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A hugely in demand repress (the original vinyl pressing on North Country changes hands for hundreds of pounds..) now released on Shack’s newly created own label Shack Songs.

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

‘Here’s Tom with The Weather’ boasts a majestic and fresh form. These are magical songs, psychedelic folk songs of the finest Head vintage. Sleepy-eyed, wistful and mystical, yet crafted with a cunning and acute dexterity beyond just about anybody you can think of.

The two profoundly Liverpudlian brothers Mick and John Head have made several brilliant albums together , but none as quickly as ‘Here’s Tom…’ which was completed in seven weeks at Brynderwen Studios in North Wales along with drummer Iain Templeton (RIP) , bassist Guy Rigby and producer Jay Reynolds in 2003.

In the 80’s , the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains , an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album Zilch. In 1991 , Shack made ‘Waterpistol’ , an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed , but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (RIP) of Love’s backing band. In ‘97 , they created a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’ . They spent a long time making another classic ‘HMS Fable’ , and then decided that next time they wouldn’t take quite as long recording. Enter ‘Here’s Tom With The Weather’.

Showcasing John’s slow , shy emergence as a songwriter to challenge his brother (on the sparkling, heartbreaking ‘Miles Apart’ and ‘Carousel’ , and the spun-out ‘Kilburn High Road’ ) , toasting Mick’s newest confirmation as the most unrecognised genius of his or any other generation (the ode to his bro, ‘Byrds Turn To Stone’ , the mariachi horns that break open the slow folk fog of ‘Meant To Be’ , the two lullaby bookends ..and on , and on) .

“The journey we’ve had together has been beautifully turbulent”, laughs John. “But there’s times when we glide and we’re gliding forward now”

Mick agrees. “Making this album has been frantic, chaos, carnage, intense : the normal way with us. But it doesn’t sound like that. That’s all that matters. The story is what it is. But so are the songs and so are the records. Because we’re good.”

Nobody could disagree with that.

To celebrate the 40th anniversary of The Jesus And Mary Chain’s debut single ‘Upside Down’ is being reissued on 7” vinyl which - as per the original pressing of the release - comes with a colour variation of the original artwork design. To be released on 6 December 2024.

Originally released in November 1984, it put the band on the map selling 50,000 copies and subsequently became one of the first major successes for the now iconic British independent label Creation.

The b-side is a cover of the Syd Barrett written ‘Vegetable Man’, a track not officially released on a Pink Floyd album until 2016’s The Early Years 1965–1972 box set, but a track that caught the imagination of the band in the early-mid 80’s and their cover is an unmistakable and celebrated version.

The single topped the UK Indie Chart twice, once in February 1985 and then again in the March. It stayed in the Indie charts for a huge 76 weeks making it one of the biggest selling indie singles of the 1980s.

Hailing from East Kilbride in Scotland, The Jesus And Mary Chain revolves around brothers Jim and William Reid, the bands founders and only consistent members. The band are recognised as being key to the development of the shoegaze scene and have remained uncompromising in their sound releasing eight albums, most recently ‘Glasgow Eyes’ released earlier this year.

Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".

Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.

Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.

UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.

So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.

The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.

Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.

"The new album of the Maîtrise de Notre Dame de Paris is a world premiere recording of a new Magnificat written by composer and long-time Notre Dame choir organist Yves Castagnet.
Release date ties in with the official re-opening of the Notre Dame Cathedral in December 2024 (public opening December 8, 2024).
France TV will dedicate a special program to the opening on December 7, 2024, in with Gautier Capuçon and the Maîtrise de Notre Dame de Paris. The event will be covered by worldwide media.
Recording was made by Maîtrise de Notre-Dame de Paris, Chœur d’adultes, Henri Chalet, conductor, Yves Castagnet, Organ.
Soloists: Thaïs Raï Westphal, Anouk Defontenay, Jordan Mouaïssia and Carlos Builes Velez
The Magnificat will be premiered live at Notre Dame on December 9, 2025, at the ceremony inaugurating the fully restored choir organ.
“The Magnificat has accompanied me in my daily life for over 30 years. In fact, this text appears daily in the Catholic liturgy, every evening of the year, in the office of Vespers. Every evening, I accompany the singing of the Magnificat on the organ as part of the services at Notre-Dame Cathedral. The Virgin Mary's own words, sung in this cathedral dedicated to her... How can you not be moved by the power and beauty of this text?” says Yves Castagnet."

"Hollywood, the new album by German pianist Sebastian Knauer is centred around the music and family story of legendary American film music composer Alfred Newman.
He recorded it with the son of Alfred, conductor and composer David Newman and the Deutsches Symphonie-Orchester Berlin.
Alfred Newman, the founding father of the Hollywood sound, composer of the world's most famous fanfare, the 20th Century Fox logo, winner of nine Academy Awards, nominated for 45, friend of Gershwin,Copland, Bernard Herrmann, mentor of Alex North, Elmer Bernstein, Jerry Goldsmith and founder of the most successful film music dynasty: his younger brothers Emil and Lionel Newman (“Hello, Dolly!”), his older son David Newman (“Ice Age”, “Anastasia”), the younger son Thomas Newman (“American Beauty”, ""James Bond: Skyfall""), his nephew Randy Newman ... and his grandchildren are already starting their careers ...
George Gershwin or Aaron Copland, Alex North or Elmer Bernstein, Bernard Herrmann or Jerry Goldsmith - all the composers on Sebastian Knauer's new album have three things in common: they come from the USA, they have naturally intertwined classical composition and film music and they are closely associated with Alfred Newman."

