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Die..//180gr/Printed Innersleeve/1000 Cps On Pink Vinyl
1-LP Holland


Fake It Till We Die is the eleventh studio album by Dutch singer Anouk. It was released only seven months after its predecessor Queen for a Day. Although Anouk is primarily known for her rock songs, this album features mostly soul and funk oriented tracks. The preceding singles “Down Daddy Down” and “Burn” are a great example of Anouk’s expansion to these genres. Other strong tracks on the album are “I Just Met a Man”, “Blue Motel”, “Waste Your Water” and much more. Fake It Till We Die is quite a cohesive and very well done soul record, perfectly showcasing Anouk’s incredible voice.

The album is available on coloured vinyl for the first time. This edition includes a printed innersleeve with song lyrics and is available as a limited edition of 1000 individually numbered copies on pink vinyl.

Here's a brand-new record of straight-ahead hairy, lairy surf, punk, garage, rock n roll party music from Sir Bald/Hipbone Slim and pals! Fun all the way!!! But beware these guys just ESCAPED FROM THE ZOO!!!! Well, it certainly sounds like it! Los Hairies are led by Hipbone Slim aka Sir Bald Diddley (more info below). In Los Hairies he is joined Galicia's foremost coffee liquor and pork fuelled rock n roll rhythm section, Jorge and Martin, the infamous Lorre brothers, of Wavy Gravies, Bo Dereks, Limboos and All Night Workers infamy! Fourteen dancing party hits to rattle your braincells and blow away the proverbial cobwebs! Everyone, a hairy dance hit! From the beach party 'Twist In The Sand' through to the 'Rock n Roll' death finale, you are invited to 'Shake Your Bacon', do the 'Diddley Conga' and 'Shake It Off' with the delectable but somewhat elusive 'Ramona'. Get down with the 'Little Green Man' and his rock n roll band! Go 'Bananas with Tarzan, duel with the 'Ratfink' and the 'Hairy Surfer! Los Hairies currently remain on the run from police, animal welfare services and a growing number of angry bar owners. Beware! They are dangerous! European tour planned for Oct/Nov 2023. Recorded on tape at Bronca Studio, Porto, Portugal by Nuno Riviera (T.T. Syndicate) More Hipbone Slim aka Sir Bald Diddley info: Hipbone Slim aka Sir Bald has released over 40 albums with his various bands including Hipbone Slim and the Kneetremblers, Sir Bald Diddley, The Snags and Nine Ton Peanut Smugglers. He has worked and recorded with members of Milkshakes, 5678s, Mummies, Phantom Surfers, Big Boss Man, Holly Golightly, Ike Turner’s Kings of Rhythm and Supergrass! Shared a stage/played shows with Dick Dale, Skatalites, Toots and the Maytals, Desmond Dekker, Edwin Starr, The Trashmen, PJ Harvey, US Bonds and Richard 'Louie Louie' Berry. Championed by the likes of John Peel, Mark Lamar, Mark Radcliffe and many others he has played a number of BBC radio sessions

Brotherhood Of Peace (aka B.O.P.) brought the world some of the best breezy power pop, Southern rock and heavy boogie all packed into one brilliant album in 1976, the fittingly titled Cuttin’ Loose. The album is a free-flowing nine song collection of genre blending would-be hits suited for both ’70s AM gold and FM album rock that never received its proper due, until now. The album flows somewhat similar to the way Big Star combined heavy riffs with airy pop sweetness, but B.O.P. brought more of a blues rock groove to the proceedings, resulting in heavier undercurrents to songs with glowing three-part harmonies and impeccable power trio musicianship. By the mid-’70s, rock ’n’ roll was truly anything goes. Experimentation, excess and inventing new genres was all the rage, and the trio of spritely young men—guitarist / vocalist Dennis Tolbert, bassist / vocalist Mike Arrington and drummer / vocalist Ronnie Smith—gamely tackled whatever sound they pleased. Fortunately, the band captured it all on their lone album, released on the small independent label Avanti Records in March 1976. The Mount Airy, North Carolina trio got its start as teens in 1969 as the backing band to a large 20-50 person traveling church choir called the New Americans. By 1970, the band was ready to move on to performing on their own. First as a sextet, the band soon trimmed down to a three-piece, working the local club circuit like madmen, sometimes playing three shows a day. At the height of their live tightness, B.O.P. recorded the album with local musicians Don Dixon and Robert Kirkland of the band Arrogance who worked at Charlotte recording studio Reflection Sound in October 1975. The band laid out the highlights of their live set in the studio, which ran the range of influences from The Raspberries to Deep Purple, Doobie Brothers to Nazareth, Lynyrd Skynyrd and Grand Funk. The initial pressing of 1000 copies was released in March 1976, but without major label machinery for retail distribution, radio and press, the album never took off. The band mostly sold them at live shows, via consignment at local stores and in limited distribution in the Southeastern region. However, to date, the record still occasionally pops up for sale online worldwide at exorbitant collectors’ prices. Until now, finally getting a proper reissue via Riding Easy Records.

Originally released on Polydor Records in August 1981, it remains a very special and discrete record and has gone on to achieve a cult status separate from the rest of their august catalogue.

Formed at London's Guildhall School of Music and Drama by way of Paris and the Isle Of Wight, Level 42 marked the union of four talented friends – Mark King, Mike Lindup, and brothers Phil and Roland 'Boon' Gould – complete with Wally Badarou, their very own studio-based synthesiser whizz-kid. From building a fervent following through the nascent Britfunk scene, they signed to Polydor and went on to make a series of fascinating albums.

The sheer invention, melody and imagination of this four-piece was astounding, aided by their secret weapon, French-Belizean Badarou, whom the band had met playing sessions for M, Robin Scott's art-disco ensemble. Although Level 42 had recorded – and made waves – for indie label Elite, they signed to Polydor and released this album, with three of their original calling cards, Starchild, Turn It On and the mighty, UK Top 40 breaching Love Games.

By the mid 80s Level 42 had become arena-filling superstars, with their commercial pop-funk with everyman lyrics that delighted fans not just in Europe, but also in America, too. Hear the roots of that on this frequently surprising, always entertaining debut album. Think of this album as the missing link between Talking Heads and Herbie Hancock.

Out of print on LP for a number of years, this re-issue faithfully replicates the original 1981 Polydor UK release with insert and is pressed onto high quality 180g vinyl.

'Brothers Osborne are one of music’s most consistently adventurous bands, a duo connected by not just blood, but also a lifetime of performing together, and a shared working-class upbringing in Deale, Maryland. Fourth studio album from the Grammy winning duo. The band has been nominated for 10 GRAMMYs in total, standing as five-time CMA Vocal Duo of the Year, and are four-time ACM Duo of the Year. Overall, they have collected six CMA awards, seven ACM trophies and received the ASCAP Vanguard Award in 2019. Their critically acclaimed hit songs have tallied multiple RIAA Gold and Platinum certifications, while surpassing more than 2.7 Billion global streams. Socials: FB: 505,551, TW: 211,610, IG: 406,367, YT: 285,000, TT: 78,300. Produced by Mike Elizondo (Sheryl Crow, Turnstile, Dr Dre). Guests on the album include Abe Laboriel Jr (Paul McCartney’s drummer, all songs) and Miranda Lambert (guest vocals, We Ain’t Good At Breaking Up). Reigning CMA and ACM Duo of the Year. Formats: CD, LP.

The Chemical Brothers - one of the most acclaimed and innovative electronic duo in the world - have announced details of their tenth studio album For That Beautiful Feeling.

