Search:success

Scott Pilgrim EX, the newest video game from the Scott Pilgrim franchise developed by Tribute Games, is out now with an all new original soundtrack from Anamanaguchi. The sprawling soundtrack, which accompanies a brand-new storyline co-written by series creator Bryan Lee O’Malley, perfectly connects the band's legendary electronic past with their fuzzed out garage rock present while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on Scott Pilgrim EX are uniquely Anamanaguchi while delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans of the band alike.

Anamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. the World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite featured hit, “Miku”), and later develop the intricately soundscaped compositions displayed across their second album, USA, but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.

After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases.  This process would eventually lead to Peter and Luke alongside the remaining two band members — Ary Warnaar and James DeVito — flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's Anyway, marking another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim.  

Now fresh off the heels of a nationwide tour in support of Anyway, Anamanaguchi have returned to the 8-bit beat em up world of Scott Pilgrim with a relentlessly high energy and genre defying original soundtrack for Scott Pilgrim EX.  A return to form that comes with a depth of knowledge and innovative skills that have allowed the band to continue to evolve and grow alongside the characters in the Scott Pilgrim universe and the multi-generational fanbase that continues to follow along with them.

The new soundtrack for the latest installment in the Scott Pilgrim franchise, Scott Pilgrim EX

Step back to the mid-1960s with NOW Yearbook Presents – The 60s – Volume 3: 1965–1966, featuring 54 essential tracks across a 3LP set, pressed on beautiful blue vinyl.

LP1 opens with some of the decade’s most iconic vocal performances; Dusty Springfield leads with ‘You Don’t Have To Say You Love Me’, a UK No.1 hit that also reached the US Top 5, followed by The Righteous Brothers’ classic ‘You’ve Lost That Lovin’ Feelin’’, a chart-topper in both the UK and US. The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ was a UK Top 3 hit, while The Beach Boys follow with ‘God Only Knows’, widely regarded as one of their finest moments. Huge chart hits from The Moody Blues, Manfred Mann, Small Faces, The Kinks and The Animals with ‘We’ve Gotta Get Out Of This Place’ completes the first side…and flip the LP over for The Mamas & The Papas with ‘California Dreamin’, a major hit on both sides of the Atlantic and The Byrds and capturing the rise of folk-rock with ‘Mr. Tambourine Man’, another US No.1. Cher announced one of the most successful and enduring careers in music with ‘I Got You Babe’ – a #1 duet with Sonny, and is followed by the pop brilliance of Sandie Shaw with ‘Long Live Love’. Following The Mindbenders and The Fortunes, LP1 closes with a pair of soul standards: ‘My Girl’ from The Temptations was a US No.1(and eventually a UK #2 in 1992), and Percy Sledge’s ‘When a Man Loves a Woman’, another US chart-topper and a UK Top 5 hit in 1987 when it featured in a TV ad campaign.

LP2 opens with the explosive sound of 60s soul and crossover pop. Ike & Tina Turner kick us off with the timeless ‘River Deep – Mountain High’, a UK Top 3 hit. Frankie Valli & The Four Seasons had a huge hit with ‘Let’s Hang On’ and Motown is strongly represented with The Four Tops, whose ‘Reach Out I’ll Be There’ hit the US No.1 spot, alongside The Supremes, who scored another US chart-topper with ‘You Can’t Hurry Love’, plus Martha Reeves & The Vandellas, Stevie Wonder and a future Northern Soul Classic from Gloria Jones. Following James Brown, the side closes with the enduring soul classic ‘What Becomes Of The Broken Hearted’ from Jimmy Ruffin… while over on the other side Horst Jankowski’s instrumental smash ‘A Walk In The Black Forest’ leads in to pop classics from Tom Jones with ‘It’s Not Unusual’, a UK No.1, alongside Georgie Fame & The Blue Flames’ UK chart-topper ‘Yeh Yeh’ and Chris Montez with ‘The More I See You’. Sophisticated easy listening pop from Andy Williams and Frank Sinatra’s iconic ‘Strangers In The Night’ come ahead of Elvis Presley’s ‘Crying In The Chapel’, with LP2’s closer’s coming from Roy Orbison and Roger Miller, with the essential ‘King Of The Road’.

The Righteous Brothers’ undeniable ‘Unchained Melody’, a hit on release and a #1 in 1990 following it’s feature in the film ‘Ghost’ opens LP3 ahead of a wealth of huge pop hits from The Walker Brothers, Cilla Black and Cher – and rock oriented chart-toppers from The Troggs with ‘Wild Thing’ and The Spencer Davis Group with ‘Keep On Running’. The Everly Brothers’ ‘The Price Of Love’ leads into era-defining hits from Barry McGuire and Bob Dylan’s hugely influential ‘The Times They Are A-Changin’ reflecting the growing social awareness and changing approach to songwriting…and over to the final side opened by The Supremes with ‘Stop! In The Name Of Love’ ahead of The Toys with ‘A Lover’s Concerto’ and The Shangri-Las’ legendary ‘Leader Of The Pack’. Classic singles from Marianne Faithfull, Petula Clark and Sandie Shaw feature before the collection closes with a trio of timeless tracks: The trans-Atlantic top 5 ‘Sloop John B’ from the Beach Boys is alongside The Mamas & The Papas’ ‘Monday, Monday’ (a US No.1 and UK Top 5), whilst the aptly titled ‘Homeward Bound’ from Simon & Garfunkel – their first UK hit - signs off this superb collection.

NOW Yearbook Presents – The 60s – Volume 3: 1965–1966 – a snapshot of a rapidly evolving pop era where pure pop, soul, rock, beat, easy listening and songwriting sophistication converged.

This autumn sees the release of ‘En de stilstaande tijd voor (elektro-)akoestisch ensemble’ (And Stationary Time for (electro-)acoustic ensemble), the new album by composer and musician Sietse van Erve. With this release, Van Erve marks a definitive turning point in his artistic career: bidding farewell to his long-standing pseudonym Orphax to continue under his own name.

From Rewire to the Studio
The foundations for this album were laid during a memorable live performance at the Rewire Festival 2025 in Den Haag (The Hague). There, Van Erve presented the composition for the first time with an ensemble featuring Anne La Berge (flute), Gareth Davis (bass clarinet), and Dario Calderone (double bass). The leading Dutch newspaper De Volkskrant praised the performance as "incomprehensibly still", drifting on a single, drone-like tone through which the instruments softly float.
Van Erve recalls the intensity of that debut: “I don’t think I’ve ever been as nervous for a performance as I was for Rewire. A packed hall in Amare, during such a major festival”. Following a second successful performance at Festival Musica in Strasbourg, the decision was made to capture the work permanently in the studio.

