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Mixing the theatrical, the operatic and the ghoulish, Screamin’ Jay Hawkins was a one-off whose shocking stage tactics helped him find initially fame in the mid-1950s. Recorded in Nashville in 1973 and his sole offering for local label Hot Line, A Portrait Of A Man And His Woman is Hawkins at his most accessible; the title track’s haunting delivery and a remake of calling card ‘I’ve Put A Spell On You’ balanced by bright takes of ‘Itty Bitty Pretty One’ and Conway Twitty’s ‘It’s Only Make Believe,’ with plenty of grunts, shouts and animalistic interjections beneath Hawkins’ operatic and gospel-tinged vibrato. Hawkins fans, take note!

Celebrating three decades of influential, thought provoking and groundbreaking punk rock, Bad Religion have released their fifteenth studio album, The Dissent of Man.

“Black Magic Man is arguably the pivotal Joe McPhee release. It bridged the span between the regional and the international, bypassing the national altogether. “Recorded in the same sessions that produced Nation Time, Black Magic Man consists of music not chosen for that LP. Like its much-feted sister, technically it falls under the domain of CjR, Craig Johnson’s herculean effort in support of McPhee. An erstwhile painter, Johnson became a self-taught audio engineer, acquiring equipment expressly to document McPhee’s music. In December 1970, five years after Johnson and McPhee had met, they recorded two days of activity —a concert followed by an additional day of recordings—at Vassar College where McPhee was teaching in the Black Studies department. About half of the material was used to make Nation Time. While they had planned to issue a follow-up, the money wasn’t there, so the tapes sat dormant. “Fast-forward five years—Werner X. Uehlinger, a Swiss businessman who worked for Sandoz Pharmaceuticals, contacted Johnson while on a trip to the US, and over dinner with McPhee, they discussed putting out some of the unused tracks from the Nation Time sessions. With this casual encounter in 1975, Hat Hut Records was inaugurated. The new label’s maiden release was Black Magic Man, dubbed Hat Hut A, the first in what would become Hat Hut’s letter series. Along the way, the series would feature seven Joe McPhee records, including the first four in a row.” —John Corbett (excerpt from the liner notes)

Fresh underground talent straight out of Liverpool from certified herbalist Sticky Dub. The MC/Producer cooks up his own special blend of Broken Beat, UKG, Dub and Hip Hop, as styles collide to unique effect. His Northern roots man, rudebwoy energy is processed through an electronic, inner city engine, resulting in some of the most exciting club ready cuts we've heard this side of the Mersey. Melodic dub baselines rub with skipping dancefloor beats, all laced with Sticky's bouncing Scouse drawl, and lyrical insight, on his quest to understand nature and rhythm. And like Sticky says, if you want to keep the spiritual equilibrium of the world in check, then 'never give weapons to a man who can't dance"....

A Gilles Peterson-approved deep jazz-rap classic.

2024 first time vinyl release, 140g double vinyl, remastered audio with restored artwork.

Limited and Non-Returnable.

Holy grail hip-hop alert! Superstar Quamallah's Invisible Man was never released on wax so, to celebrate the 15th anniversary of this astounding record, we present the first ever vinyl edition. A stunning record which gained accolades upon its initial release, such as a prominent feature on Gilles Peterson's renowned Best Of 2009 show, it's one of the most essential jazz rap albums of all time.

Deep jazz rap on that mellow-melodic tip, Invisible Man is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance this album has passed you by but we truly believe it to be a lost hip-hop masterpiece. It supremely captures the essence of a golden age classic without being slavish to the past. No, this ain't some facile throwback rap. It's a fresh and deeply soulful, original album shot through straight from the heart. Perfect to chill to, Invisible Man is profoundly jazz-oriented and captures with simplicity and sincerity the essence of hip-hop circa 1983-1994. It sounds like vibing with your nearest, dearest and oldest friends on a long hot summer night as the tantalising thought that anything is possible fills the air. You know what, we can just call this "magic hour rap" and we think you'll know what we mean. It's just beautiful. Just Listen.