Recorded in the band’s own studio just near the south coast, this is a record that hunts for and captures that that wild moment when sound overwhelms you and almost pulls you under yet ultimately lets you ride its wave, to destinations unknown. It’s a record that pinpoints the exact moment you lose all control, where you surrender and let the music move you as if pulled by an invisible thread.

1970, Ethel Agee, a local self-taught musician, and her two brothers Rev. Dorosco Scarber and Preston Scarber hit the studio and recorded Ethel's original composition 'Traveling Home", a gospel piece that has remained under the radar until very recently . Ethel's on piano playing as her and her brothers' vocals soar above rock solid chugging funk drums, way ahead of their time.

The Chemical Brothers - one of the most acclaimed and innovative electronic duo in the world - have announced details of their tenth studio album For That Beautiful Feeling.

Recorded in the band’s own studio just near the south coast, this is a record that hunts for and captures that that wild moment when sound overwhelms you and almost pulls you under yet ultimately lets you ride its wave, to destinations unknown. It’s a record that pinpoints the exact moment you lose all control, where you surrender and let the music move you as if pulled by an invisible thread.

Repress.

Back in 2015, Japanese DIY house pioneer Soichi Terada stepped back into the limelight courtesy of Rush Hour's 'Sounds From The Far East', a Hunee curated retrospective of material first released on his own Far East Recording label in the 1990s and early 2000s. Buoyed by the positive response and renewed interest in his work, Terada went back into studio to record his first new album of house music for over 25 years, Asakusa Light.

Developed over 18 months, Terada tried to recreate the mental and physical processes that led to the creation of his acclaimed earlier work. Those familiar with Terada’s celebrated, dancefloor-focused sound of the 1990s – a vibrant, atmospheric, and emotive take on deep house powered by the twin attractions of groove and melody – will find much to enjoy on Asakusa Light.

“I tried to recall my feelings 30 years ago, but when I tried it, I found it super difficult,” he explains. “I didn’t even know what I thought about myself five years ago, and the mental metabolic cycle seems to be faster than I thought. I tried different methods, including digging up my old MIDI data and composing by remembering old experiences. With the help of Rush Hour, I found some of the light from my heart that I had 30 years ago. I nicknamed the light I found in my heart, ‘Asakusa Light’.”

Produced using the very same synthesizers and drum machines that powered his 1990s work, the album is a joyous, colourful and life-affirming collection of timeless house music that not only recalls Terada’s own impeccable back catalogue, but also that of similarly celebrated contemporaries such as the Burrell Brothers or Ben Cenac (Dream 2 Science, Sha-Lor).

Terada, who has spent much of the last two decades writing video game music, has always had a gift for combining warm, undulating synthesizer basslines and perfectly programmed machine drums with stirring chords, smile-inducing melodies and mellow musical flourishes. It’s this immersive, sun-kissed and tuneful trademark style that takes centre stage on Asakusa Light, an album for the ages.

The set begins with the alien-sounding chords, soft-touch percussion and dawn-friendly warmth of ‘Silent Chord’ and ends on a high via the bouncing string stabs, starlight chords and thickset grooves of ‘Blinker’; in between, you’ll find a deluge of effortlessly feelgood music that’s the aural equivalent of a dopamine rush at sunrise.

There are subtle variations aplenty throughout the album – see the 8-bit lead lines and pulsing electronic textures of ‘Takusambient’, the vintage Tony Humphries flex of ‘Diving Into Minds’ and the effortlessly funky ‘Marimbau’ – but it’s the uniquely atmospheric, vivid and tactile nature of Terada’s loved-up sound that resonates. After well over 30 years in house music, the light in his heart is shining brighter than ever.

Everybody loves a good comeback story. After releasing five genre-defining albums and building a fiercely loyal fanbase, Turnpike Troubadours — the Tahlequah, Oklahoma kings of Red Dirt music — all but fell apart in 2019, taking a three-year hiatus to find clarity amidst the noise of a red-hot career. But after the break, something remarkable and even unprecedented happened: the band returned more popular than ever. Not to mention stronger. The proof is in the group’s sixth studio album, A Cat in the Rain. Produced by three-time Grammy winner Shooter Jennings and recorded at the legendary FAME Recording Studios in Muscle Shoals, Alabama, and in Los Angeles, the 10-song album is a tale of reliability, rebirth, and redemption. It’s the story of brothers — frontman and chief songwriter Evan Felker, fiddler Kyle Nix, steel player Hank Early, guitarist Ryan Engleman, bassist RC Edwards, drummer Gabe Pearson — six musicians who ran the gauntlet of success, scrutiny, and even personal troubles, and would fight tooth and nail for one another. Turnpike Troubadours’ fans can feel this. That bond is in the band’s songs and in their live performances — they’ve racked up 1.5 billion streams globally and are selling out arenas and headlining festivals. Still, to some, they remain a mystery…the most popular band they’ve never heard of. But with A Cat in the Rain, that’s all about to change.

Death Is Not The End sub-label 333 hit again with a reissue of a rarely encountered piece of prime UK digi, courtesy of Franklyn Bernard aka Frankie B - mixed at Fashion's A Class Studio in Clapham, and released on the Ital Stuff label in early 1986.

Frankie B began his recording career with producer Bert Douglas, first releasing on his Reggae City label in 1984 with the No More Tears 7" under his birth name Franklyn Bernard. In 1985 he then linked up with Ital Stuff - a production team consisting of three brothers who also helmed the Sweet & Bitter Band. Operating a small eight track studio in the basement of their house in Balham, Ital Stuff had recently been responsible for putting together and laying down the backing track to Dixie Peach's classic Pure Worries, released on the Jah Tubbys label in 1985. Upon playing Pure Worries to Frankie he was immediately inspired to lay down his own vocal on the track, which too features Dixie Peach contributing vocal harmonies - it was recorded late 1985 and mixed down along with a ferocious dub side at South London's A Class Studio, eventually seeing release in early 1986.

Soulful rocking blues making waves all over.

It would be difficult to overstate the importance of the Jones brothers Thad, Hank and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists. Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of its most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones’ first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off. Including legendary players Shadow Wilson on Drums and Oscar Pettiford on Bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records. Recorded at Audio Video Studios - New York, NY 1956 by Alfred Lion and Rudy Van Gelder

It would be difficult to overstate the importance of the Jones brothers Thad, Hank and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists. Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of its most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones’ first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off. Including legendary players Shadow Wilson on Drums and Oscar Pettiford on Bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records. Recorded at Audio Video Studios - New York, NY 1956 by Alfred Lion and Rudy Van Gelder

Sophistication is a very apt description of both the music and the performing artist that is Bill Albright (real name Anthony Bills). Born in 1961 and raised in Baltimore, MD. Albright received a vocational as well as an associates degree in Electrical Engineering and Technology during 1981 the same year as he was blessed with the birth of his son Anthony Jr. From 1982 through to 1985 Bill had moved to New York City to model professionally for several major retail corporations such as Macy’s and Bloomingdales making good use of 170 pounds, six feet tall frame and handsome photogenic looks, while still finding time to hone his singing, songwriting and studio engineering skills through attending art Composers Theatre. His musical management and composing skills were to continue upon his return to his native Baltimore in 1986 as the prelude to him joining the national fundraising touring team for The United Negro College Fund in conjunction with the National Basket Ball Association (NBA) Slam Dunk Contests. Interacting with such celebrity players as Magic Johnson, Arsenio Hall, Spike Lee and Robert Townsend and Atlanta Hawks team mates Spud Webb and Dominique Wilkins.



