Поиск:sound man

2023 Repress

Following Robert Hood's remixes of his Floorplan tracks 'Never Grow Old' and 'Phobia' in May, he's back with new edits of 'Protein Valve', originally released on M-Plant in 1994, the year of the label's inception. As well as other early releases like 'Internal Empire', 'Music Data' and 'Moveable Parts', 'Protein Valve' helped set the standard for his M-Plant label becoming synonymous with a stripped down, tough and rhythmic raw sound that many artists still try to emulate. The original 'Protein Valve EP' is a classic in the annals of Techno, which still gets played today and sounds as fresh as it did some 20 years ago. Nevertheless Robert Hood takes an introspective look back and delivers these three incredible new edits! Focussing on the bass elements these fresh versions keep the M-Plant ethos at their core with their pure efficiency and Hood's mastery at getting right to the point of a track, with his focus always on the groove.

The EP FACE II is a continuation of the Faces EP series, of which the first EP was released in october 2022. The basis here is also a literary fixpoint with KAFKAS VER- WANDLUNG.

the examination of the urban modern man has its origin in the album JAHRE and is now explored in more detail here. What happens to us in a time of digital transparency as a glass human of the city and night.

It starts with THE VOID, which was originally intended as a poem about being lost. We go out into the night, some to search, some to forget and some to never come back as the same again. On our journey we often take substances that we expect to make this journey easier and faster. the escape from ourselves and from our relationships to the environment and humans can‘t just be skipped. a fast way is always a dangerous way and often leads to an even bigger EMPTINESS.

In THE GHOST something appears to us late at night, it is like a shadow of the previous hours, something that has followed us on the streets and accompanied us un- discovered until we reached our home. We wake up and at first it is unclear whether we are dreaming.

In half-sleep the dimensions blur together and the whole polyva- lence of the different existences gapes open. We blink into the DARKNESS and try to recognize something, the light remains far away and yet we hear this piercing sound, which in the end leaves us only with ourselves. we are the spirit of the night, trapped on an old tape in the chest of nothing.

The next section THE MOON shows us the light in the darkness. The shadows and ghosts give way for a moment and the light flows through our veins and molecules. The poem describes our unspoken longing to follow the light, in the light our fears disappear and everything blurs into an unknown familiarity. We stagger back and forget the encounters with our inner DAWN.

In the light the ghosts disappear like childhood memories left behind.
The last chapter is written by THE DAWN, a stanza from the poem of the same name as a spoken reconciliation with the world. In spite of everything, we seek harmony and connectedness. No one wants to become an exile, even if we can‘t always bring it about ourselves. We love LIFE and we hear and feel everything around us, if we let ourselves ...

ALL LOVE
AMAS_DHE / AMAS_PHI

David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.



Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).



Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.



Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.



The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”



David Byrne’s recent works include the launch of Reasons to be Cheerful, an online magazine focused on solutions-oriented stories about problems being solved all over the world (2019); Joan of Arc: Into the Fire, a theatrical exploration of the historical heroine that premiered at the Public Theater in New York (2017); The Institute Presents: NEUROSOCIETY, a series of interactive environments created in conjunction with PACE Arts + Technology that question human perception and bias (2016); Contemporary Color, an event inspired by the American folk tradition of color guard and performed at Brooklyn’s Barclays Center and Toronto’s Air Canada Centre (2015); Here Lies Love; Love This Giant, a studio album and worldwide tour created with St. Vincent (2012); and How Music Works, a book about the history, experience, and social aspects of music (2012).



Byrne curated Southbank Centre’s annual Meltdown festival in London in 2015. A co-founder of the group Talking Heads (1976–88), he has released eight studio albums as a solo artist and worked on multiple other projects, including collaborations with Brian Eno, Twyla Tharp, Robert Wilson, and Jonathan Demme, among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne’s various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love; an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci’s The Last Emperor; and induction into the Rock and Roll Hall of Fame with Talking Heads. Byrne’s work as a visual artist has been published and exhibited since his college days, including photography, filmmaking, and writing. He lives in New York City. In addition to 2019’s cast album for American Utopia on Broadway, Nonesuch has released eight other David Byrne records since 2003, including 2018’s American Utopia studio album and two versions of his musical Here Lies Love.



















q C6. Please Don't feat. Santi White Santigold

Samosa Records reaches its 30th release in style, and who better to mark the occasion than label boss De Gama with the superb ‘Tropical Gangster’ - a three tracker slice of vinyl heaven that’ll blow you face first into your summer paddling pool.