A New Vision of Nostalgia
The composition originates from Van Erve’s fascination with time and nostalgia, inspired by a 1960s postcard of a Spanish village where time seemed to freeze. While based on a solo piece from 2020, the (electro-)acoustic instrumentation provides a completely new interpretation. The transition from solo electronics to an ensemble brought unique challenges. Van Erve explains: “Certain effects can be triggered with a single knob on a synthesizer, but they result in almost unplayable parts for other instruments. In those situations, I presented the challenge to the group and we searched for a solution together.’’

Identity and Evolution
The album also marks a personal transition for the artist. Regarding the departure from his moniker, he states: “I was looking for the right moment, and now it feels right. With this project, I have finally been able to do what I’ve had in my head for a long time... I feel I have achieved something, and that is why I think it is a good time to initiate the name change."

Realisation through Crowdfunding
Recorded in the spring of 2026 at Studio 150—located in a former church in Amsterdam-Noord known for its exceptional acoustics—the album was captured by Joeri Saal. The production of the deluxe vinyl LP and CD was made possible through a successful crowdfunding campaign via Dutch platform Voordekunst, where supporters contributed to the studio and production costs.

On their fourth album BGM, originally released in 1981, YMO continued where they left off with X∞ Multiplies, by venturing further into synthesizers, drum computers and experimentation with rhythm, sequences and speeds.

This album is more focused on atmosphere and mood. Some even say this album is a turning point for YMO and the international pop music scene. They successfully merged lyrics, sound bites and their signature electrically programmed music on BGM. “1000 Knives” and “Cue” are the most famous; ‘The Hand Clap’ on “1000 Knives” is probably one of the most used samples in the ‘80s, early ‘90s.

BGM is available on black vinyl and includes a 4-page booklet.

Delinquent Habits is the self-titled debut album of the Chicano hip-hop group that was formed in Los Angeles in 1991. As a group they got widespread attention with their, both melodic and hardcore, Latin-tinged rap. For the album they got help from Sen Dog, known from the very popular hip hop group Cypress Hill. He was the executive producer and also made a guest appearance on "Underground Connection".

The group was one of the biggest breakthrough acts of 1996. It started with the single "Tres Delinquentes" that attracted much attention and sold over one million copies. The album followed quickly and was equally successful by reaching the Billboard Top 200. The genre gained a new classic!

Delinquent Habits is available as a 30th anniversary edition of 2000 individually numbered copies on blue and white vinyl.

Stix Records, a sub-label of Favorite Recordings, is back with Disco Reggae Vol. 7, continuing a series that goes back more than 20 years, to the success of The Dynamics’ acclaimed album Version Excursions.

Born in Jamaica, reggae has always shared deep roots with Soul, Funk, R&B and Pop. Over the decades, Jamaican musicians have mastered the art of reinterpreting iconic songs through their own unique musical language. With the Disco Reggae series, Stix Records celebrates this rich tradition, bringing together fresh reggae interpretations of timeless classics from across the musical spectrum.

For this seventh volume, Charles Maurice has once again carefully curated a selection packed with gems, featuring reinterpretations of tracks by Hall & Oates, Gloria Estefan, Crystal Waters, Patrice Rushen, Cameo, Joe Smooth, and many more.

Behind the controls, the usual crew of friends is back: Taggy Matcher, Mystic Jungle, Soul Sugar aka Booker Gee, and Mato. This time, they are joined by Dub Shepherds and Slowly from Japan, who each bring their own flavour to the collection with two killer covers.

The result is another feel-good journey through Disco, Funk and Reggae, made for dancing under the stars, cruising with the windows down, or simply vibing with friends.

Disco Reggae Vol. 7 is another chapter in Stix Records’ ongoing celebration of the timeless connection between Jamaican music, classic songs and the dancefloor.

Following the success of "Between Frames", MAURER returns to boisha with his second EP on the label and his first solo vinyl release. Across five tracks, he brings together expressive musicality and a distinctive sense of groove.

Side A explores his melodic sensibilities and carefully arranged harmonies. Side B shifts towards the club, with a focus on rhythm and a direct, driving sound. Connecting both is MAURER's instinct for movement, with groove at the heart of every track.

Following the release of Electric Rescue's new album, "Different Horizons", Laurent Garnier's COD3 QR returns to its signature various artists format for a new vinyl-only release featuring six new tracks, by WheelUP, Rapson & Kathy Brown, Mirko Loko, Costello, Jules Wells, Rod20 and James Warburton.

WheelUP is West London producer and DJ Danny Wheeler who's released music on CoOperation Records, Jamz Supernova’s Future Bounce and his long-time home Tru Thoughts. After appearing on COD3 QR in July with a track alongside Blu James, he now teams up with regular collaborator, music producer, DJ and keys player, Rapson, alongside acclaimed US vocalist Kathy Brown for the intensely soulful "Music".

Mirko Loko is a prominent Swiss talent, known for his work as resident DJ at Couleur 3 and Loft Electroclub, artistic director of Polaris festival and releases on Planet E, Border Community, Cocoon and Visionquest returns once again to COD3 QR with the Detroit-influenced "Silent Failure".

French electronic DJ and music producer, Costello returns for his sixth track on COD3 QR, having also released on Solomun's Diynamic, Chloé's Lumière Noire and most recently Maceo Plex's Ellum Audio. His bright Techno groover, "Cocotte" closes the A-side.

Another COD3 QR regular, Jules Wells opens the B-side. Influenced by the Motor City, Jules has released on labels like Electrofunk, Submerge, Twilight 76, KMS, Planet E, Brique Rouge and Logos. Here, he takes the EP into atmospheric territory with "The Rooster".

Benny Rodrigues has previously delivered tracks for COD3 QR as The Lost Souldancer. But now he reprises his Rod20 alias with "Stars Of Bethlehem". Rod20 is the dedicated hardware-only techno project he began in 2020, which prior to its standalone vinyl imprint, launched with a self-released compilation, followed by a dual-part album on Jeff Mills' legendary Axis Records.

To close the EP is the experimental ambient work of "You Are Carried On Waves Of Endless Love" by James Warburton. James is a composer and multi-instrumentalist whose work has appeared on TV and film including Netflix’s "Squid Games", HBO’s "Succession", the title music for Channel 4’s "Manhunt" and the original score for Endemolshine/Banijay’s hit TV series "Murdertown" and NBC Universal’s "Faceless" podcast.

Eve 6 is the debut studio album by American alternative rock band Eve 6, originally released in 1998. The lead single and popular song "Inside Out" became a hit and reached #1 on the Modern Rock charts. Other singles include "Leech", "Superhero Girl", "Open Road Song" and "Tongue Tied", all contributing to the album's wide recognition.

The album was produced by Don Gilmore, known for his work with Linkin Park and Good Charlotte. Eve 6 became certified Platinum, selling over one million copies in the United States and achieved high positions on the Billboard charts, making it a hugely successful rock debut.