Through his travels during 1989 Albright decided to settle in Atlanta, GA, making it his home to this present day. Once settled he founded his own cleaning business ‘All Bright Cleaning Services Inc’ built on good old-fashioned ethics of hard work and a strong determination to succeed, the exact same traits that he would later display in his future musical journey. While providing his cleaning services to major commercial companies, home, office and car detailing Albright found the time to continue pursuing his musical ambitions with a strong emphasis on live and recorded performances. In 1993 Albright formed ‘Bill Albright Productions Inc’ working with the late Keith “Keecho” Rawls the former Keyboardist and Musical Director for Peabo Bryson. Albright’s work has often been likened to Peabo’s for obvious reasons as well as Luther Vandross and Johnny Gill, He also draws inspiration from the stars of his youth Nat King Cole, The Isley Brothers, Frankie Beverley and Marvin Gaye amongst others. Albrights productions while being contemporary still retain an old school leaning which widens his appeal to a broader audience. Feeling that the time wasn’t right to release his material Albright continued with his successful cleaning business and live performances, that was until 2022 when he released the first of his productions (as a download only) the stylish “Sitting By The Phone” which gives more than a passing nod to Billy Stewart’s timeless classic “Sitting In The Park” but recorded in Albright’s own unique way. Albright’s second and forthcoming release is the more contemporary mid-tempo mover “In The Middle Of The Night” (only available as a download in the United States) but is due for a simultaneous vinyl 45 release in the UK paired with the aforementioned “Sitting By The Phone” as Soul Junction’s next 45 outing.

Jackie Mittoo is one of the defining figureheads of reggae music!
From forming The Skatalites, at age 15, alongside Don Drummond, Roland Alphonso, Tommy McCook and others, to his work as writer, arranger, producer at Studio One records during the sixties,
writing and playing for artists such as Alton Ellis, Ken Boothe, Marcia Griffiths and The Heptones (to name a few), to his career as a solo artist as well as leader of bands such as The Soul Brothers, Soul
Vendors and The Sound Dimension, Jackie Mittoo is at the heart of reggae music. He was one of the instigators of Ska, Rocksteady and Reggae. In the seventies, DJ music and Dancehall were based
upon classic rhythms of the sixties, many using the instrumental tracks that Jackie Mittoo created at Studio One at this time.

What’s happening in the streets? This right here, a celebrated engineer Yas Inoue and Dj Takaya Nagase come together in the studio and rework the Voltage Brothers rare groove jam “Happening In the Streets” with a cleverly put together edit with filters, effects and sonically tweaking it to perfection. They've created a perfect dance floor masterpiece already championed by Louie Vega, Joe Claussell, Spinna, Mike Dunn, and Rich Medina. This choon has everyone in anticipation for it’s release.

Japanese sound engineer Yas Inoue, based in New York began his career in the world renowned Maw Studios in the late 90s and has engineered for producers such as Masters At Work, Patrick Adams, Leroy Burgess, and Randy Muller contributing to the creation of various New York house and disco hits.

Takaya Nagase, a New York based Japanese Dj started as an A&R for Japanese record label Soundmen On Wax. He learned and studied under the great David Mancuso of the Loft Party NYC and later held his own Joy parties along with other Loft members. Having had regular gigs at Club Shelter from 2006 to 2007 and at Club Output from 2017 until the closing in 2019, he built his dj chops and now currently djs at New York City's top venues such as Le Bain, Good Room and Nowadays along with monthly shows on the famed Lot Radio in Brooklyn.

Together they are Domo Domo and with their first project on Vega Records they are on their way to becoming New York household names in the dance music industry. Look out for “Happening In The Streets” coming soon at all digital and streaming outlets with vinyl releases on 12” and 7”. Lookout everyone, this one’s a sure HIT!!!

Greg Paulus joins forces with fellow Brooklynite Taylor Bense for a new Freerange EP showcasing their left field, raw house sounds across three original tracks plus a bonus Martinez Brothers edit.

With previous releases appearing on labels as diverse as Soul Clap, Let’s Play House, Ghostly International and Kompakt, the producer, DJ and trumpeter is perhaps best known for being one half of No Regular Play who have recorded LP’s and EP’s for Wolf & Lamb, Crew Love, and Let’s Play House. Never one to be confined to one genre, Greg takes influence from Jazz, Funk, Hip Hop and underground house to form a unique sound primed for discerning dance floors. Taylor Bense is an in-house composer and producer at the highly regarded Hyperballad Studios in Brooklyn, where he works and records a wide spectrum of music for everything from high end commercial work to EP’s for Wolf + Lamb and Soul Clap Records. The entire EP was recorded and produced at Hyperballad Studios over the past few years.

Title track Heat Make Sense wears its Prince inspiration on its sleeve with a hooky whistled tune, crunchy live bass fills and punchy, raw beats. Next up we have Switch which features Brooklyn MC’s Stimulus and Malik Work on vocal duties and Greg’s own trumpet adding top lines to the deep pads and rolling groove.

Marino takes us back to golden era jacking Chicago house of the 00’s but with Greg’s trumpet flourishes bringing a live, jazzy energy to the track. Fellow NYC mainstay Big $exy provides his trademark deep baritone vocal to give a little hip house flavour. Closing out the EP we have NYC’s Martinez Brothers providing an uptempo minimal edit of Do You Love Me, a track from Greg’s previous Freerange EP. The MB’s keep things rolling and stripped back for maximum club impact creating a useful DJ tool whilst allowing Greg’s musical and vocal parts to shine.

What’s happening in the streets? This right here, a celebrated engineer Yas Inoue and Dj Takaya Nagase come together in the studio and rework the Voltage Brothers rare groove jam “Happening In the Streets” with a cleverly put together edit with filters, effects and sonically tweaking it to perfection. They've created a perfect dance floor masterpiece already championed by Louie Vega, Joe Claussell, Spinna, Mike Dunn, and Rich Medina. This choon has everyone in anticipation for it’s release.

Japanese sound engineer Yas Inoue, based in New York began his career in the world renowned Maw Studios in the late 90s and has engineered for producers such as Masters At Work, Patrick Adams, Leroy Burgess, and Randy Muller contributing to the creation of various New York house and disco hits.

Takaya Nagase, a New York based Japanese Dj started as an A&R for Japanese record label Soundmen On Wax. He learned and studied under the great David Mancuso of the Loft Party NYC and later held his own Joy parties along with other Loft members. Having had regular gigs at Club Shelter from 2006 to 2007 and at Club Output from 2017 until the closing in 2019, he built his dj chops and now currently djs at New York City's top venues such as Le Bain, Good Room and Nowadays along with monthly shows on the famed Lot Radio in Brooklyn.

Together they are Domo Domo and with their first project on Vega Records they are on their way to becoming New York household names in the dance music industry. Look out for “Happening In The Streets” coming soon at all digital and streaming outlets with vinyl releases on 12” and 7”. Lookout everyone, this one’s a sure HIT!!!