Brooklyn-born, California-based emcee, DJ, and producer Superstar Quamallah was active in the West Coast underground scene throughout the 90s and recorded extensively with such revered names as Defari and Tajai. His parents were some serious artistic heavyweights, too; his father was soul organist Big John Patton, a giant in the jazz world known for his releases on Blue Note whilst his mother was an active designer. However, he remains relatively unknown. Invisible Man, named ostensibly after the classic Ralph Ellison novel, could also refer to how he is viewed by the public at large. With close affiliations to the Hieroglyphics, Dilated Peoples and Likwit crew, his debut EP "Don't Call Me John" arrived in 1999 on ABB Records, after which he took a sabbatical from recording which included graduate school, travelling, teaching at Inglewood High and eventually a professorship of African Studies at Berkeley.

With a laidback flow and deep, relaxing presence on the mic, Superstar Quamallah is equal parts Big Daddy Kane, Rakim and Guru. Invisible Man is refined, soulful, feel-good hip-hop of the old school. Its wise, spiritual and literate sound, combined with the summertime vibes projected by the smooth beats and the nostalgia-inducing samples and vocal scratches, created jazzy boom-bap rap reminiscent of prime De La Soul, A Tribe Called Quest and Gang Starr.

Irresistibly bouncing opener "You Need Knowledge" loops sparkling pianos, horns and a nagging whistle refrain with scratched vocal refrains from Slick Rick, Mobb Deep and Guru. The super-smooth head-nod classic "88 Soul" also utilises a beautifully swelling piano line and dusty breaks whilst Quamé reminisces about his childhood in NYC. Deeply moving, the silky, sultry "Black Shakespeare" is built around an elegant piano loop and goes hard on the superman lover tip whilst "For My People...It's Spiritual" is transcendental rap in conversation with Rakim and older gods. The "Moment Of Truth"-sampling "Lonely At The Top" is striking for its undiluted boom-bap stylings and the staccato flute-hop of "Just Listen" is riddled with soulful refinement. The deeply-affecting, wistful-yet-triumphant bells and horn-drenched single "California Dreamin'" is top-tier rap of unimpeachable quality. What a flow!

Another highlight is the rich melodic piano-rap of "Purity", a beautiful ode to the foundations of rap and those keeping the culture authentically alive. Beautifully played instruments and spiritual jazz samples elevate the deep thinking present on "Kunta Kente" whilst the darker jazz-tinged battle-rap of "93 Shit" goes super hard both in a lyrical sense and with its no-holds drum punches. The breezy Rhodes and string loops that serve as the sonic backdrop to the slinky jazz rap of "We Got Plots" are just gorgeous as our hero evokes Common's "I Used To Love H.E.R." with a head-spinning tale of crime, deception and double crossing. And some twist! "Do Win-Dis" has a tense crime-funk backing and rolling beats which complement Quamé's flow perfectly before the record is rounded out by the tough yet jazzy brilliance of rap confessional "Hope She Remembers Me". Just sensational.

Upon its original release, Quamallah himself declared: "My favorite time period for Hip Hop music was definitely between 1983 and 1994 with 1988 and 1993 being two years that standout as extremely impressive years musically and culturally. The fashion, slang, movies, TV shows and vibe during those years was incredible. While totally submerged in the feelings and music of that entire time period, I went to work on Invisible Man and I am excited for people to hear the result! It is an album that I would want to hear from some of my favorite artists of the past and present today. This is not a RETRO trip for me; this is me at my best lyrically and spiritually using the accessories of the 80s and 90s to fuel me. I am a 88 soul as the song states!"

This album goes deep. It goes all in. When Invisible Man first came out it had a real hold on us here at Be With HQ. We couldn't stop listening to it. We'd venture to say it's one of the top 25 rap records of the 2000s. In the years since its release, it has remained a criminally underrated record, an increasingly hidden gem. We sincerely hope this first time double LP release will go some way to correct this.

