – it’s the most important message she could send to inspire her cult-like fanbase and fill the female-shaped gap that she felt so acutely when she was growing up and discovering rock music for the first time. Written throughout 2019 and recorded in fits and spurts between touring, ‘Written & Directed’ is drenched with a hedonistic, anything-goes attitude. It’s also the most full-throttle collection of music that Black Honey have ever-written – egged-on by their run of shows supporting long-term friends and collaborators Royal Blood. Exploring everything from womanhood, to identity and power, it’s an album that revels in the rich history of pop culture, throws a wink to its rock- and-roll heroes, but ultimately (and in true Black Honey fashion) it stands on its own two feet. With a typically hyper-visual world referencing grindhouse cinema, kitschy pulp films and a flip-reverse of female cinematic representation all primed to unfurl and explode around them, 'Written & Directed' is the sound of Black Honey strapping in and saddling up, of harnessing their quirks, and, as the Phillips has always hoped, riding them joyously into the sunset.

British Heavy Metal legends Saxon will deliver a full-roar-fun-down set of covers on March 19th 2021 (Silver Lining Music), with their latest album Inspirations, which drops a brand new 11 track release featuring some of the superb classic rock songs that influenced Biff Byford & the band.

From the crunching take on The Rolling Stones’ ‘Paint It Black’ and the super-charged melodic romp of The Beatles’ ‘Paperback Writer’ to their freeway mad take on Jimi Hendrix’s ‘Stone Free’, Saxon show their love and appreciation with a series of faithful, raw and ready tributes. Recorded at Brockfield Hall near York, UK, with a firm eye on the old school way using Marshall cabs, Marshall amps and real drums, Saxon approach the likes of Motörhead’s ‘Bomber’ (with added whistle!), AC/DC’s ‘Problem Child’, Black Sabbath’s ‘Evil Woman’ and a raucous Deep Purple’s ‘Speed King’ with refreshingly warm, unfiltered, “vintage” sounding renditions.

Byford takes on some new vocal challenges, which he duly smashes on the likes of Thin Lizzy’s ‘The Rocker’. Saxon do a supreme job of entertaining both themselves and their audience throughout Inspirations. For even more proof of the validity behind that statement, wrap your ears around their sparkling take on Toto’s ‘Hold The Line’ and consider Saxon’s Inspirations a mission accomplished.

Star Composer of the 1960s (Les Tontons Flingueurs, Fantômas, Angélique marquise des anges), Michel Magne was caught in 1974 in the bankruptcy of his recording studio in Hérouville. He then launches to the lyricist Boris Bergman: “Nothing works, let’s make a great religious record!”

The result will be a mystical-psychedelic bombshell, where Magne amalgamates Jewish, Arad and African music with pop rhythms. A year after their collaboration on Roger Vadim’s Don Juan 73, Bergman offers him texts that function like a modern tale, carried by the abrasive voice of New York bluesman Artie Kaplan, creator of the smashing Bensonhorst Blues. Released in indifference in late 74, Moshe Mouse Crucifixion is resurrected today, remastered up close. Its modernity is more contemporary than ever. “All the current


mergers, from north to south, east to west, already seem to be present” confirms Boris Bergman. Moshe Mouse Crucifixion is more than an album, it’s the missing link in French pop.

Prague based FM Label connects music, fashion and design. Established in 2020 by Uncalled 4, the label joins the flourishing scene of Prague with a vision of music in which the new revisits the old. The second release, Enough, comes from our very own Detente 2020 - the killer combo of Uncalled 4 and his studio partner and close friend, Universe Of Everything. Featuring NYC hip hop legend Afu-Ra and Charlie One on the vocals, the eponymous track Enough combines iconic 90's street rap with contemporary electronic sounds, presenting a scenic layer that provides a movie-like feeling. The EP also features the Czech Filharmony drummer Jakub Tengler, who jammed buckets, pots, pipes and any other unusual object at his reach to create the heavily percussive Bucket Tube. Norway's Fett Burger takes Bucket Tube on a ride through NYC with his 'Work Out' remix, providing the ever-astonishing impression of walking around the streets of the Big Apple. Olsvang?r remix of Enough is designed to smash the dancefloor. Heavily influenced by both the past and the present, his rework shifts between intelligence and sheer rawness. As a final touch, the release is accompanied by an acapella track that will also be found on future FM label releases. Enough EP comes in a special cardboard sleeve which can be reshaped into a vinyl display holder.