Opening this super-tropical affair on the A-side is afro beat stomper ‘Karibu Funk’ - and it wastes no time at all in introducing us to its tribal rhythmic awesomeness. The beats, the vocals, the outrageously funky bass and horns are a musical representation of an African sunset. A serious groove.

A2. brings us ‘Lucky Fellow’; a twisting, turning bouncy bass-bomb of a tune with a flute riff that would charm the clothes off you. De Gama is very much in Pied Piper mode here - you’re powerless to resist the sexy overtures of the drums, the haunting synth lead and solid bass line. Sizzling hot.

On the B-side De Gama offers a cool ‘Piña Colada’ after all the heat of the A-side. This Piña Colada, however, offers an oasis of many delights and flavours. What starts as a furious latino drum call breaks to a tropical bassline and hypnotic keys. The vocals are the cherry on the cake of an amazing arrangement of layered sound. Goosebumps.

The Tropical Gangster is an exceptionally special Samosa release befitting the occasion of reaching the 30 milestone, and another example of the consistently brilliant output from Samosa Records. Expect this one to sell out fast.

Debut full length vinyl from the UK/Italian duo of Ecka Mordecai and Valerio Tricoli, working together as Mordecoli. Individually these two travellers have carved out a path of ghostly musique concrete (Tricoli) and textural cello wandering (Mordecai). Alter is proud to present the album Château Mordécoly a result of two musicians (and friends) coming together to explore the middle ground of their individual investigations.

The results of a red wine induced residency at London’s Cafe Oto, Château Mordécoly is a panoramic audio field exploring both the physicality of sound, informed by the voice, cello and pictish harp of Mordecai, and the artificial manipulations of Tricoli’s revox tape machine. The delicate tension between the physical ‘real’ and the distortive ‘new’ leverages this release far beyond a tipsy residency and shifts it into a top tier electroacoustic take on the zeitgeist. Solo cello and voice appear rooted in the timbre of time. The magnetic tape is both a friend and covert manipulator.

The physical elements open themselves to disfigurement as a means of propagating the fantastical audio that unfolds from the initial enquiry. There’s no witchery or wizardry on part of either player but rather a symbiotic passing of the baton as the line between the real and the non-real flow in and out of themselves. The results are at once sedate, shocking and subversive.

Château Mordécoly is a disembodied sonic landscape; a phantasmagorical world of fantasy unfolds as the delicate beauty of Mordecai’s playing and singing is transformed into a playful and unusual landscape. Epoch’s are evoked as the visual stimuli resulting from these alchemical transformations conjure everything from a haunted house to the Middle Ages.

Greetings from TROPIKA! The Tikiyaki Orchestra’s fifth album is a soundtrack with many interpretations. Sometimes, an idyllic paradise. Sometimes, a place of danger and intrigue. The jetsetter, the beachbum, the lounge lizard, the international man of mystery, the alluring wahine, the soldier, and the suave - they all co-exist in Tropika, represented by their own musical escape. Enjoy your stay!

Water Machine is an office romance between Hando Morice (they/them), Flore de Hoog (she/her), Jimmy Gage (he/him) and Goda Ilgauskaitė (she/her). An unassuming supergroup formed out of Glasgow institutions including Goth GF, Passion Pusher, Brenda and Soursob, their sound careens between punk, country and alt-rock underpinned by the unique quality they call “Raw Liquid Power”.
Following last year’s self-titled demo tape on Gold Mold Records, and fresh off of shows with the likes of Holiday Ghosts, The Cool Greenhouse and The Orielles, as well as a rollicking Viagra Boys afterparty, the four-piece will release their highly-anticipated first studio effort ‘Raw Liquid Power’ on Upset The Rhythm on August 4th.
The EP opens with a menacing, modulating synth melody. Gage’s guitar enters with a mighty bend before breaking into the chugging rhythm of ‘Water Machine Pt. 2’. This timely reminder to refill your water bottle - “don’t be late, hydrate!” less a wellness mantra than a threat - builds to a spacey outro with flashes of the art-punk weirdness of Suburban Lawns. ‘Stilettos’ marches on indignantly with a spiky riff punctuated by Ilgauskaitė’s cowbells. Staccato talk-singing tells a playful tale of stray cats following you home, but belies a darker subtext as the breakdown gives way to paranoid duelling guitars evoking The Fire Engines.