It's been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. Finally available on the format it should always have been on, it must never be rendered invisible again.

Rich Ruth, das Projekt des Multi-Instrumentalisten Michael Ruth aus Nashville, macht ganz und gar eindringliche Instrumentalstücke, die zwischen fröhlich-abenteuerlich und beruhigend-meditativ changieren. Seine Musik beginnt in der Einsamkeit mit hypnotisierenden Loops und Drones als Grundlage für die Arrangements, die schließlich von einer eklektischen Gruppe von Mitwirkenden eingefärbt werden. Die daraus resultierenden
Erkundungskompositionen, die spirituellen Jazz, synthiegetränkten Post-Rock und kosmischen Ambient vereinen, sind oft betörend, schweben aber immer mit einer spürbaren Unmittelbarkeit.

Sein neues Album Water Still Flows ist sowohl sein schwerstes als auch sein kathartischstes. Mit sieben Songs ist die LP sowohl ein Dokument eines Künstlers, der die Grenzen seines Prozesses auslotet, als auch ein Beweis dafür, wie Songwriting eine persönlich erdende Kraft sein kann.

Radioactive Man & Ben Pest deliver their 2nd EP on Asking For Trouble.

4 Trax of ravey acid vibes for the dirty dancefloor. Both have been doing their own live sets across the planet, the trax reflect this in the way these were built. Contrary to the EP title, you do actually want this in your house.

Artwork By Lung.

Released in 1982, 'Song of the Bailing Man' is an ‘inspired, invigorating, confounding, disturbing... yeah, one hell of a swinging way to go. Still the futility Ubu must have felt making far sighted music in a chronically near-sighted world is pressed hard into these grooves.’ (Melody Maker, David Fricke

"Never sacrifice the art for anything and never leave home without your respect. Southwest representer Cash Lansky hails from the deserts of Tucson, Arizona about 45 minutes from the Southern border. His story is one of family, trials, growth, and being forced into a role all too many young boys face - being the Man of the House at a young age. Wise beyond his years, Cash grew up quick. This record is the heartfelt result of being able to reflect on that life and bring forth the lessons and stories that make great art.

A seasoned performer and respected member of the Arizona Hiphop scene and Southwest culture, Cash Lansky makes his indie label debut with Mello Music Group on this T-Wade and Mario Luciano produced album (Mario's credits include notable releases like Drake’s “8am in Charlotte”, Kendrick Lamar & Baby Keem’s “Savior” , J. Cole’s “Punchin’.the.clock”, Jack Harlow’s “Is That Ight?”, and H.E.R. & YG’s “Slide”). The new record is mixed by the legendary Willie Green. This is Rec-Center Rap straight from the heart of one the West's best."

"2024 marks the 40th anniversary of Bruce Springsteen's 'Born In The U.S.A.' Although it would become his biggest selling album with seven top 10 singles on the Billboard Hot 100, Luther Dickinson of North Mississippi Allstars says ""any of those songs could be played with acoustic guitar alone and still be great."" Taking this idea as its premise, 'Dead Man's Town: A Tribute to Born in the U.S.A' strips the album's twelve indelible originals to the core, with contributions from Jason Isbell & Amanda Shires, Low, Nicole Atkins, Justin Townes Earle, Blitzen Trapper, Joe Pug, Trampled by Turtles, and more. Rolling Stone premiered Jason Isbell and Amanda Shires' Dave Cobb-produced cover of ""Born I n The U.S.A,"" saying these artists are ""reimagining 'Born in the U.S.A. with a reduced approach more influenced by that of the acoustic, ""Nebraska.""