Eve 6 is available as a limited edition of 1500 numbered copies on yellow & white marble vinyl. The record comes in a deluxe sleeve finished with leather laminate and includes an insert with lyrics and liner notes.

*Glow In The Dark Coloured Vinyl*

Four years after its original release, Mochakk's breakout anthem 'Da Fonk' featuring Joni continues to define a generation of house music. Originally released via Nervous Records in 2022, the record has surpassed 60 million Spotify streams alone, becoming Mochakk's signature track and one of the most recognizable records in modern dance music.

Fronted by fellow Brazilian artist Joni's soulful vocals, "Da Fonk" bridges classic house and contemporary club energy. Its stripped-back bassline and timeless groove have made it a fixture on stages and dancefloors around the world, while also marking a turning point for Mochakk, who has since become one of electronic music's defining artists, widely praised for his vibrant live sets in which "Da Fonk" has remained a staple. To celebrate the track's continued success, Nervous Records releases the 'Da Fonk' Remix Pack today across all streaming platforms, alongside a limited edition three-vinyl release available during Mochakk's long-awaited New York City takeover from August 28, 29 and 30.

Spanning three parts, the remix pack brings together a wide range of artists, each offering a different take on one of house music's most enduring records of recent years.

The first vinyl features Mochakk’s Original Mix and OG Dub of “Da Fonk”, in addition to a new Bass Mix from Marco Carola, whose signature rolling grooves and understated approach bring fresh weight to the original without losing its unmistakable feel. The second vinyl moves across a broad spectrum of club sounds. Australian duo Confidence Man inject their playful, high-energy style into the track, while Berlin's DJ Gigola delivers a sleek, club-focused interpretation. Cinthie, known for her deep-rooted house sound and analogue production style, offers a warm and driving remix, with Brazil’s Bronka rounding out the record on a fresh, contemporary rework. The third vinyl shines a light on Brazil's electronic music scene with an all-Brazilian lineup. Solarce Brothers contribute a soulful reinterpretation that nods to the original's house roots, alongside remixes from DJ Fuzil, Classmatic, and Deekapz & kLap, each bringing their own perspective to one of Brazil's all-time most influential electronic releases on global stages.

Pressed onto a deep summer orange 12", accompanied by sky-blue outer packaging reminiscent of Netsky's 'Second Nature' LP - this is an unmissable collectible of Hospital Records history.
With Memory Lane being one of the tracks to first ascertain Netsky's legendary status, to 'Everybody Loves The Sunshine' becoming a household D&B anthem - this 12"" is a glimpse into the cross-generational success of one of Hospital's earliest signings.

Feelin’ Love returns to Soulfuric Deep with a fresh remix package built around one of house music’s most recognisable vocal anthems, bringing new energy to a timeless dancefloor favourite.

Originally released by Soulsearcher, the track has remained a staple across house and disco sets for decades, celebrated for its uplifting vocal, infectious groove and enduring crossover appeal.

This new edition pairs the original Soulsearcher Club Mix with a selection of contemporary reinterpretations, including brand-new remixes from RUZE & Chesster and Dr Packer, alongside the Ian Carey Main Mix, offering a versatile package for both modern and classic house DJs.

Blending soulful vocals, groove-led rhythms and contemporary production touches, the release bridges generations of house music while retaining the feel-good energy that made the original such a lasting success.

Back on fresh 12" vinyl, Feelin’ Love continues to resonate with both long-time collectors and a new wave of DJs, making it a strong addition to any house-focused record selection.

A highly recognisable and DJ-friendly release for stores supporting house, deep house and soulful dancefloor sounds.

Landing on the 4th of September via his own imprint Knee Deep In Sound, ‘Obsessions’ is less a traditional dance record and more a reckoning — with where Daley Padley finds himself now, as an artist and as a person. Written across a period of constant movement, touring and introspection, the album holds the push and pull between intensity and stillness that has come to define his world.

This is an artist who started making music in Barnsley — long nights, small rooms, total commitment to sound. Those early marathon sets weren’t a stepping stone to something else. They were the foundation of everything that followed: global tours, chart success, the creation of Knee Deep In Sound, a career built entirely on instinct rather than expectation. Hot Since 82 has never followed a fixed path. He’s carved out a space that sits somewhere between underground credibility and global reach — and it’s that same restless, uncompromising approach that shaped this album.

“Some days feel heavier, some thoughts harder to hold. But music still reaches the places words can’t. It’s therapy and a reset button.”

That sense of release runs through the entire record. While rooted in house music, Obsessions doesn’t sit in one place for long — not to prove a point, but because that’s simply how Padley hears music. It moves between deep house, breakbeat, melodic electronica and full club focus as naturally as a conversation shifts tone. Moments of euphoria give way to reflection and tensions dissolves into release.

The album opens with ‘All That Matters’ — a track that feels immediately both expansive and intimate and sets the emotional register for everything that follows. From there it unfolds like a journey rather than a sequence.

Lead single ‘Shaded’, landing on the 12th June taps directly into classic house lineage while feeling unmistakably current — a bridge between where this music began and where it’s heading. Elsewhere, ‘Life’s Too Short’ and ‘Eternity’ introduce warmth and movement, weaving piano, breakbeat and subtle Afro influences into the album’s wider palette.

As the record progresses, the light changes. ‘Wow’ leans into darker, late-night territory — tension, restraint, a hypnotic centre. The collaborations with Kuuda on ‘State Of Mind’ and ‘Time’ bring the album back into full club focus: driving, physical, built for scale.

Sakro, Brandub, Rhythm Box, and Nomad lock horns for the next transmission on Facing Realities. Following the runaway success of their inaugural drop last year, the imprint returns with a heavy-hitting, four-track V/A engineered strictly for the dancefloor. Expect a potent brew of hazy, dreamscape textures, raw 909 workouts, and relentless groove—primed to fuel those dark autumn/winter club sessions.

Francesco Messina is perhaps best known for his split album with fellow composer Raul Lovisoni, Prati Bagnati del Monte Analogo, originally released on the seminal Italian label Cramps in 1979. Along with contemporaries Franco Battiato, Juri Camisasca and Giusto Pio, Messina helped reshape the world of modern composition with an organic rawness and haunting beauty.

In November 2023, Messina performed Prati Bagnati live for the first time in Milan, Italy – along with pianist Michele Fedrigotti, who appeared on the original LP. The concert was a tremendous success and led the composer to further reflect upon the music he made over 40 years ago. From his home piano – a hundred-year-old Schimmel with magnificent resonance – new pieces began to emerge out of these meditative sessions.

As Messina says in the liner notes, "The idea of making a new album wasn't the driving force at all; what mattered was trying to reconnect with the 'freedom' I had experienced back then while creating that music. I started over without haste or deadlines, simply trying to find a deeper, inner connection."