When I first heard Natalie Rose LeBrecht's time-suspending, air-ionizing music, more than twenty years ago, I thought "this kid is on to something." She's been proving that thought right ever since. Her recordings, from the teenage 4-track tapes she made as Greenpot Bluepot to the recent albums under her own name, have been fascinating dispatches from her progressively deeper dives into her gorgeous, weird, wildly idiomatic aesthetic. Holy Prana Open Game is a jewel of intensely personal cosmic music, created through a remarkable process of openness, craftiness, addition and subtraction. It belongs to a tradition of albums that document a rich, meditative sound as it rises up to join the world outside its creators' minds: Alice Coltrane's Universal Consciousness, Harmonia's Musik von Harmonia, Philip Glass's North Star, Talk Talk's Laughing Stock.

"Meditative" is specifically the idea here: Holy Prana Open Game had its origins in the fourteen days LeBrecht spent silently meditating in her home's small music room in the summer of 2019. "I came out of that bursting with the will to create new music," she says, and she created it sound-first. LeBrecht taught herself to program an analog synthesizer's timbres from scratch, and built a new set of glacial, heady compositions out of them, eventually singing to accompany the keyboard parts she was playing.

Then she closed her eyes at her computer, "let my mind be clear and open, imagined light pouring down through me, and began auto-writing to my memory of the music playing through my mind. Most of the lyrics emerged this way, and then I used my conscious mind to refine them a bit at the end." One other song came along with LeBrecht's new pieces, a cover that seems wildly unlikely from the outside and makes total sense in its context: it's a version of Atoms for Peace's "Amok" (which had been created by improvisation and editing, too), mutated into her own idiolect.

In early March of 2020, LeBrecht recorded Holy Prana Open Game's analog synth parts with Martin Bisi at his studio in Brooklyn--and then the world shut down. As you may have gathered, LeBrecht is very much a spiritual, head-in-the-stars type. She is also extremely hardcore, and if making the art she wants to make means doing things the hard way, she cracks her knuckles and gets down to it. Within weeks, she had taught herself how to record, mix and edit with a digital audio workstation. She recorded her vocal parts (sometimes multi-tracked into a radiant choir) at home, assembled a rough mix of the album, and sent it off to her collaborators.

LeBrecht spent some years studying with and assisting La Monte Young and Marian Zazeela at their legendary sound-and-light installation, the Dream House. As with their work, her singular, precisely focused vision is shored up by its openness to artistic voices beyond her own. For Holy Prana Open Game, she worked with the Australian guitarist Mick Turner and drummer Jim White (both of Dirty Three, the Tren Brothers and innumerable other projects), as well as woodwind player David Lackner, a longtime presence on her recordings.

Turner and White have been playing together in one context or another since 1985; in the summer of 2020, they were only blocks from each other in Melbourne, Australia, whose strict lockdown meant they couldn't meet up to record together. So both of them, as well as Lackner, recorded their improvisational additions to LeBrecht's rough mixes individually, often without hearing each other's contributions. "I had asked them to play as much as they could on each track," she says, "and told them that I would edit it all down in post, so I had a lot of source material of theirs to work with."

LeBrecht arranged and edited the recordings from all four of their homes to flow together like breath across the duration of her suite. Prana, one of the album's central conceits, is in fact the Sanskrit word for breath, with the connotation of the breath of life. Like LeBrecht's music, prana flows at its own pace, and demands stillness to take in fully--but it's also subtly playful and surprising, a force that can be as light as air or as immersive as the atmosphere itself.

Little Feat is the quintessential “cult” band. Started by Lowell George, 1972’s Sailin’ Shoes captures these musical rebels at one of their early peaks. The songs on Sailin’ Shoes are a masterful collage of inventive narrative, resplendent in countercultural irony and romance. Featuring the classic tracks “Willin’” (covered by Linda Rondstadt and many others), “Easy to Slip” (originally written for the Doobie Brothers) and the title track, it’s an album whose status has grown immeasurably, making it one of the most acclaimed releases of its era. With 1973’s Dixie Chicken, Little Feat found its signature sound as a band, producing a seductive, laid-back, funky record made up of what is arguably Lowell George's best-ever set of songs. With tracks that sound easy but are quite sophisticated, fans will enjoy hits like the rolling "Two Trains," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funkified title track (which was covered nearly as frequently as "Willin'"). These deluxe editions include the original albums remastered and recut from the original tapes, alongside previously unreleased studio outtakes and demos, and complete unreleased live shows. It’s a treasure trove of material for their feverish fan base, and the first ever deep dive into one of the most influential bands from the 70’s Warner catalog.

[a] A1. DIXIE CHICKEN (2023 REMASTER) [3:55]
[b] A2. TWO TRAINS (2023 REMASTER) [3:06]
[c] A3. ROLL UM EASY (2023 REMASTER) [2:30]
[d] A4. ON YOUR WAY DOWN (2023 REMASTER) [5:31]
[e] A5. KISS IT OFF (2023 REMASTER) [2:56]
[f] B1. FOOL YOURSELF (2023 REMASTER) [3:10]
[g] B2. WALKIN’ ALL NIGHT (2023 REMASTER) [3:35]
[h] B3. FAT MAN IN THE BATHTUB (2023 REMASTER) [4:29]
[i] B4. JULIETTE (2023 REMASTER) [3:20]
[j] B5. LAFAYETTE RAILROAD (2023 REMASTER) [3:40]
[k] C1. TWO TRAINS (DEMO) [3:19]
[l] C2. FAT MAN IN THE BATHTUB (DEMO) [3:56]
[m] C3. WALKIN’ ALL NIGHT (ALTERNATE VERSION)* [3:40]
[n] C4. ROLL UM EASY (ALTERNATE VERSION)* [2:36]
[o] C5. ON YOUR WAY DOWN (ALTERNATE VERSION)* [5:57]
[p] D1. ELDORADO SLIM [4:42]
[q] D2. JULIETTE (ALTERNATE VERSION)* [3:34]
[r] D3. HI ROLLER (ACE IN THE HOLE) [3:27]
[s] D4. DIXIE CHICKEN (ALTERNATE VERSION)* [4:06]
[t] E1. TWO TRAINS (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [3:23]
[u] E2. GOT NO SHADOW (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [6:35]
[v] E3. ON YOUR WAY DOWN (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [6:26]
[w] F1. WALKIN’ ALL NIGHT (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)*[3:34]
[x] F2. FAT MAN IN THE BATHTUB (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [5:31]
[y] F3. WILLIN’ (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [4:31]
[z] F4. A APOLITICAL BLUES (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [3:33]

Little Feat is the quintessential “cult” band. Started by Lowell George, 1972’s Sailin’ Shoes captures these musical rebels at one of their early peaks. The songs on Sailin’ Shoes are a masterful collage of inventive narrative, resplendent in countercultural irony and romance. Featuring the classic tracks “Willin’” (covered by Linda Rondstadt and many others), “Easy to Slip” (originally written for the Doobie Brothers) and the title track, it’s an album whose status has grown immeasurably, making it one of the most acclaimed releases of its era. With 1973’s Dixie Chicken, Little Feat found its signature sound as a band, producing a seductive, laid-back, funky record made up of what is arguably Lowell George's best-ever set of songs. With tracks that sound easy but are quite sophisticated, fans will enjoy hits like the rolling "Two Trains," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funkified title track (which was covered nearly as frequently as "Willin'"). These deluxe editions include the original albums remastered and recut from the original tapes, alongside previously unreleased studio outtakes and demos, and complete unreleased live shows. It’s a treasure trove of material for their feverish fan base, and the first ever deep dive into one of the most influential bands from the 70’s Warner catalog.