Isbell says of his cover, """"Born In The U.S.A."" is one of my favorites because so many people have seemingly misunderstood the lyrical content and the song's overall tone. When you listen to the demo, the dark, minor key arrangement makes it clear that this is not strictly a song of celebration. We wanted to stay true to that version."" Amanda Shires adds, ""I love that the song paints a picture of struggle in the face of the American dream, and the irony in the chorus is delivered with such force that it nearly transcends irony altogether."""

When Man Man released its last album, "Dream Hunting in the Valley of the In Between," frontman Honus Honus (née Ryan Kattner) was in a state of unrest, oscillating between hope and cynicism. Perhaps fittingly, the album dropped during the pandemic, a time at which we could all relate. But, much like that bizarre turn of events, the ennui now seems so distant to Man Man. A revived sense of purpose washes through Man Man's new album, Carrot on Strings, radiating a mix of calm and confidence. Kattner always embodied a wild-man pied-piper vibe: his melodic, unhinged art-rock was at once intriguing and angsty. He was so alluringly creative that you went along with it, even if you were never sure where Man Man would take you. Carrot on Strings is no less inventive, but its ethos is radical in context of the band's two-decade career. "When I was younger, I would feed off of chaos. I would, you know, be upset and get drunk and smash chairs," Kattner explains. "Now those chairs are in my head: It's less of an outward projection, more of an interior monologue." The name "Carrot on Strings" came to Kattner while experimenting with the sound of someone munching on the vegetable, which you can hear in the cacophonous, similarly named song. It alludes to how success always seemed to dangle uncertainly before him, often just out of reach. But listen intently and you'll hear a more content Kattner finding an uneasy peace: "Life, as far as I've known it, has always been side hustles. Would it be great if I could go into a studio and record for a year without figuring out how to finance it? Yeah, it would be," he says. "But ultimately, I need to keep making music because art is an extension of my psyche. It's how I have learned to translate the palpitations of my heart. Simply put, I'd go insane without it." Growing up as a multiracial Hapa kid (half Filipino, half white) with a father in the U.S. Air Force, Kattner lived an itinerant childhood that included a few pivotal years in Germany, where he honed in on an appreciation for out there German cinema and art. His film obsessions and screenwriting background were crucial to Carrot on Strings. The album nods to the films of Werner Herzog and Rainer Werner Fassbinder as much as Italo-disco, Randy Newman, goth rock, and avant pop. (Kattner continues to work in the film industry with an acting role in the upcoming horror-comedy movie Destroy All Neighbors, for which he also served as composer; music supervising season 1 & 2 of the Interview With The Vampire AMC TV series; and shopping around, with director Matthew Goodhue, a script he wrote that he describes as a Wim Wenders road movie on acid.) In a bid to not overthink anything - his last album took seven years to make - he recorded the bulk of Carrot On Strings in five days in Mant Sounds studio in Glassell Park, Los Angeles with "very chill" producer Matt Schuessler, who had worked on Man Man's cover of Neu!'s "Super" for the seminal Krautrock band's box set. The resulting album represents a newfound sense of self for Kattner, who finds himself inspired and at peace both personally and artistically in ways that eluded him for most of his first 15 years playing music. When, on Carrot On Strings, you hear Kattner croon humbly, or sing of the tension between his outsize stage persona and the thoughtful, soulful guy he actually is, you're hearing Kattner liberate himself. "I first got into music to escape from myself," he says. "And now, it sounds so corny, but I have zero doubt that music ended up saving my life."

For Fans Of: Operation Ivy. This was the debut release and first LP from JESSE MICHAELS post OPERATION IVY. The band was COMMON RIDER, originally released on LOOKOUT/PANIC BUTTON. Remastered by Mass Giorgini. Comes in random color vinyl

2x 180g grey vinyl repress!

Back In Stock!

She Told Me Where to Go by Old Man Luedecke, released 24 May 2024, includes the following tracks: "Going on the Mountain", "The Raven and the Dove", "My Status is the Baddest ", "Misfits in Old Clothes" and more.

This version of She Told Me Where to Go comes as a 1xCD in a(n) Digipak packaging.