The anti-anthem ‘At the Drive In’ skewers joyless DIY crowds, reminiscent of much-missed Glasgow punks Breakfast Muff. Water Machine’s irrepressible sincerity can’t help but shine through in the final moments though, as jibes about “late night trade potential” give way to plaintive vocal harmonies. Morice tears public transport a new one on closer ‘Bussy’, a First Bus diss track bemoaning precarious employment amidst crumbling infrastructure. “That’s why I’m not on time!” they roar over de Hoog’s frantic, pounding bass, bringing the record to a skidding, screeching halt.

After a 3-year break, the Germany-based label Malonian is back. The label's ninth release comes from the Berlin producer Mental Carnival, who should be known for his Big City Jungle / Fresh EP on La Pena Shots.

This EP features 4 unique tracks that sound like the producer made them specifically for the dancefloor of the romanian Sunwaves Festival. Because that's where the idea for the label with the subtitle "Based on friendships which started in Mamaia" was born in 2014. As usual, the record comes with the label's typical artwork and full cover.

Popular DJs like Ricardo Villalobos, Zip, Margaret Dygas, Sonja Moonear, Raresh, Rhadoo, Petre Inspirescu a:rpia:r, Dan Andrei, Pralsea, Fumiya Tanaka, Barac, Fabe, Arno and many others are already playing this record at this summer's festivals & parties .

This July the esteemed scribe, proper DJ, and discreetly deft twiddler Bill Brewster, drops the latest instalment in his ‘After Dark’ series, for Late Night Tales.

A throbbing, louche and leisurely affair, groove is very much at the heart of this freestyle selection, a vibe which Bill de- scribes as “a basement, a red light and a sound system. Or, as the Beastie’s once rapped, slow and low, that is the tempo”.

There’s Hawaiian drum machine bossa balearica from Island Band, percussive afro post punk from Czech jazz singer Jana Koubkova, and breathy-bubbling-dubwise-slap-bass-soul from Debbe& The Code.

There’s also sultry deep house mood music from Lanowa, infectious bouncy jazz funk breaks from Canada High, and Nail’s life affirming re-edit of singer songwriter Gilbert O Sullivan’s electro pop gem ‘So What’.

Bill’s own studio skills are present and correct too, featuring an undulating bassy version of country troubadour Jeb Loy Nichols, reworked along Alex Tepper under their Hotel Motel moniker, and a chugged-up squelchy disco take on Khruang- bin, this time paired with Raj Gupta, as Mang Dynasty.

Chock full of exclusives, tracks are either completely brand new, or available digitally for the first time, whilst others are wallet-rinsing rarities if purchased elsewhere. Whichever way you slice it though, every tune is a highlight, working equally well as standalone nuggets, or within Bill’s fluidly cohesive mix.

Whether he’s taking the roof off a club with his unique selec- tion of deep and tough house music, enchanting a backroom with a genre-bending set of disco, Balearic, rock and hip hop or playing chillout music in a bay in Croatia, Bill Brewster is the man for all occasions.

In a former life, Bill was a punk rocker, a chef and also the co-editor of football magazine When Saturday Comes but has been a record nerd all of his life. He began DJing in the 1980s, but came into his own in the early 1990s, particularly during a two-year stint in New York running DMC’s office, where nights at the Sound Factory and hanging out with Danny Tenaglia gave him the musical grounding you can still hear in his music today.

Bill was also one of the founding residents at Fabric in London, a position he held for five years. There are few still playing regularly today that have his dedication, eclecticism and encyclopedic knowledge of music.

His parallel life is as a writer, and with his long-term part- ner-in-crime Frank Broughton, they have written four books together, including the acclaimed ‘Last Night A DJ Saved My Life’ (latest edition published last July), ‘How To DJ (Prop- erly)’ and ‘The Record Players’.

He has been working in the industry’s fringes for over 40 years including the running of various labels from Twisted UK and Forensic in the ’90s to Disco Sucks and Anorak in the noughties.