W.25TH / Superior Viaduct is honored to present Le api dell'invisibile. From the hazy drone of "For Florian" and the title track to the gentle swells of "Letter for an Absent Friend," the album is a lush amalgam of new age and ambient minimalism that is vividly reminiscent of Messina's earlier work.

The title draws inspiration from a famous reflection by Austrian poet Rainer Maria Rilke: "We are the bees of the invisible. We ceaselessly gather the honey of the visible, to store it in the great golden hive of the Invisible." It is a phrase that has long shaped the way Messina looks at his music – transforming lived experience into sound, making audible what normally eludes the eye.

Released at a pivotal moment in Opeth’s ascent, Deliverance offers a snapshot of a band refusing to stand still.

Emerging in the wake of the breakthrough success of Blackwater Park, and produced in tandem with Steven Wilson, their sixth studio album boasts unapologetic heaviness, immersive songcraft, and intoxicating atmospheres. Whilst many contemporaries relied on tried and tested formulations to recreate and restructure, Opeth demonstrated true determination in ambition and sonic exploration.

Now, even after two decades Deliverance continues to hold reverence as a true jewel in the crown of modern progressive metal. This new reissue offers a fresh opportunity to revisit a record whose power, innovation and enduring legacy remain as impactful today as when it first arrived.

Originally released on Flying Nun in 1983, Fall In A Hole is a double LP of an especially incendiary Fall show at Mainstreet Cabaret in Auckland, NZ in August 1982. The second of a two-night stand, this would be the band's final concert of its successful first tour of Australia and New Zealand. Recorded by longtime Flying Nun associate Chris Knox – who also made the striking cover artwork – Fall In A Hole follows the release of earlier live albums Totale's Turns and A Part of America Therein, 1981.

Besides capturing The Fall onstage during one of its most feral and exhilarating periods, Fall In A Hole is historically significant for several reasons. It heralds the end of Marc Riley's tenure with the band, an era considered by many Fall fans to be the group's peak, and showcases the two-drummer lineup heard on 1982's Hex Enduction Hour, with both Paul Hanley and Karl Burns sharing drumkit duties onstage. With Riley and Craig Scanlon on dual guitars and Stephen Hanley on bass, The Fall was stepping out in its final iteration with a majority of personnel rooted in their late '70s lineup.

The setlist is peppered with a mix of singles and album tracks old and new – including several that had yet to be released. Rarities like "Fantastic Life," "Backdrop" and "Solicitor In Studio" are given epic, feedback-drenched airings, while fan favorites like "Hip Priest," "Prole Art Threat" and "The Classical" radiate with lively, raucous energy.

Superior Viaduct's edition is the first time that Fall In A Hole has been reissued on vinyl. Includes liner notes by Roy Montgomery. Digital transfers made from analogue master tapes in the Flying Nun Collection and Chris Knox Collection held at the Alexander Turnbull Library (National Library of New Zealand).

Cold, Bold & Together (CBT) CBT was founded in Bellingham, Washington in 1971 by percussionist Tony Gable and musicians Solomon Harris, Keith Hooks and twin brothers TC & Jamar Jenkins. It soon became evident that Bellingham was not a particularly welcoming environment for R&B music, so they moved to Seattle to try their luck and plumb the rich supply of venues, which they successfully did until disbanding in 1978. They spent their early Seattle years playing a combination of covers and originals in clubs, later becoming the "go to" opening act for various nationally known artists, such as Ohio Players, Kool and the Gang and Earth, Wind & Fire. While they were paying their club circuit and opening act dues, they squeezed in recording sessions whenever they could and released their own material, which was well-received and got strong regional airplay. However, because of the feudal nature of the music business at the time, they just couldn't break out, and like a lot of Northwest bands with great potential, they inevitably broke up and went their separate ways. Upon disbanding, they left behind a collection of original recordings at Seattle's legendary Kaye-Smith studios.

Unfortunately for CBT, the studio passed through several owners and at some unknown point in time, one of them did the unforgivable and destroyed the storied studio inventory of two-inch tapes and quarter-inch masters. Unknown to the band, a copy of their masters was smuggled out by their producer who added them to his legacy collection of cloned quarter-inch masters. After several years and many moves, he became concerned about the tendency for magnetic tape to deteriorate over time.

He sent the tapes to a Seattle lab to be restored and digitized, with the hope that perhaps, some day, they might be made available for the listening pleasure of R&B fans. The hoped-for day has finally arrived. Russell Paine and Super Disco Edits has pressed two of the Kaye-Smith CBT tracks: "Go For It", a jazz-influenced instrumental, featuring Kenny G, and "Unity", sung by the group en masse with Tony Gable singing lead. The musicians on these tracks are: Tony Gable, leader, vocals and percussion Harry Alexander, drums Kenny Gorelick (now world-renowned "Kenny G"), sax, flute and horn arrangements Chris Ishi, trumpet Michael Young, Trombone Jamar Jenkins guitar, vocals TC Jenkins bass, vocals 1 Philip Woo, keyboards Footnotes: CBT gave legendary saxophonist Kenny G his start in the music business. Kenny was still in high school when he was recruited to play sax and write horn arrangements. Kenny co-wrote, arranged and played sax and flute on the instrumental "Go For It." He rips a smoking tenor sax solo in the middle, which showcases his already masterful technique and solidifies his R&B bona fides. He went on to have a spectacular career recording for Clive Davis and Arista Records. Before his untimely passing in 2016, Tony Gable went on to found contemporary Jazz group, "Tony Gable and 206" (206 being Seattle's then only area code). With songwriting, performance and production help from Kenny G.

2026 Repress

Y-TRAXX'S "MYSTERY LAND" RETURNS ON VINYL WITH NEW REMIX BY ROY ROSENFELD:

The legendary trance anthem Mystery Land by Y-Traxx returns to the spotlight. First released in 1995, the track achieved iconic status after featuring prominently in the 2000 box-office No. 1 movie Kevin & Perry Go Large. The original track is now being reissued on vinyl. The release includes the Original Mix, the classic Sickboy Courtyard Mix, the Søluna Remix - winner of the Beatport Remix Contest - and a brand-new remix from Roy Rosenfeld. Available from 3 April via Serious Beats Classics.

With its hypnotic melodies, driving beats, and mysterious atmosphere, "Mystery Land" became a symbol of the 90s trance scene and grew into a cult classic. The track was picked up worldwide by influential DJs, including Paul Oakenfold, and featured prominently on his mix album Perfecto Fluoro (1996).

The new remix by Roy Rosenfeld brings a fresh, modern take to the iconic track, preserving the emotion of the original while adding a powerful peak-time, sunrise energy. Rosenfeld comments: "Remixing Mystery Land was an honor for me. I've loved this track for many years, so the process was very natural and fun. The vision came quickly, keeping the emotion of the original and pushing it into a peak-time, sunrise energy."