[a] A1. EASY TO SLIP (2023 REMASTER) [3:19]
[b] A2. COLD, COLD COLD (2023 REMASTER) [3:58]
[c] A3. TROUBLE (2023 REMASTER) [2:15]
[d] A4. TRIPE FACE BOOGIE (2023 REMASTER) [3:14]
[e] A5. WILLIN’ (2023 REMASTER) [2:54]
[f] A6. A APOLITICAL BLUES (2023 REMASTER) [3:25]
[g] B1. SAILIN’ SHOES (2023 REMASTER) [2:49]
[h] B2. TEENAGE NERVOUS BREAKDOWN (2023 REMASTER) [2:10]
[i] B3. GOT NO SHADOW (2023 REMASTER) [5:05]
[j] B4. CAT FEVER (2023 REMASTER) [4:35]
[k] B5. TEXAS ROSE CAFE (2023 REMASTER) [3:43]
[l] C1. SAILIN’ SHOES (DEMO)* [2:57]
[m] C2. EASY TO FALL (EASY TO SLIP) [DEMO FOR DOOBIE BROS.] [2:41]
[n] C3. TEXAS ROSE CAFÉ (DEMO FOR DOOBIE BROS.) [3:24]
[o] C4. COLD, COLD, COLD (ALTERNATE VERSION)* [4:17]
[p] C5. ROTO/TONE [4:07]
[q] D1. A APOLITICAL BLUES (ALTERNATE VERSION)* [3:46]
[r] D2. BOOGIE – TRIPE FACE BOOGIE [3:58]
[s] D3. TROUBLE (ALTERNATE VERSION)* [2:23]
[t] D4. DORIVILLE [2:44]
[u] D5. WILLIN’ (ALTERNATE VERSION)* [3:00]

[w] E1. TRIPE FACE BOOGIE (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:30]
[x] E2. HAMBURGER MIDNIGHT (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [3:41]
[y] E3. CAT FEVER (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)*[5:19]
[z] E4. WILLIN’ (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:06]
[xa] E5. STRAWBERRY FLATS (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [3:11]
[xb] F1. GOT NO SHADOW (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [5:08]
[xc] F2. TEXAS ROSE CAFÉ (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:05]
[xd] F3. SNAKES ON EVERYTHING (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:18]
[xe] F4. HOT ROD (ELDORADO SLIM) [LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71]* [5:08]

Here we‘ve got two tunes that come with a fascinating story. Recorded in the late 70’s, but never released, this music was thought to be lost.But let’s go back to the beginning. Rose was originally a member of family affair called „The Cornelius Brothers and Sister Rose“ heralding from Dania Beach, Florida. The group had early success with a recording contract with United Artists, which produced two albums in 1972 & 73 respectively, plus an extensive number of single release taken from these albums, which included the million seller ‘Too late to turn back now’.

But Rose’s story starts even further back, singing solo and as part of the Gospel Jazz Singers in the late 60’s, with even a solo appearance on The Ed Sullivan TV show. In 1970, at her mother’s request, she returned home to form the family group and to use her contacts in the music industry to move things forward. The group stayed together until 1976. Soon after Rose returned to a solo career, but few further releases appeared. During this time she recorded a number of tracks in Miami at The Music factory with producer Shirley Cowell, who later received a grammy nomination for her work with Lena Horne. Arrangement was done by gold-certified studio veteran Frank Owens. By this time the Disco sound had taken over much of the music industry and these tracks had a Hi-Energy feel that was much in favour at the time. This session produced the titles ‘Here’ and ‘I want you to stay with me’ but no release was forthcoming.

For many years they became almost forgotten, until the next chapter of the story.In 2018 DJ and record collector Dave Thorley saw an old & dusty acetate disc for sale online, credited to Rose Cornelius. When listening to it he realised that this was indeed Sister Rose of the aforementioned group and purchased it, initially with the intention of simply playing it in his DJ sets. Dave offered the disc to his friends of the Disco Bizarre crew from KitKatClub / Berlin for their record label. Rose, in turn, was contacted and she was kind enough to give permission for its release and additional contemporary remixes/ re-edits. Thus New York producer veteran DJ Duke and San Francisco Disco authority Jim Hopkins landed on the bill. You now have the results of this story on Disco Bizarre’s latest release - a story that has spanned fifty plus years. We at Disco Bizarre are excited about the final results and are happy we‘re able to share it with you.

The highly anticipated new studio album from The Teskey Brothers, The Winding Way. Four years after the boys from Warrandyte’s globe-conquering second album, Run Home Slow (2019), which followed their debut album Half Mile Harvest (2017), the artistic vision of vocalist Josh Teskey and his brother, guitarist and engineer Sam Teskey is more defined than ever.

3 Feet High and Rising is the debut studio album by hip hop trio De La Soul and was released on March 3, 1989

It marked the first of three full- length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know".

The album title came from the Johnny Cash song "Five Feet High and Rising". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on the Rolling Stone's

The 500 Greatest Albums of All Time. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, "Me, Myself and I". Their positivity meant many observers labeled them a 'hippie' group, based on their declaration of the 'D.A.I.S.Y. Age' (Da. Inner. Soul. Yall).

Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).

Carole King’s The Legendary Demos will be released April 24th, 2012 via Hear Music / Concord Music Group. A previously unreleased collection of 13 history-making Carole King recordings of some of her most celebrated songs, The Legendary Demos traces King's journey from her days as an Aldon staff writer in the 1960's, where she crafted hit after hit for other artists, to the dawn of her own triumphant solo career in the 1970's, and contains her original recordings of future standards like "(You Make Me Feel Like) A Natural Woman," "It's Too Late," and "You've Got A Friend." Featuring liner notes by acclaimed author and Rolling Stone contributing editor David Browne, the collection brings to light a heretofore missing link in the chain of King's career. Fittingly, The Legendary Demos serves as a companion to King’s long-awaited memoir, A Natural Woman, which is being released April 10th, 2012 via Grand Central Publishing.

Aldon Music used these demos—short for “demonstration records”—to pitch King's material to other artists, from Gene Pitney and Bobby Vee to Aretha Franklin and the Monkees. While the recordings have long been coveted and collected within the industry, they have never before been released to the public.

Whether it was a potential single for the Monkees or a solo performer like Pitney, King’s demos were remarkable in their completeness. “When she sat down to the piano and played a demo of one of her songs, the whole arrangement appeared right in front of your eyes magically,” recalls Brooks Arthur, who engineered a number of these efficient sessions for King at one of several midtown Manhattan studios. “A lot of the smarter producers would adhere to Carole’s demos. If you stuck to that, you’d come home a winner.”

King and then-husband / songwriting partner Gerry Goffin signed with Aldon Music in 1959, and anyone who listened to the radio during the first half of the ‘60s will recognize the songs of teen passion and devastating heartbreak heard in King’s original recordings. “Take Good Care of My Baby” was a No. 1 hit for Bobby Vee in 1961. Goffin’s gift for tapping into teen anguish—in this case, hiding behind a stoic public face—was never conveyed better than in “Crying in the Rain,” which the Everly Brothers took into the top 10 in early 1962. “Just Once in My Life” was the Righteous Brothers’ follow-up to their still-spine-tingling “You’ve Lost That Lovin’ Feelin’,” and King’s demo reveals how she and Goffin were instantly able to tap into the duo’s (and producer Phil Spector’s) dramatic, impassioned sound.

Like many of their fellow songwriters at the time, King and Goffin wrote songs for Don Kirshner’s TV show about a fictional, Beatles-derived pop band that debuted in September 1966. The Monkees turned out to be more credible singers (and musicians) than anyone initially expected, as their high-charting 1967 version of King and Goffin's “Pleasant Valley Sunday” revealed. The Monkees also cut “So Goes Love,” a dreamier ballad heard here, but the track didn’t make their first album and wasn’t released until long after they’d disbanded.