He is one of NTS radio’s new residents for 2023 and his ‘Low Life Loves You’ show is available on the first Tuesday of every month.

John Howard was one of the best and most creative DJs of the west coast house scene back in the 90’s. His mixes and productions were full of house groove, soul, breaks and jazzy rhythms. This new series on Repeat contains of three parts including Howard’s best productions. These tracks are all huge influence for many producers that later discovered these kind of psychedelic house grooves on European based DJ sets… John Howard was on his own journey much ahead of time and his music still sound absolutely incredible 25 years later… Mesmerizing release.

For over twenty years on the turntables, I.G.N.A has imposed his sound in the best clubs in Europe. Born in Sicily and raised in Emilia, I.G.N.A’s music is appreciated by many important artists with whom he shares the main stages. As a producer he has released successful EPs on labels such as Deeperfect, Moan and Greatstuff.

This new single is inspired by old school sounds and synths combined with house in a future perspective.


The remix was entrusted to two masters of house music: Ricky L and MarcoRadi. With the intention of spreading new emotions everywhere, looking where no one else lingers, surprising oneself as the music moves in new directions.

Two mavericks, out on the weekend, trying to make it pay...

"Maverick was the word that came to mind when I listened to this music. A slightly wayward independence of spirit and outlook. The word originally referred to an unbranded male calf that had become separated from the herd (because Texan rancher Sam Maverick was so negligent in his branding - ‘if it ain’t branded, it’s a Maverick’). But Sam’s grandson Maury Maverick gave it a different twist in his short but stormy Congressional career as the only liberal member of the Southern Democratic caucus. Maury was so out of step with his own folks that he not only voted in 1937 to make lynching a federal crime, he even addressed the House to condemn the practice as barbaric. His attempt to ban racist mob murder sadly failed, but it’s that refusal to march in step which distinguishes the two ‘mavericks’ who made this record.

Who would attempt to combine cunning ethnological forgery, Scottish folk songs, claw-hammer guitar, untutored horn-tootling, elastically relaxed drumming and garage electronic fuckery? Only Greg and Stefan, high on sea, sunshine and mis-judged micro-dosing – that’s who. ‘Don’t drown’ was offered as practical advice during the self-described ‘Yellow Submarine’ phase of making this record. And while they managed to avoid literally doing so (phew), they sound here like they got pretty ‘deep in’ to an Octopus’s sound world all their own. This surprisingly clear analogue recording has just enough Bikini Bottom grit to ensure traction. The tunes are inviting, and the sonic disruptions are too good-natured and goofy to upset even the most delicate digestion.

The sessions have had a couple of years to marinate, courtesy of some pandemic, and are here offered in that most Archducal of vinyl formats, the double ten inch. What are you waiting for, a side of Crabby Patties? Get your water-wings and dive in (unless you’re tripping)!" - Bruce Russell (The Dead C)


Pumice is the long-running, endlessly inventive project of New Zealand native Stefan Neville (1974), whose shambolic music is equally reminiscent of Kiwi pop groups such as The Clean and Tall Dwarfs as well as the country's experimental noise-rock bands like the Dead C. Largely recorded solo by himself on junky equipment, his songs typically feature blown-out guitars, wheezing chord organs, and vocals disguised by tape hiss and static.

Greg Malcolm (1965) is a guitarist from New Zealand who has played everywhere on the globe and with all most everyone, including Rosy Parlane, Toshimaru Nakamura, Tetuzi Akiyama and Bruce Russell, as well as solo releases on his own label, Corpus Hermeticum, Kraak and Celebrate Psi Phenomenon.

Eli Escobar returns for his 9th full length LP. While his last few projects found him exploring downtempo beats, EBM and ambient in§uences, this latest offering of Eli's studio craftsmanship marks a return to the sound of his early releases like Up All Night and Happiness. Warm samples expertly woven into classic drum machine rhythms and searing synth lines, The Beach Album takes listeners on a journey through golden era hip hop beats, feel-good NYstyled house grooves into sweaty techno bangers. Similar to Eli's DJ sets, the 16 track long player has something for everyone. Created during the uncertainty of the pandemic when as Eli put it, "It didn't feel like the right time to release dance music," The Beach album celebrates the return of NY nightlife and optimism for the future.