ABOUT ROY ROSENFELD:

Roy Rosenfeld is a leading DJ and producer in the house music scene, known for his warm, melodic, and instantly recognizable sound. Since 2009, he has built an impressive international career with releases on labels such as All Day I Dream, Lost & Found, and Rumors, and with iconic tracks like Epika and Kala. His music receives worldwide support from top artists including Solomun, Black Coffee, and Keinemusik. Alongside his studio work, Roy is a highly sought-after performer at clubs and festivals around the globe and the driving force behind the successful No Drama event concept in Tel Aviv.

This release combines nostalgia with contemporary trance production, offering both longtime fans and a new generation the chance to experience this timeless classic in a refreshed form.

Celebrating the 75th Anniversary of Atlantic Records!
Featuring "Soul Meets Body," "Crooked Teeth," and "I Will Follow You Into the Dark"
180-gram 45 RPM double LP
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jacket by Stoughton Printing



Plans is the fifth studio album by indie rock band Death Cab for Cutie, originally released August 30, 2005 on Atlantic Records. The album spawned three singles: "Soul Meets Body," "Crooked Teeth," and "I Will Follow You into the Dark," with all three songs charting. "Soul Meets Body" and "Crooked Teeth" reached No. 5 and No. 10, respectively, on the U.S. Alternative Songs chart.

Although "I Will Follow You into the Dark" performed poorly in the charts compared to the previous singles, it eventually became Death Cab for Cutie's best-selling single to-date, and gained the band a nomination for a Grammy Award for Best Pop Performance by a Duo or Group with Vocals the following year. Plans peaked at No. 4 on the Billboard 200, and received platinum certification by the Recording Industry Association of America on February 28, 2008. The album was nominated for a Grammy Award for Best Alternative Music Album at the 48th Grammy Awards, held February 8, 2006.

"On Plans, the band's fifth album, Death Cab is ready for the large, diverse audience a major label can provide, and they make the transition seamlessly, in large part due to the underrated production of guitarist Chris Walla, who has a way of making even the weirder flourishes (and the band tries a few to mixed success here) feel totally natural." — Pitchfork

This release is a homage to the Turbo label.

Turbo was a part of Joe Robinson and Sylvia Robinson’s All-Platinum Records set up in New Jersey which operated from 1967 to 1979. At one stage the fiercely independent and proudly black owned label threatened to become another Motown or Philadelphia International. That never happened, but the Robinson’s dream of worldwide success came later when Sylvia discovered Rap, recorded Rappers Delight by The Sugarhill Gang and Sugar Hill records was born.

Music historian Steve Guarnori describes All Platinum as "probably the most unusual record company there ever was. Dysfunctional, but at the same time wonderful."

The All-Platinum chaos extended to Turbo. But despite anarchy - some superb albums went straight from manufacture to be deleted and sold as cut-outs - sublime music was created. This 10" 6-track release collects together some of the most hallowed Turbo releases which between them have become cherished by collectors.

Brother to Brother "The Bottle" captures the label at its most astute. Gil Scott-Heron and Brian Jackson’s original version was an album only track on Strata-East so Turbo seized the opportunity to quickly make a worthy cover version and rush release it a single which enjoyed success.

"Ton Of Dynamite" by Frankie "Love Man" Crocker was Turbo’s debut release in 1968 (it actually sounds a later recording). At the time Frankie was a DJ on WWRL radio station in New York and the release was essentially a reward for his previous support of All-Platinum releases. The record (a b-side) is actually made Willie & The Mighty Magnificent who went on to re-record it as

"Funky 8 Corners". It took until 1975 for "Ton Of Dynamite" to get recognition when it became an anthem as the UK Northern Soul scene adopted it as part of the movement away from old skool 1960’s Soul. Whatever its’ provenance, "Ton Of Dynamite" is now revered by the Rare Soul and Funk communities.

The Optimistics "Man" from 1971 is another b side single. The group specialised in smooth harmony Soul but "Man" is a funkier affair which won support from Rare Soul aficionados and will cost you £600 plus if you are lucky enough to locate a copy of the hard to find 45.

Willie & West "Attica Massacre", also from 1971, is an even more elusive single. It is a powerful protest against the killing of 29 prisoners, many black, following a riot at a prison - Attica Correctional Facility in New York. The deaths and a subsequently discredited cover up caused outrage. John Lennon was amongst the first musicans to make a recording about the bloodbath, but the most emotional protest is this Willie & West track. Only 300 copies were manufactured of one of the most powerful civil rights recordings ever made. The vocal sounds like anti-War Edwin Starr at his most bristlingly aggressive.

Perhaps the strangeness of All-Platinum is best illustrated by the later success of Lonnie Youngblood "Sweet Sweet Tootie" which is essentially the backing track of "Attica Massacre" plus exquisite sax playing by Lonnie. Despite it selling 100,000 plus copies the label did not see this as a reason to reissue "Attica Massacre". Strange. Or as Marvin asked "What’s Going On"?

The New Sounds "Don’t Take Your Love From Me" was only issued by Turbo as an album track. Despite good music on it the LP was poorly (it at all)/ promoted and flopped. The superb "Don’t Take Your Love From Me" is a long time Northern Soul / X-Over favourite.

Larry Saunders mesmerising "On The Real Side" made no impact when released on Turbo in 1974 but was nevertheless issued in the UK by London Records. The Northern Soul discerning dancers instantly latched on to its combination of uplifting lyrics, heartfelt vocal and clomping beat and since then its’ appeal has extended across the whole of the Soul community. Without doubt an all time classic.

So six treasures from a label that despite frequently advocating cash out of chaos frequently conjured up awesome music.

ANORAX is grateful to have the opportunity to present this very special Soul selection.

SHORT INFOS
Because Music celebrates the 50th Anniversary of Cerrone's debut album "Love In C Minor (Cerrone I)" .
A record which is one of the mots important of its time. It brought French Disco to the World and established Cerrone as the French King of Disco.
- Pressed in exclusive 2026 Apple Green Crystal Clear vinyl
- Original 1976 artwork - Digitally remastered from original tapes.