The Legendary Demos includes early takes of six tracks that formed the basis for King’s world-wide solo breakthrough Tapestry. King and lyricist Toni Stern’s ever-poignant “It’s Too Late” is here, along with King’s own “Way Over Yonder,” “Beautiful” and “Tapestry,” all three bursting with the artistic and spiritual renewal infusing King’s life during this period.

Among the collection’s numerous gems is the original 1967 demo for Goffin, King, and producer Jerry Wexler’s “(You Make Me Feel Like) A Natural Woman,” a song that would later appear on Tapestry and of course be famously cut by Aretha Franklin later that same year. King’s version offers several different takes from the Franklin and Tapestry versions. Her delivery in the opening lines is looser (check out the way she stretches out “Lord” in “Lord, it made me feel so tired”), and the bridge is even more imbued with palpable romantic and sexual heat.

And finally, there’s King’s initial take on “You’ve Got a Friend,” a classic entry in the Great American Rock Songbook. Milling around in the Troubadour balcony during soundcheck, her friend James Taylor heard King perform the song on a bare stage and was immediately taken with it; his own version, a massive hit, would arrive the following year.

Elderbrook kündigt die Veröffentlichung seines neuen Albums "Little Love" an Grammy-Gewinner Elderbrook hat Details zu seinem
kommenden Album Little Love bekannt gegeben und zeitgleich die Veröffentlichung seiner neuen Single "Beautiful Morning" am 28. Oktober angekündigt.

Durch die Kombination von flimmernden Synthesizern, ergreifenden Breakdowns und kraftvollen Lyrics, die das Gefühl der Liebe in ihrer reinsten Form einfangen, beschwört "Beautiful Morning" die Art von Ehrfurcht einflößenden Sonnenaufgängen hervor, auf die der Titel
des Tracks anspielt.
Elderbrooks zweites Studioalbum Little Love wird am 24. Februar erscheinen.
Elderbrook, ein Live-Phänomen, autodidaktischer Multiinstrumentalist, Produzent und Singer-Songwriter, ist bekannt für seine Zusammenarbeit mit einigen der größten Namen der Dance-Musik-Szene, darunter Diplo, Camelphat, Black Coffee, Bob Moses, The Martinez Brothers und Carnage.

Die Veröffentlichung von "Beautiful Morning" und die Ankündigung von Little Love markiert den Beginn eines aufregenden neuen Kapitels in der Geschichte eines Elektronik-Künstlers, der weiter wächst.

180 Gram Vinyl Following the success of the 2021 reissue of Ambient Warrior’s cult classic Dub Journey's (1995), Isle of Jura is pleased to present their unreleased second album, II. Born from the same oceanside fusion of instrumental dub, reggae, bossa nova and tango music that made Dub Journey's so distinctive and memorable, II is an equally sublime collection of eleven unheard tracks from the brilliant minds of Ronnie Lion and Andrea Terrano.

Evoking the delights of white sands, palm trees and sunsets, all set against clear waters and endless blue skies, Dub Journey’s and II document the golden moment when Ambient Warrior came together during the mid-90s to create some of the most Balearic Dub ever made. “Music is the greatest traveler, isn’t it?” says Ronnie. “It gets to places the actual artists can’t even get to really.”

The son of an orphaned Jamaican jazz trumpet player and professional boxer who enlisted in the military after stowing away on a boat to London, Ronnie grew up between Germany, Singapore and the UK before becoming a working musician in his mid-teens. A bass player by trade, he honed his skills playing in a series of soul, jazz-funk, blues, rock and reggae bands that performed throughout the UK.

By the time Ambient Warrior released Dub Journey’s, Ronnie and his business partner Ras Joseph were running the Lion Inc. recording studio and record label in Brixton, London. Having set up distribution arrangements with Roots Records (UK) and Semaphore (DEU/NL), they recorded and released a series of singles, compilations and solo albums from a who’s who of roots reggae artists, including Twinkle Brothers, Delroy Washington, Michael Prophet, Alton Ellis, Little Roy, and Ronnie’s own band The Amharic. “Lion was a regular port of call for visiting Jamaican artists,” reflects Ronnie. “When you were in London, it was on the route.”

An accomplished guitarist, producer and recording engineer from Trieste, Italy, Andrea grew up listening to Russian folk, Klezmer and the Italian harmony tradition in a Sicilian-Ukrainian family. After completing compulsory Italian military service, he moved to London to continue studying music. One night, he turned up at Lion Inc. and approached them about running audio engineering classes from the studio.

In Andrea, Ronnie found a collaborator who shared his desire to create borderless music that reflected the diversity of their backgrounds. “I wanted to do something that had no boundaries,” Ronnie explains. “If you’re working on a roots album, it has to sound a certain way, but with Ambient, especially in the nineties, it was just a license to let off. You could do whatever you wanted to do.” “It was a melting pot of influences like London itself,” adds Andrea.

Although they wrote most of II at the same time as they were recording Dub Journey’s, it took them several years to finish off the album. “Things never got done quickly,” Ronnie remembers. By the time it was complete, Roots Records had gone out of business, leaving Lion Inc. without UK distribution. Not long after, their Brixton studio flooded, bringing the label to a close.

These days, Andrea continues to work as a session guitarist, recording engineer and producer in London. Over the last two decades, he has collaborated regularly with Basement Jaxx and released several solo albums. Ronnie, on the other hand, lives on a boat equipped with an onboard studio, where he has recorded a series of oceanic dub albums off the British coast. Twenty-eight years after the release of Dub Journey’s, he recently started working on demos for a third Ambient Warrior album he hopes to record with Andrea in the not-so-distant future.

Artwork By Bradley Pinkerton.

Dutch Eurodance group 2 Brothers On The 4th Floor was founded in 1990, when the two brothers Bobby and Martin Boer started experimenting with music in a small bedroom in their parental apartment on the 4th floor.

In 1995 and 1996, 2 Brothers on the 4th Floor further widened their success with the singles “Fly (Through the Starry Night)”, “Come Take My Hand” and “Fairytales”, changing their style to happy hardcore. These singles topped the charts in various European countries. At the end of 1996, the band released the single “There’s a Key” and their second studio album 2.

2 is available on vinyl for the first time as a limited edition of 1000 individually numbered copies on crystal clear vinyl. It includes remixes by Ferry Corsten and Charly Lownoise & Mental Theo.

On Everything Harmony, the fourth full-length studio release from New York's The Lemon Twigs, the prodigiously talented brothers Brian and Michael D'Addario offer 13 original servings of beauty that showcase an emotional depth and musical sophistication far beyond their years as a band, let alone as young men. Everything Harmony successfully blends the brothers' distinct personalities while giving voice to their eclectic influences. Opening the album with the unassuming acoustic folk of plaintive "When Winter Comes Around," which echoes the sophisticated grandeur of classic Simon & Garfunkel recordings, they immediately switch things up to the sunny classic pop motif of "In MyHead." "Corner of My Eye" channels an Art Garfunkel-like vocal melody over a moody, vibraphone-tinged backing track suggesting the chamber pop of Brian Wilson. While they had no grand concept for Everything Harmony, both the D'Addarios felt a "palpable mood of defeat" prevailed while writing and recording it. "New To Me" was inspired by their shared experience with loved ones suffering from Alzheimer's, "What You Were Doing" is dressed in the tortured jangle of vintage Big Star, while "Born To Be Lonely," written after watching John Cassavetes' Opening Night, deals with what Brian calls "the fragility that often comes with age." Everything Harmony is a unified song cycle born of shared blood andcommon purpose. With two musical heads being better than one, there's no shortage of ideas to draw on. Their only impediments are time and the challenge of keeping up with their own prolific musical inspiration. "We share an intuition and tend to be influenced by one another," says Brian, "so the lyrical ideas on this record tend to complement each other. Writing has never been the issue for us. It's completing, editing and compiling that takes the time. We're trapped in a web of songs!"