The colossal Caposile Music strike once more with a heavy hitting house EP. This sought after summertime jam comes from resident and long time family member, Maggio. The flourishing Italian talent enforces the driving force that is After Caposile with three driven and animated grooves for the peak hours of the party. Accompanying him with a stellar remix is acclaimed live performer and producer, Vitess, the Frenchman showcasing his consistent sound, living up to the Caposile ethos with great effect.

This is “Discoline”.

Title track “Discoline” cruises on an irresistible elastic groove, shimmering synths and pads shine bright, breathing life into the rolling structure of the track. This one living and breathing a pure and infectious summer time energy. Packing a serious punch is “Vertigo”, built upon crisp drum arrangements and another dynamite bass line for the heads. If you are looking to go up a gear on the floor then you are in the right place.

On the B side Maggio’s “Outer Space” leads the way. The aptly named track prepares you for lift off with its distinctive chugging, sub heavy bass. Sprinkles of spaced out vocals tease you down a path of curiosity. Vitess rounds off the EP with another recipe for dance floor frenzy in his remix of “Discoline”, playful yet effective frequencies to ignite the flight, an essential for the record bags of many in the coming months.

CPSL005 lands off the back of the “Sound Of Garden” volumes 1 and 2, and with this latest addition to the catalogue it ensures the label and club continue to cement themselves at the forefront of the scene for underground minimal and house, continuing to spread like wildfire. Become part of the Caposile family this summer with some sincere day time action from within their circle.

Tamango Records boss Yaya heads to TRMNL Records as he unveils his latest EP on the imprint, backed by remixes from Salty Nuts head honcho Fabe and label resident Vito.

Heading up his Tamango Records imprint while serving up killer cuts and remixes on Desolat, Moan, Revival New York and more, Yaya is a man in high demand across the globe. With his take on house music bridging influences from Africa to Italy, his percussive-driven and slick sound has made him a favourite for those looking for productions leaning towards the more energetic yet minimal end of the genre. That style is on show once more as he adds a new label to his catalogue. Joining the likes of Djebali, East End Dubs, Ray Mono and Samu.l, late July brings the release of his new EP ‘Para Siempre’ on UK imprint TRMNL Records, accompanied by a slick pair of remixes from Fabe and Vito to shape up the package.

Title track ‘Para Siempre’ is a skippy and bouncy lead effort as crisp drums, a zippy bassline, and warped vocals go to work to showcase a production bursting full of vigour, while ‘Umbrella Corps’ leans towards more organic, rolling percussion arrangements, shuffling rhythms and elastic melodies guide things towards the later hours. On the flip, Fabe steps up for the first remix as he brings his signature groove-led style to proceedings for a swingfuelled slice of funk, before Vito’s crisp take on ‘Umbrella Corps’ closes the show with a final injection of early hours goodness.

Early DJ Support:
Joseph Capriati, Marco Carola & ALISHA

This latest instalment of ARTHUR BAKER Presents DANCE MASTERS finds the production/ song-writing/ remixing maestro taking the spotlight for a long overdue snapshot of his own classic 12” mixes during a crucial evolution of dance music, club
and pop culture.

“I’ve always felt like I was on a mission to make music from the time I heard Motown, Philly and Sly and the Family Stone. My mission started as a hobby and still feels like one now. You’ve got to keep on pushing and hustling. It can be a drag sometimes but
if you really love what you’re doing, it’s worth the work. I still really love what I do.”

Arthur Baker helped codify the remixer as artist. His genre-fluid approach to projects
has resulted in a joyous myriad of classics that spans many decades. This ’80’s focused DANCE MASTERS collection offers a welcome glimpse at Baker’s illustrious career and many long out-of-print 12” versions and previously unavailable mixes.

This 35-track, six LP expanded edition includes a wide array of selections from the likes of Robbie Nevil’s “C’est La Vie,” Fleetwood Mac’s “Big Love,” Neneh Cherry’s “Buffalo Stance”, Jeffrey Osborne “Soweto”, Freeez “I.O.U”, Rockers Revenge “Walking On Sunshine” and of course the juggernaut “Planet Rock” with Afrika Bambaataa & Soulsonic Force.

Complete with in-depth liner notes by Bill Coleman, track by track notes written by Arthur Baker himself, previously unseen session photos from Arthur’s personal archives and a signed insert.

All tracks remastered by Nick Robbins at Sound Mastering