BIOG
Cerrone I
Love in C Minor (1976)
The story behind Cerrone's first album could be summarised in the libertarian atmosphere and the creative energy of the 70s, inherited from the 60s revolutions, spiritual, aesthetic or sexual. Looking back now, this record is one of the most important of its time. It helped creating the sound of an era and brought French disco to the world. It is also, and this is fundamental to understand its success, the result of a man's vision: Marc Cerrone, a free spirit inhabited by music, who ended up with a major work of art. With this album, Cerrone accumulated the main elements that make a record timeless, even bigger than its creator: the pure originality, the madness of a vision without compromise, a sense of the market and a great dose of luck too. To some extent, this is the perfect record to start a career, even though Cerrone's one already existed in an implicit way. He actually began in a rather popular band, Kongas, signed by Barclay. Between 1972 and 1974, the band was famous and made it abroad, particularly in Japan, where people loved its sound. Despite this success, probably fed up with the music and not ready to follow the orders of a label that wanted the band to sound more pop, Cerrone disbanded Kongas. He had the sound of his instrument in mind and mostly its central element: the bass drum. The idea of this first solo album came to him after a detour via selling records. Wishing to forget about the studios, he took the head of a small chain of stores, selling records imported from the States. That's when he discovered a daring new sound coming from New York: disco music. This energy inspired him to record again. He then remembered the crazy reaction of the audience when, during the Kongas' concerts, he used to hit his bass drum hard. Cerrone felt like going back into the studio but to make something different. He decided to record a sixteen minutes long track, driven by its beat, that would fit on its own on one side of a LP (during these vinyl days, musicians used to think in terms of sides…), with girls' voices simulating sex. This concept of musical and physical orgasm was recorded at Trident Studios in London (where pop stars used to record at the time… ) with Don Ray, of Kongas, man in the shadows and brilliant arranger who'd follow Cerrone during his whole career. Obviously, like always in pop music (it happened to the Beatles), record companies started by turning this weird track down, convinced that radios would never play sixteen minutes of beats and moaning. Cerrone, a born fighter, decided to trust his instinct (a mix of ego and business sense) and chose to believe that if the radios wouldn't play the track, people would dance to it in the clubs. He released the record himself, with a sexy cover a bit provocative where he wore a black bathrobe, a young short-haired girl leaning on him. Being played here and there, thanks to Cerrone's own network, the record started to work a bit in France. But luckily, things really happened in the States. Due to a mistake, a box of "Love In C Minor" albums were sent to the States via Cerrone's record shop instead of some unsold American LPs. Once in New York, the box was opened and the record with its intriguing cover was instantly loved and passed through the hands of radio and club DJs. All of a sudden, and unknown to its creator, the track that was turned down by every French label, became a hit on the New York disco scene. Casablanca, the US disco label, released a cover recorded by an ad hoc band because nobody knew Cerrone of how to find him. Once he discovered what was happening in the States, Cerrone flew to New York. He realised he had a hit, one of the biggest then, that opened the doors to every record company and especially Atlantic. He was welcome by Ahmet Ertegun, one of the main visionaries of the American music who, among other artists, signed Aretha Franklin and John Coltrane. It's believed that Ertegun understood that the French young musician, like some Atlantic artists, was about to define the sound of his time and that his work would live long after its birth date. "Love In C Minor" was the first step, adamant and successful.

Following the success of UNLOCKED and UNLOCKED 1.5, acclaimed rapper Denzel Curry and visionary producer Kenneth Blume fka. Kenny Beats reunite for another explosive collaboration on upcoming album ii. Featuring JPEGMAFIA, Yebba, and Westside Gunn, the project pairs boundary-pushing production with sharp lyricism. The campaign includes music videos for both focus tracks, behind-the-scenes content, exclusive interviews, and more, giving fans an inside look at the making of this highly anticipated release.

Following the runaway success of last year's anthem 'Tom's Tweaks', Hodge comes through with another high-grade UK house two-tracker, with heavyweight remixes by Eris Drew and Om Unit.

Some records never really disappear. They wait for the right moment to be rediscovered.

Originally created in 1981 by legendary Italian composer and keyboardist Claudio Simonetti alongside producer Giancarlo Meo, Kasso emerged at a pivotal moment when disco, jazz-funk and electronic music were beginning to collide, and a distinctly Italian dance sound was taking shape.

Built around Simonetti’s unmistakable piano and keyboard work, Kasso developed a significant following across Europe, particularly in France and Italy. The project would produce cult favourites including “Kasso”, “Key West”, “One More Round” and “Walkman”, the latter becoming a major French success, reportedly selling around 500,000 copies.

Kasso’s influence travelled considerably further. Finding its way into the underground clubs of New York and Chicago, with original material receiving the remix and edit treatment from John “Jellybean” Benitez and, later, house music pioneer Frankie Knuckles.

Behind it all is Claudio Simonetti, a musician whose extraordinary career stretches from European disco to some of cinema’s most iconic soundtracks as keyboardist and composer with Goblin, including Deep Red, Suspiria and Dawn of the Dead. Now, more than four decades later, Claudio Simonetti’s Kasso returns.

Unlocking key elements from the original production, including Simonetti’s distinctive piano, the music has been placed in the hands of another European dance music pioneer: Ben Liebrand.

A hugely influential DJ, producer and remixer, Liebrand’s groundbreaking In The Mix radio shows and legendary Grandmix series have helped shape European DJ culture, while his extensive remix catalogue stretches across artists including Bill Withers, Phil Collins, Sting, Salt-N-Pepa and countless others.

His new interpretations of Kasso respect the musicianship and unmistakable character of Simonetti’s original while giving it a fresh, contemporary dancefloor life.

And this is only the beginning.

Kasso launches a series of four new singles, culminating in Kassologie, a definitive collection bringing together the essential Claudio Simonetti recordings alongside new remixes and updates. And all vinyl will be released in a colored-vinyl edition also!

Over forty years after it first emerged from Italy’s extraordinary early-’80s dance scene, Kasso is ready for another round.

Get ready to dive into the vibrant sounds of the summer with Neighborhood Music’s second vinyl sampler!
Building on the success of their inaugural release, this new collection features a stellar lineup of artists that embody the essence of house music, ideal for sun-soaked days and dance-filled nights.

1. Lazaro Casanova (Miami, USA) - Return (Original Mix)
Born and raised in the heart of Miami, Lazaro brings his unique flair and infectious energy to the sampler, ensuring grooves that will resonate on dance floors around the world.
2. Ordonez (Cuenca, Ecuador) - Trukmpaholic (Original Mix)
A rising star from Ecuador, Ordonez infuses his tracks with a deep understanding of house rhythms, delivering a sound that is both captivating and invigorating.
3. De La Maso (Zurich, Switzerland) - Stand Up
Known as the Swiss lucky charmer, De La Maso combines hypnotic percussion and melodic hooks to create a Balearic atmosphere perfect for sunset sessions by the beach.
4. Hotswing (Florence, Italy) - Samba
The young gun from Italy, Hotswing brings a fresh perspective to house music, seamlessly blending modern elements with classic grooves that keep the hips swinging.

This vinyl sampler is all about*percussion, groove, and swing, It embodies the spirit of Balearic style, where sun, beach, and fun intersect, making it the perfect soundtrack for your summer escapades. Each track is designed to uplift and energize, whether you're lounging on the beach, hosting a backyard BBQ, or hitting the club.

Massive support by Harry Romero, Paco Osuna, Joeski, The Deepshakerz, Tom&Collins, Alaia&Gallo, Animal Trainer, Tube&Berger and many more.