Long-awaited reissue for this cult percussive funk album from 1968, consisting of a 20 minutes bluesy suite on side A backed by 3 latin-jazz flavoured dancefloor fillers on side B: an absolute smasher for all afro-funk connoisseurs!

Tribecore stuff baby... pityless dancefloor Various Artist stuff:)

This is a Guitar hero story, playing 45 ! Full of Breakcore, hardcore and more !!! LTD Bull !

Yellow Vinyl

Hawaii's legendary Latin superstar Rolando Sanchez & Salsa Hawaii's smash hit "ALOHA MAMBO" Vinyl 7" EP will be released worldwide after its debut in Japan. The jacket illustration by Tammy Yee invites you to a Latin Paradise in Honolulu as you groove to vibrant Latin beats, island-style.

Rolando Sanchez
Rolando Sanchez & Salsa Hawaii
Rolando Sanchez is an award-winning songwriter/producer of Hawaii's leading Latin Jazz, Latin Rock, Salsa percussionists, singer-songwriters, and the owner of RSC Music. Originally from Nicaragua, he began his career in the suburbs of San Francisco and moved to Hawaii in 1984.

He has shared the stage with many of the best of Latin musicians including Tito Puente, Pet & Sheila Escovedo, and regularly appears at BLUE NOTE HAWAII, a mecca of island jazz. In addition, he hosts a live radio show, "LA ONDA LATINA," every Sunday on KNDI-AM1270, featuring the hottest mix of Latin Music in the islands.

He is a leader in the Hawaii-Latino world that connects his hometown of Nicaragua in Central America, to New York, California and Hawaii with a Latin sound infused with island flavors.

Delicate Sound Of Thunder encapsulates a band at their best. Alongside the classic live album and full concert film (restored and re-edited from the original 35mm film and enhanced with 5.1 surround sound), included in The Later Years box set, all stand-alone editions feature 24-page photo booklets, with the 4-disc box edition including a 40-page photo booklet, tour poster and postcards. The 3-LP 180-gram vinyl set includes 9 songs not included on the 1988 release of the album, while the 2-CD includes 8 tracks more than its original release.

In 1987, Pink Floyd made a triumphant resurgence. The legendary British band, formed in 1967, had suffered the loss of two co-founders: keyboardist / vocalist Richard Wright, who left after sessions for The Wall in 1979, and bass player and lyricist Roger Waters, who had left to go solo in 1985, soon after the 1983 album The Final Cut. The gauntlet was thus laid down for guitarist/singer David Gilmour and drummer Nick Mason, who proceeded to create the multi-platinum A Momentary Lapse Of Reason album, a global chart smash, which also saw the return of Richard Wright to the fold.

Originally released in September 1987, A Momentary Lapse Of Reason was quickly embraced by fans worldwide, who flocked to attend the live tour dates, which started within days of the album’s release. The tour played to more than 4.25 million fans over more than two years, and, as a celebration of the enduring talent and global appeal of David, Nick and Richard was unsurpassed at the time.

Filmed at Long Island’s Nassau Coliseum in August 1988 and directed by Wayne Isham, the 2020 release of the Grammy Award nominated Delicate Sound Of Thunder is sourced directly from over 100 cans of original 35mm negatives, painstakingly restored and transferred to 4K, and completely re-edited by Benny Trickett from the restored and upgraded footage, under the creative direction of Aubrey Powell/Hipgnosis. Similarly, the sound was completely remixed from the original multitrack tapes by longtime Pink Floyd engineer Andy Jackson with David Gilmour, assisted by Damon Iddins.

Pink Floyd’s stellar supporting cast for the live dates included: Jon Carin (Keyboards, Vocals), Tim Renwick (Guitars, Vocals), Guy Pratt (Bass, Vocals), Gary Wallis (Percussion), Scott Page (Saxophones, Guitar), Margret Taylor (Backing Vocals), Rachel Fury (Backing Vocals) and Durga McBroom (Backing Vocals).

Technical credits include: Film Producers: Curt Marvis and Carl Wyant; Director of Photography: Marc Reshovsky; Lighting Designer: Marc Brickman, with conceptual footage directed by Storm Thorgerson, except ‘Money’ directed by Storm Thorgerson, Barry Chattington and Peter Medak. Animation on 'Time' was by Ian Emes.

Whitesnake celebrates the blues sound that helped inspire its multi-platinum career on a new collection that features remixed and remastered versions of the group’s best blues-rock songs. The Blues Album is the third and final release in the band’s Red, White and Blues Trilogy, a series of compilations organised by musical themes that began earlier in 2020 with Love Songs (red) and The Rock Album (white). The new compilation delivers a potent mix of hits and deep tracks that originally appeared between 1984 and 2011 on six Whitesnake studio albums and Coverdale’s solo album, Into the Light.