Clear Vinyl

On Everything Harmony, the fourth full-length studio release from New York's The Lemon Twigs, the prodigiously talented brothers Brian and Michael D'Addario offer 13 original servings of beauty that showcase an emotional depth and musical sophistication far beyond their years as a band, let alone as young men. Everything Harmony successfully blends the brothers' distinct personalities while giving voice to their eclectic influences. Opening the album with the unassuming acoustic folk of plaintive "When Winter Comes Around," which echoes the sophisticated grandeur of classic Simon & Garfunkel recordings, they immediately switch things up to the sunny classic pop motif of "In MyHead." "Corner of My Eye" channels an Art Garfunkel-like vocal melody over a moody, vibraphone-tinged backing track suggesting the chamber pop of Brian Wilson. While they had no grand concept for Everything Harmony, both the D'Addarios felt a "palpable mood of defeat" prevailed while writing and recording it. "New To Me" was inspired by their shared experience with loved ones suffering from Alzheimer's, "What You Were Doing" is dressed in the tortured jangle of vintage Big Star, while "Born To Be Lonely," written after watching John Cassavetes' Opening Night, deals with what Brian calls "the fragility that often comes with age." Everything Harmony is a unified song cycle born of shared blood andcommon purpose. With two musical heads being better than one, there's no shortage of ideas to draw on. Their only impediments are time and the challenge of keeping up with their own prolific musical inspiration. "We share an intuition and tend to be influenced by one another," says Brian, "so the lyrical ideas on this record tend to complement each other. Writing has never been the issue for us. It's completing, editing and compiling that takes the time. We're trapped in a web of songs!"

Ghost Producer aka Badawi (aka Raz Mesinai aka Bilal ibn Yakub al-Badawi) is a prolific producer and artist who has been on the forefront of underground experimental jazz and electronic music scenes around the world for over thirty years, with a catalog of albums on labels as ROIR, Asphodel and Tzadik under various monikers dating back to the late 1980s.

Ghost Producer released his first albums starting in the late 80’s under the monikers Psy Co. and Ruff Riddim Productions, selling his cassette tapes in NYC. He produced, on average, at least one album per week since 1988 until today. One of the twenty or so monikers was Badawi, later being signed to ROIR Records and releasing the seminal experimental dub, punk albums »Bedouin Sound Clash« and later »The Heretic of Ether« on Asphodel. Spending time as a child between Occupied Jerusalem, the West Bank (Balata) and New York City (Rock Steady Park) during the height of the B-Boy era in the 70s and 80s informed Ghost Producer’s singular sound of heavy driving Sufi rhythms, sonic experiments, percussion, piano playing and sound design which has connected him to a wide variety of artists ranging from Maryanne Amacher to John Zorn, to added elements of darkness to music by such artists as Hanz Zimmer (Black Hawk Down) and rappers Danny Brown (Pneumonia) and Skepta and Double D (Don) among many others.

At age 14, Ghost Producer was discovered by visionary jazz and rock musician, Juma Sultan (Jimi Hendrix) whom later trusted Ghost Producer with producing the archive of over 2000 hours from recordings from »Studio We« and the Free Jazz Loft Movement in NYC in the 60s and 70s. As a composer, he has worked with Kronos Quartet and has had premiers at Carnegie Hall (Cross Fader, The Echo of Decay) and Lincoln Center (String Quartet For Four Turntables). In addition, Ghost Producer has released several albums on John Zorn’s Tzadik label, where he explored producing to the books of Franz Kafka (Before The Law, Resurrections for Goat Skin, Cyborg Acoustics)

As a composer for film, he coined the term »score design» to describe his work in conceiving and producing scores for films with particularly demanding needs, working on such films as A Late Quartet (director Yaron Zilberman composer: Angelo Badalamenti), The Fountain, Black Swan and The Wrestler (Darren Aronofsky/Clint Mansel), Black Hawk Down (Ridley Scott/Hans Zimmer) and many more. In 2014, he was awarded as a fellow in the Sundance Composers Lab.

In 2015, Ghost Producer formed the Underground Producers Alliance, a unique program for developing producers, performers and composers, with co-founders Scotty Hard (Wu Tang Clan, Medeski Martin and Wood, De La Soul), HPrizm aka High Priest (Anti Pop Consortium), Honeychild Coleman (the 1865, The Slits) and Prince Paul (Jungle Brothers, De La Soul), where Ghost Producer produces entire albums with student participation in his master course.

This album, »The Book of Jinn«, is one of many productions done within the course, featuring players/mentors Juma Sultan (percussion), Chandenie (voice) and Shahzad Ismaily (electric bass), with additional student participation from Adam Culbert and Jonah Sollins (aka Goodnight 1500) on synths and percussion as well, then all remixed and rearranged by Badawi into what you hear here, The Book of Jinn.

The small town of Bremen in Northern Germany has a long musical tradition ever since the Brothers Grimm issued the tale of the Bremen Town Musicians. Now it is the Our Label brothers that bring you music from that very city, which was their own place to be for musical nightlife adventures: Uncle Hammond’s Soul Jazz Movement is a seven piece group honoring the groovy styles of Jimmy Smith and Reuben Wilson. This 45 features their interpretation of two of the bands' favorite tunes. "Greens" is a midtempo boogaloo-ish groove for the dancefloor and "Waltz" was an instant choice by Our Label's Gu for its deep and soulful harmonies. Bothe tracks were recorded live at the famous Studio Nord in Bremen, Germany.

This limited 7“ release comes with a full picture cover.

A great first vinyl release by a great band! Don't miss it!

Hard rave wave brothers, Younger Than Me and Curses have joined forces once again for their 2nd EP as Y2C. This time, in collaboration with 24/Hrs- the electronic concept label part of Milano's invincible Tempio Del Futuro Perduto collective, club and creative community space.

The project invites artists to come spend 24 hours at the on-site studio located within Tempio, and create music inspired by the energy and vibe of the multi-dimensional space.

Y2C return harder this time. Dragging their rave roots into a rusty blender drenched in neon acid and metallic percussion heard in the tunnels of lost dystopian cities.

From heavy hitting club tracks to a hypnotic ambient escape, the EP rounds out furiously with an absolutely devious and destructive electro techno bomb of a remix from fellow Berliner, Infinity Division (ex Minimal Violence).

Get ready for the storm. Y2C is bringing the hail and snow.

Vier Jahre nach dem weltweit veröffentlichten und von der Kritik gefeierten Album "Nucleus" im Jahr 2019 (eine Neuaufnahme ihrer klassischen Hits mit englischen Texten) hat die führende japanische Heavy-Metal-Band ANTHEM die pandemische Auszeit klug genutzt und ist nun startklar, ihr brandneues Studioalbum "Crimson & Jet Black" zu veröffentlichen.
Alle Songs sind wieder in englischer Sprache, und das Album wird weltweit veröffentlicht werden.