2026 Repress

purple vinyl

Following up from Amadeezy's wildly successful East Side G-Ride earlier this year, Nite Fleit beams onto the International Chrome starship to bring us four tracks of extra-terrestrial electro that will blow your sensor readings. The EP comes on 140g purple vinyl and includes an interstellar team-up with Jensen Interceptor on the track Effe Bee Eye. The Truth is out there...

Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.

Vinyl LP with 4 page insert, original artwork and photos

The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.

The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.

At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.

Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.

Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.

Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.

If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.

Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.

Following the success of their debut label release, Antwerp’s finest duo, Bobby & Djenko, return to Flipsight with their highly anticipated 'Burning Up' EP. It marks the beginning of an exciting new chapter for the duo, whose fast-paced momentum and global DJ support show absolutely no signs of slowing down. This is summer house to the fullest extent: Guitars, piano, trumpets, conga’s and catchy vocals. The 4-track vinyl package has it all! It is an absolute showcase of their mix of high-energy festival/club sound and pure beach material. Catch them live while they are burning hot!

The return of Jonne Lydén aka 53X is an exhilarating welcome for Emotional Especial with 4 more seismic analogue psychedelic jams that are becoming recognisably a unique and hypnotic statement.

Lydén’s studio time is distillation for personal contemplation and perfection just 3 releases in 5 years that are worth the wait. The heady demand for his debut ‘Synapse’ and the following ‘Zen ‘23’ on Especial (limited repress incoming!) show constant development a sound of widescreen technoscope where dub beats trance pyrotechnics and 303 mind-melt swirling in a cosmic matter.

His return takes this further his music heritage in Finland’s hardcore punk scene to finding the techno of Detroit and Berlin before submerging in synths and drum programming jamming recording and mixing these trip-out electronic journeys live.

This heavy 4/4 jack is apparent on opening Sanctuary. Like his recent outings ‘Radar’ found on the Especial 50th “sampler” release ‘Gracias Especial’ (EES050) and also ‘Simulaato’ hidden away on blink and you miss it cult label Avidya (AVI003) this is a pure undiluted bang. Straight forward heavy bass kicking charged with acid 303 and monotonic vocal insights the track is a flourishing temple a call of embrace.

The eponymous Cyan Haze showcases 53X’s cinematic finest panoramic audio and sound design creating expansive phonics. BPMs drop samples flourish around break drops and rolling bass – breathing looping shouting lifting.

Owls enlightens. Hardware rumbles cerebral a temporal universe awakening. The collage of found sound successive sequential all encased by hypnotic broken chords rolling bass and melancholic piano refrain. Meta worming braindance ecstatic tribal industrial gliding by Shiva into the night.

Dust closes apt its basement collage pounds Lydén to techno genesis. Proto-zeitgeist steppa dark room incantation pulling and expanding the fantasy to strange dreamscapes. Reincarnation and hope in 2026.

Here comes the next revelation in our ongoing journey of uncovering true artistry, with KAIR stepping again into the spotlight for his debut EP on Real Talks Records. After touching our hearts with his appearance on our first VA, it became clear that his sound and his message deserved a deeper exploration. The result is the Salsa! EP, a stunning reflection of his talent.

We couldn’t be more thrilled with this release. KAIR has been consistently recognized for his highly creative music productions, brimming with his colorful personality, endless groove, and heart. This follows a stream of successful releases on 5511, K7 Records, Banana Gold, Miura Records, theBasement Discos, Real Talks Records, and more.

The first three songs on the EP deliver some serious heat, setting their sights straight for the dancefloor. With well-structured drum rhythms that move the body and stir the soul, crafted with love and dedication, he delivers a succinct slice of tech-housey goodness that keeps it tight throughout.

While these 3 bangers won't fail to make you dance and feel good, the B-side holds a hidden gem. Closing out the release, “GTA” embodies an entirely different energy, delivering emotional vibes that keep things slick and grooving all the while.

The Salsa! EP captures the essence of what we stand for at Real Talks Records: music with intention, depth, and soul. It’s an EP built not just for the dance floor, but for meaningful moments.

Enjoy. This Is Real Talks Records.

The Mighty Diamonds are one of the most famous vocal groups to come out of the Jamaican Reggae scene.
Their perfect harmonies ride over the wholesome and Garveyite influenced lyrics to such great effect that they will always evoke memories of that time and place, but also like all great music never seems to date.

The Mighty Diamonds consist of Donald ‘Tappy’ Shaw (lead vocals) Fitzroy ‘Bunny’ Simpson and Lloyd ‘Judge’ Ferguson providing those fantastic harmonies.
They began their recording career working with producers Stranger Cole and Rupie Edwards but found their breakthrough success with producer Joseph ‘Joe Joe’ Hookim at the legendary Channel One Studios recording ‘Hey Girl’ and covering two foreign tunes namely ‘Country Living’ (The Stylistics) and ‘Stoned Out of Mind’ (The Chi-lites) which suited their vocal styles perfectly.

The vocal group also cut tracks with other famous producers of the time Joe Gibbs ,Gussie Clarke and Mr.Tappa Zukie of which we focus this release on.On listening, these tunes work perfectly with harmonies weaving together and lifting the songs to another level.
The group also leave some room for a history lesson in the shape of ‘Morgan the Pirate’ and the thought provoking ‘Do You Want to Spend Your Time Wasting Time’.
Well waste no more and enjoy this set by one of Jamaica’s finest vocal groups….

Following the massive, multi-platinum success of the global hit "A Bar Song (Tipsy)" and his breakout contributions to Beyoncé’s COWBOY CARTER, Shaboozey returns with his most ambitious work to date: the new concept album, The Outlaw Cherie Lee & Other Western Tales. Building on the genre-bending foundation of Where I've Been, Isn't Where I'm Going, this project cements Shaboozey’s status as a pioneer of New Americana through a cinematic outlaw revenge story with a tragic love at its center.

The narrative follows Cherie Lee, who, after witnessing her sheriff father’s murder by the Bootcut Boys, abandons the badge to hunt the gang down one by one. In the heat of her vengeance, she falls for an outlaw—not the killer, but a man guilty by association. While he seeks redemption through her love and she seeks a cure for her darkness, both find that violence is not so easily escaped. When her lover kills the real murderer in her name, he proves that bloodlust doesn’t end; it only evolves. In a devastating final act, Cherie chooses her vendetta over her heart, killing the man who loves her most and fully becoming the very monster she set out to destroy. Gritty, soulful, and narratively daring, The Outlaw Cherie Lee is a bold evolution from one of music's most dominant current forces.

LAURA GREENE, from Cleveland, Ohio, has enjoyed a long and successful career in the entertainment industry. She started out as stage actress before becoming a singer in the lucrative TV and radio jingle business. She has also modelled for many press campaigns and regularly appeared on TV chat shows. In 1968 she had a role in the film For Love Of Ivy with Sidney Poitier and a year later co-starred in the satire Putney Swope directed by Robert Downey Sr. It seems fitting that her 1967 non-hit 'Moonlight Music And You' finally found commercial success in 2003 when featured on a KFC TV advert. PEGGY MARCH was born Margaret Annemarie Battavio in 1948 and, although having a prolific recording career, is rememberred mainly for her million-selling 'I Will Follow Him'. Here we feature her Northern Soul waxing for RCA in 1968 that packed the dance floor at Wigan Casino a decade later!