Whitesnake’s singer-songwriter David Coverdale says, the music reflects how blues artists like Muddy Waters, Howlin’ Wolf, and the three Kings (Albert, B.B. and Freddie) continue to inspire him. In the album’s liner notes, he writes: “It’s hard to find the words to show how profoundly they connected with my soul. But ‘blues’ to me is a beautiful word that describes emotional expression… feelings, be it feelings of sadness, loneliness, emptiness… but, also those that express great joy, celebration and dance, sexiness and love!!!”

The Blues Album showcases two of the band’s biggest songs: “Slow An’ Easy,” a big hit in 1984 from Whitesnake’s massive album Slide It In, and the smash “Give Me All Your Love” from the band’s 1987 self-titled globally successful album. Other choice tracks from Whitesnake are also featured: “Looking For Love” and “Crying In The Rain,” and “Steal Your Heart Away.” The collection also includes “If You Want Me,” a studio recording released in 2006 as a bonus track on the live album, Live…in the Shadows of the Blues. Coverdale also taps his 2000 solo album, Into the Light, for “The River Song.”

• Mental as Anything, affectionately known as ‘The Mentals’, were one of Australia's most popular bands in the 1980s who achieved worldwide recognition after the international smash hit single ‘Live it Up’
• ‘Live It Up’ was featured in the Crocodile Dundee film and soundtrack and reached #3 in the UK charts in 1987. In 2020 the song was adopted by football club Glasgow Rangers as their clubs anthem which saw the song reach #1 in the UK iTunes chart
• This compilation features all the bands greatest hits including; ‘Too Many Times’, ‘If You Leave Me Can Can I Come Too?’, ‘The Nips Are Getting Bigger’ and international hit ‘Live It Up’
• This double LP compilation is presented in a gatefold sleeve, with original artwork produced by the band. Pressed on 2x 140g and available on coloured vinyl for the first time (red and white)

Following the release of his huge summer singles ‘Chemicals’ and the Robyn and Channel Tres collaborative smash ‘Impact’, UK songwriter, producer and multi-instrumentalist SG Lewis announces the upcoming release of his long-awaited debut album, times. The LP, out 19th February via EMI Records, finds one of modern pop’s secret weapons stepping out front and centre, as he takes listeners on a voyage through soaring electronic dance and kaleidoscopic future disco, with the help of a few friends along the way. Released on CD and a Black Heavyweight 1LP with download code.

Black Coffee, Peggy Lee's 1956 album smash for Decca (she left Capitol in 1952 over creative and artistic differences), presents her in an intimate setting with a top-notch jazz quartet in place of her usual studio orchestra. This smaller combination, including trumpeter Pete Candoli and pianist Jimmy Rowles (two of her favorite sidemen), works to perfection, especially on sultry takes on “It Ain’t Necessarily So”, “Gee, Baby Ain’t I Good To You” and the title track. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging. SOLD IN PREVIOUSLY-EXISITING ORDERS STILL STAND

Ethno-alternative lo-fi absurdism from the mind of London based multi-instrumentalist & Primordial Soup member, Samuel Huxley. Expect everything from Hindu ceremonial music to dark lounge, post-punk & avant-garde, to Kabuki theatre score & world electronica, any number of which can be found within a single track.

The Romance of Baba Loco is the union of wisdom & madness, eastern mysticism & western folly, absurdism to catch you with yer pantaloons down… Bang bang smash to perennial illumination. Cling clang for funk monkeys. The bejewelled vistas beyond, nihilism be gone… The donkey was not ill-tempered after many blows, on the ass, from the stick. He smiled like a gentleman, and kept on clip cloppin’ towards the promised land…

The Romance of Baba Loco is the latest iteration of a recording project by Samuel Huxley that originally made ambient soundscapes for psychotropics (Paradise Dose). In 2017 Samuel was curating infamous venue and scene of a multitude of glories & horrors, The Five Bells in New Cross, SE London. One of his first acts to play was Primordial Soup, at that time a 3 piece absurdist art rock band. They quickly became friends & began performing semi-improv shows as a 5 piece, and later went on to form Primordial Soup Collective who’s main focus was esoteric experimental theatre & film, and rare multidisciplinary exhibitions.