Das Ziel von ANTHEM für das 21. Jahrhundert ist es, jedes ihre früheren Werke zu toppen, und mit diesem Album haben sie sich selbst noch einmal übertroffen!

"Crimson & Jet Black" ist unverkennbar "ANTHEM", klingt aber gleichzeitig frisch. Die Band hat wieder einmal bewiesen, dass sie eine der konkurrenzfähigsten Heavy Metal Bands der Welt ist und eine Kraft, mit der man rechnen muss. Verpassen Sie nicht ihr neues Kapitel, das gerade erst begonnen hat!!!

Vier Jahre nach dem weltweit veröffentlichten und von der Kritik gefeierten Album "Nucleus" im Jahr 2019 (eine Neuaufnahme ihrer klassischen Hits mit englischen Texten) hat die führende japanische Heavy-Metal-Band ANTHEM die pandemische Auszeit klug genutzt und ist nun startklar, ihr brandneues Studioalbum "Crimson & Jet Black" zu veröffentlichen.
Alle Songs sind wieder in englischer Sprache, und das Album wird weltweit veröffentlicht werden.

Das Ziel von ANTHEM für das 21. Jahrhundert ist es, jedes ihre früheren Werke zu toppen, und mit diesem Album haben sie sich selbst noch einmal übertroffen!

"Crimson & Jet Black" ist unverkennbar "ANTHEM", klingt aber gleichzeitig frisch. Die Band hat wieder einmal bewiesen, dass sie eine der konkurrenzfähigsten Heavy Metal Bands der Welt ist und eine Kraft, mit der man rechnen muss. Verpassen Sie nicht ihr neues Kapitel, das gerade erst begonnen hat!!!

Black Moon Circle is a psychedelic space rock band from Trondheim,
Norway
Since the beginning in early 2014 we have released 9 albums and are soon ready
with our tenth effortnamed "Leave the Ghost behind".When the world entered
lockdown a few years ago, so did we in Nautilus Studio with our new team mate,
drummer Tomas Järmyr (Motorpsycho, Årabrot) and entered a creative phase
with song writing and jamming, colored by fuzz, delays and crazy drum breaks.
The resulting album was once again produced and recorded by the band which in
addition to Tomas alsoinclude the brothers Vemund Engan (baritone guitar) and
Øyvin Engan (bass guitar, vocals) together with Scott Heller aka Dr.Space from
Öøresund Space Collective (synthesizer). Thevinyl edition is once again released
by the renowned Trondheim label Crispin Glover Records.The music on the
upcoming album resembles a tug of war between the unpredictable and chaotic
forces of free spaced out improvisation and the more grounded side of structure
provided by the means of songwriting.
180g blue smoke and pink smoke coloured double vinyl, limited to 500 copies for
the world. Lasercut sleeve, and includes a CD insert.

Easily one of the greatest roots reggae albums of all time, Soul Rebels resulted from the intensive partnership brokered by the group and maverick producer, Lee 'Scratch' Perry. It was the first Wailers 'concept' album, conceived as a long-player based on a rebellious theme, rather than a collection of isolated singles, and the presence of the Barrett brothers in the rhythm section pointed the way for greater glories to come. The Wailers first formed as an unruly five-piece in 1963, with Junior Braithwaite as lead singer and Beverley Kelso an early member, sometimes replaced by Cherry Green. During their long tenure at Studio One, Bob Marley gradually shifted to the lead vocal role and the robust core of Marley, Peter Tosh, and Neville Livingston, aka Bunny Wailer, soon emerged as the mainstays of the group. Perry was involved with the Wailers at Studio One, using their talents for backing vocals on some of his solo work, but the partnership that yielded Soul Rebels was in an entirely different league. The title track, Tosh's anguished "400 Years and "Corner Stone" are legendary for their intense power; "It's Alright" set the template for the later "Night Shift," "My Cup" was an individual barebones reading of James Brown's "I Guess I'll Have To Cry Cry Cry," while the playful "Try Me" and "No Water" are suggestive odes. Tosh's dejected "No Sympathy" and the spirited "Soul Almighty" are other winners and the "Cloud 9" revamp "Rebel's Hop" is another joy. All killer, no filler!

For its second release, Providenciales Records was able to unearth a previously unreleased album from the Buster Brown Band, featuring Kelly McNulty (from the Tagg/McNulty Band), Roger Burton (from the Bee's Knees), Jim Casey, Gregg Bissonnette (Ringo Starr's drummer), among others ...

Inspired by some of the best Soul, AOR and Funk artists, the band recorded these demos in studio in 1982 thanks to their local success in Dallas, TX, at the popular Popsicle Toes venue (the album title).
“Baby Don’t Lie” starts the album with a beautiful and mellow Soul / AOR introduction, while the following tracks, “Day Or Night”, “Endless Possibilities”, “Shock Proof” and “Say It” complete the LP with their Soul / Funk touch. There is even the first version of "Baby Don't Lie" as closing track, which was recorded 5 years before, in 1977.

Band members have collaborated with artists such as Lee Ritenour, Ringo Starr, Harvey Mason, The Isley Brothers, Smokey Robinson, Kenny Pore, Eric Tagg, and much more…

Liner notes (including exclusive pictures) and full story of the band by the one and only Grammy awarded David Ritz (co-author of "Sexual Healing" with Marvin Gaye)!

Limited edition of 500 copies, fully remastered!

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release.
With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra).
Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future.
Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s.
The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.
If in 2020 you are missing the hallucinogenic content in Eden Ahbez, it amazingly makes up for that deficiency with simple chords, expansive arrangements, and lyrics about travel, relaxation, free love, and spirituality. Thus creating the standard of psychedelic music. Eden Ahbez’s songs weren’t only fantasy and his personal philosophy was the real thing that he lived.

reviews:

“This carefully and extensively researched compilation culls covers by top notch mainstream artists juxtaposed with unreleased Eden recordings. What might sound like a mixed bag is actually more like a chronological, musical non-fiction novel about Eden Ahbez. While Eden was writing hundreds of songs and performing live and making recordings in various styles, his songs were also being picked up by popular artists like Nat King Cole and Eartha Kitt who recorded with a more polished mainstream style. There are also some early rock n roll style recordings here. Eden’s professionally recordings often end up as Novelty Pop records such as “Child of Nature” and “The Clam Man” but if you read between the lines and listen to the lyrics it is pretty eye-opening that he is singing about Eastern-religion-style and pre-hippie philosophies about being at one with the planet Earth.
All of this is explained in the lengthy liner notes inside the lp along with a few choice photos that establish Eden as a founding father of Southern California mystic/psychedelic music.” – Tiki_News
“Eden Ahbez’s life philosophy was summed up in the lyrics of his most famous song, “Nature Boy,” a 1948 hit for Nat King Cole: the song describes a “strange enchanted boy” who wanders the world in search of truth. “The greatest thing you’ll ever learn,” he concludes, “is to love and be loved in return.” Ahbez was a pre-cursor of California’s beatniks and hippies, and an exalted icon of ex-otica via his rare 1960 album Eden’s Island. Beyond “Nature Boy” and Eden’s Island, though, there were nu-merous lesser-known Ahbez record-ings. Ahbez biographer Brian Chidester has been doing an exemplary job of archiving and documenting that catalog of work. The Exotic World of Eden Ahbez (reviewed in UT#38) appeared a few years ago, gathering together 14 Ahbez-related rarities” – Ugly Things