Collecting Orders For 2025 Repress

Backing it up can mean so many things. According to the urban dictionary, it means to carry on drinking the next day in spite of a rather large one the night before. According to Apple, it means to take your I-phone and attach it to an I-pad or Apple Mac - and copy the information to the cloud. Or the device. But in music.....what we mean is basically this....."Damn......that was a big hit......how the hell are they going to emulate that success on the next one."And it's hard for so many reasons. Was it luck Timing That one in a million sample With all the pressure, soon the artist can start second guessing themselves........and that's when backing it up becomes a real problem.But not for our boy PURPLE DISCO MACHINE. If BODY FUNK, his last outing on CLUB SWEAT, wasn't one of THE biggest songs of last year, from Ibiza to Miami and back again.....played by every single DJ under the sun, from BLACK MADONNA to JAMIE JONES to your mama......then I'm not sitting at my lap top writing this shpeel....which I'm very sure I am. AND I'm going to back myself (see what I did there) - and say that DISHED (MALE STRIPPER) is the best way to back up a hit ever. With another hit. Doesn't sound the same....doesn't worry about what the last one did...just does what it does.....which to be honest - is GO OFF!!!! It builds and builds and builds and......In the same way that BODY FUNK masterly made the sum of 2 disco songs bigger than their parts had ever been, this time PDM takes some Italo Disco from MAN TO MAN MEET MAN PARRISH's MALE STRIPPER and mashes it with the aptly named ELLIS D's DISHAPELLA to create a 12/10. Back it up PDM - you are a legend!!!!

Collecting Orders For 2025 Repress

Hello TS series, welcome to the dolly family!

We are kicking off this new exclusive range of releases, focussed on serious high quality techno in the widest sense, with Detroit dub technospecialist Luke Hess.

After successfully releasing on labels like FXHE, Planet-e, Echocord and his own label DeepLabs, Luke is back with ''These Streets''. Dynamic, pumpy and melodic, deep techno bombs with super solid remixes by Portuguese techno talent Vil as well as the Italian power duo Fireground.

Molecular Recordings Presents "Structure Series 2" — Continuing a Legacy of Techno Innovation

Following the success of the first volume, Molecular Recordings returns with Structure Series 2, the next chapter in its celebrated vinyl series that honors the label’s enduring influence on underground techno.

This 12" release deepens the label’s exploration of forward-thinking sound, pairing iconic names from the Molecular archive with groundbreaking contributions from the new vanguard of producers. Each track reflects the uncompromising spirit and sonic evolution that have defined the label for over three decades.

Structure Series 2 is both a continuation and a progression — a curated fusion of past and future that underscores Molecular’s role as a pioneer and incubator of techno culture. It stands not only as a collector’s item but as a bold artistic statement.

With Structure Series 2, Molecular Recordings reaffirms its commitment to pushing boundaries while remaining rooted in the authenticity that has shaped its legacy since day one.

Eclection’s lack of commercial success remains a mystery to this day. This selection of BBC Top Gear recordings demonstrates their song-writing strength and musical prowess. Only three tracks appeared on the band’s sole studio LP: the remaining nine songs suggest what a second LP might have sounded like. Highly recommended to fans of Fairport Convention, with whom Eclection share some musical DNA.
Comes with full recording credits and extensive sleeve notes.
Recording Quality Very Good/Excellent throughout.

The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers

The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.

Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.

Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.

On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.

The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.

All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.

Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.

How enduring is the signature song from Harry Chapin’s Verities & Balderdash? So timeless that it became the subject of a 2025 documentary in which artists from multiple generations weigh in on its impact on their lives and craft. “Cat’s in the Cradle” doubtlessly remains the main event on the singer-songwriter’s 1974 album. The legendary opening track also serves as a guidepost for the bold personal and social material that follows — as well as the gorgeous folk-rock arrangements that underpin the New York native’s most commercially successful work.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, housed in a Stoughton jacket complete with a four-page insert, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Verities & Balderdash presents Chapin’s fourth full-length in audiophile quality for the first time on vinyl. Captured during a golden era for sonics and production, the Top 5 effort features remarkable tonal balance, instrumental separation, and organic naturalism. Those valued aspects come into supreme focus on this reissue, which plays with dead-quiet surfaces and a low noise floor.

The newfound clarity, openness, and imaging underscore the lasting appeal of Chapin’s tender deliveries, soulful timbre, and careful phrasing. Every word comes across with incredible realism, while his underrated guitar playing occupies its own distinctive space. Also notable: The extension of the tasteful string accents; airiness of the backing vocals; depth and shape of the spare bass lines; and width and depth of the soundstaging. When on “Six String Orchestra” Chapin calls out names of instruments, they appear like magic, the band performing feet from you. Chapin has never sounded so lifelike on record.

Certified double platinum, Verities & Balderdash resonated with the times and public. “Cat’s in the Cradle” reached No. 1 on the chart on its way to being inducted into the Grammy Hall of Fame. The romantic ballad “I Wanna Learn a Love Song” flirted with the Top 40 and wrapped listeners in the equivalent of a cozy blanket. The record’s other single, the mini-epic “What Made America Famous?,” helped establish Chapin as one of the country’s most incisive and insightful commentators.

Verities & Balderdash teems with situational devices and topical matters. Chapin observes everything from the polarization of the nation to changes in moral standards and cultural priorities. He investigates pressing themes without ever turning preachy or elevating himself above the matters at hand. On “Halfway to Heaven,” whose coda races to the finish and ranks as the most urgent moment on the record, Chapin inhabits the mind of his frustrated protagonist akin to an eagle-eyed novelist.

Conveying emotions that range from melancholic to carefree, Chapin is as much of a singer as a storyteller. He assumes the voice of multiple characters within a single narrative. During the quirky “30,000 Pounds of Bananas,” a tale based on a delivery-truck accident in 1965, Chapin alters his delivery, pronunciation, and diction to become an old man reflecting on the mishap and mess. The tempo, too, adjusts to match the speed of the vehicle Chapin describes.

Adorned with timely laugh tracks to reinforce the bittersweet humor, the stripped-down “Six String Orchestra” takes everything up another notch, with Chapin intentionally missing guitar notes or playing a broken passage to illustrate the failures of the hopeful protagonist who doesn’t have what’s required to make it as an artist.

Chapin, of course, did not have any such problem. The lynchpin of a career cut short by a tragic traffic incident, Verities & Balderdash is Exhibit A of the savvy craft, feeling, and perspective he lent to American music.