This changing focus of Soup away from sound provoked Samuel to channel his musical compulsions in to his solo project which had by then ventured far away from ambient soundscapes to shrieking Indian and Moroccan oboes over African & Indian tribal rhythms, with the desire to create the raw lo-fi atmospheres of street music. Gradually guitar styles of South East Asia & Latin America were introduced, leading to backing track solo performances & outrageous live improv freakouts with Craig Deporto (ex-Flamingods) & Luke Bell (Ex-Wild Birds of Britain).

Finally two days before the glorious pandemic lock down, Samuel signed to Faith & Industry, which birthed new moniker “The Romance of Baba Loco” and 3 months worth of ceaseless creation. From the Hindu Ceremonial music of the Shehnai & Nadaswaram to post-punk, absurdism & experimental art, The Romance of Baba Loco finally united two seemingly dissonant sides of his personality in a manner he had not previously achieved. The old material was cast off, and these peculiar fruits of imprisonment, can be found on his first release, “Cling Clang For Funk Monkeys”.

There is a blink-and-you’ll-miss-it anecdote tucked into one of
the many fine documentaries about seminal 20th Century artist
Jean-Michel Basquiat regarding the habits of his studio practice.
As we watch inspiring footage of Basquiat darting from one
piece to the next with rapid-fire brush strokes, a friend or
gallerist in a voice over says that it was not unusual for
Basquiat to be working on several paintings in the same
moment as several radio stations and televisions played in the
background. Not much more time is spent on the anecdote but
it feels like a skeleton key into Basquiat’s endlessly alluring,
neoexpressionist work.
And while Bryan Devendorf’s solo curio ‘Royal Green’ doesn’t
possess the only-in-New York vibe of Basquiat’s work, there is
something shared in its many-channels-open style of creation.
Satellite signals, strange voices from lost television
documentaries and radio operas are all woven into its fabric -
like it’s using these endless tides of media and information to
unlock the subconscious. Even its covers - Bob Dylan,
Fleetwood Mac, The National (with a nice big wink), The
Beatles - are like stunning, albeit satanic takes on hymns, or
like American standards almost dragged into the underworld.
Like the best of Spacemen 3, Sparklehorse or massively
underrated San Fran band Skygreen Leopards - the music
makes you queasy in one movement and lulls you into
blissmode in the next. It’s the very edge of outsider pop
songwriting.
For all the amphitheaters and festival fields Devendorf has
played to over his career, ‘Royal Green’ almost feels like an unlearning and a newfound love of homemade/found/fractured
sounds - and how, if collaged just so, detritus can become
stunningly gorgeous and surreal. And not without hooks. Look
no further than ‘Frosty’, which could be Little Billy Corgan’s
decayed demo tape from just before the Smashing Pumpkins
appeared on the scene. And the unspooling, slightly unglued
dream-pop of ‘Breaking the River’ is as rapturous as it is
sinister. And that’s probably where Devendorf wants it.

There is a blink-and-you'll-miss-it anecdote tucked into one of the many fine documentaries about seminal 20th Century artist Jean-Michel Basquiat regarding the habits of his studio practice. As we watch inspiring footage of Basquiat darting from one piece to the next with rapid-fire brush strokes, a friend or gallerist in a voice over says that it was not unusual for Basquiat to be working on several paintings in the same moment as several radio stations and televisions played in the background. Not much more time is spent on the anecdote, but it feels like a skeleton key into Basquiat's endlessly alluring, neoexpressionist work. And while Bryan Devendorf's solo curio `Royal Green' doesn't possess the only-in-New York vibe of Basquiat's work, there is something shared in its many-channels-open style of creation. Satellite signals, strange voices from lost television documentaries and radio operas are all woven into its fabric _ like it's using these endless tides of media and information to unlock the subconscious. Even its covers _ Bob Dylan, Fleetwood Mac, The National (with a nice big wink), The Beatles _ are like stunning, albeit satanic takes on hymns, or like American standards almost dragged into the underworld. Like the best of Spacemen 3, Sparklehorse or massively underrated San Fran band Skygreen Leopards _ the music makes you queasy in one movement and lulls you into blissmode in the next. It's the very edge of outsider pop songwriting. For all the amphitheaters and festival fields Devendorf has played to over his career, `Royal Green' almost feels like an un-learning and a newfound love of homemade/found/fractured sounds _ and how, if collaged just so, detritus can become stunningly gorgeous and surreal. And not without hooks. Look no further than "Frosty" which could be Little Billy Corgan's decayed demo tape from just before the Smashing Pumpkins appeared on the scene. And the unspooling, slightly unglued dream-pop of "Breaking the River" is as rapturous as it is sinister. And that's probably where Devendorf wants it.