Specs: 3 x 140g black 12" vinyl, in a 6-panel outer sleeve, printed on reverse of 350gm board. 3 x inner sleeves printed on 300gm offset paper, plus 4-page insert.

INFINITE ICON is a self-reflective journey through Hilton’s life, exploring themes of fame, female empowerment, mental health, and motherhood. The 12-track collection marks Hilton’s first album in nearly two decades and features collaborations with some of today’s most exciting names in music including Sia (“Fame Won’t Love You”), Meghan Trainor (“Chasin’”), Maria Becerra (“Without Love”), and Rina Sawayama (“I’m Free”). Musically, INFINITE ICON serves shimmering electronic arrangements, driving dancefloor beats, summertime poolside vibes, and emotional ballads in a glittery swirl of unapologetic pop glamor that can only have come from Paris Hilton.

First Word Records is proud to present 'Nothing Leaves The House - The Anthology'. A vinyl-only album of 16 hip hop instrumentals from Mr Thing, kidkanevil, Tall Black Guy & Eric Lau. This is a collection of a long-out-of print series of beats from four of the most revered beat-makers in the underground scene.

This double-vinyl collection features four brand new tracks specially created for this 10 year anniversary release. The concept behind this project was originally birthed on Record Store Day 2012. First Word label founder Gilla explains "as we dipped in and out of London's Soho record shops, kidkanevil mentioned to me that he wanted to mine Mr Thing's vast record collection for samples. An idea formed to invite a couple of other beatmakers to join him and to press the resulting beats onto vinyl.

Mr Thing enthusiastically agreed to the idea with one stipulation: they could sample what they wanted, but the records had to stay within the walls of his flat. We quickly enlisted Eric Lauand Tall Black Guy to complete the quartet and 'Nothing Leaves The House' was born." The release came to fruition and was released a decade ago, for Record Store Day in April 2014. The quartet met up once again shortly after in another London record shop, to work on a follow up project.

For this one, Mr Thing brought one record for each producer from his collection for them to sample. They reciprocated by picking a record from the racks in the shop for him to use. 'Thing Leaves The House' was then released in 2015. Completing the trilogy of releases, the crew were invited to the legendary John Peel Archive to dig for samples there. After trawling the legendary Peel Acres collection, the producers individually selected sound snippets to create new beats from; this time under the stipulation that 'Nothing Leaves The Archive'. This double 7" release again landed on Record Store Day, 2016. Gilla says "10 years on from the release of the first record, and almost 9 years to the day since we were at Peel Acres, we are now releasing the 4th and final volume.

Whilst Mr Thing is still in England, the other three have travelled far and wide. Eric Lau is now in China, Tall Black Guy has returned to the US and kidkanevil has moved to Berlin. Our indie label budget didn't extend to uniting everyone from the different continents, so instead Mr Thing uploaded a folder of tracks for the trio to work from. With the previous volumes now long sold out, we've added the original beats to this anthology and have moved up from a double 7" to a double 12" LP. One side for each producer; four tracks made across 10 years." 'Nothing Leaves The House - The Anthology' is released on double vinyl, on Black Friday, November 29th 2024.

8/10 FULL-PAGE LEAD REVIEW IN UNCUT: “TALENTED ARTISTS SUCH AS ALDOUS HARDING , DELANEY DAVIDSON, IVY ROSSITER AND MARLON WILLIAMS REPRESENT A FRESH COUNTRY-FOLK/AMERICANA MOVEMENT IN AND AROUND CHRISTCHURCH AND DUNEDIN. NADIA REID'S IMPECCABLE DEBUT WILL MAYBE SET A WIDER ORBIT IN MOTION.”
4/5 LEAD REVIEW IN MOJO: “INSPIRED DEBUT BY A YOUNG NEW ZEALAND SINGER-SONGWRITER YOU'LL FEEL YOU'VE KNOWN FOREVER. A WONDERFUL ALBUM"

SUNDAY TIMES DEBUT OF THE WEEK: "SHE RANKS ALONGSIDE LOW AND THE COWBOY JUNKIES FOR DELIVERING SLOW-BURN EMOTION"
"It has all that well-smoked wisdom, that mingling of strength and yearning that seems to charge the work of all my favourite female artists – Laura Marling, The Weather Station, Sharon Van Etten and Tift Merritt, to name but four. Reid is just 23, and since I am loathe to run that “old beyond her years” line, let us simply say that when I hear a young artist making an album as soulful and rich and self-possessed as Listen to Formation, Look for the Signs, I feel so thrilled not only for the existence of that record but for all the music they will make over all the years to come.” THE GUARDIAN PLAYLIST
6MUSIC ALBUM OF THE WEEK
A richness of voice; a depth of emotion; and wise beyond her years; with Listen To Formation, Look For the Signs, 23-year-old New Zealand native Nadia Reid has claimed her place as one of the country’s most evocative and profound young songwriters. Her music traces the sharp mountain peaks, azure coastline, and mirrored images of the land and sky that pinpoint her home country’s vast open landscapes.
Whether nerding about with friends, stunning audiences into silence with her spellbinding live shows or unwinding in the tranquillity of her favourite hometown spot overlooking Port Chalmers’ harbour through her large-rimmed spectacles, Nadia Reid has achieved a gloriously fresh and eloquent new folk sound. “I’ve been in New Zealand my whole life and guess at times I take for granted the serene beauty that I live so closely with,” she says of her music’s majestic affiliation with nature. Mapping out tales of change and loss, whilst drawing inspiration from reading, writing, the human condition, falling in and out of love, death, and birth - it all lends to a superbly balanced album that moves surreptitiously between sparse and fragile melancholia to beautifully brutal lyricism with a philosophical maturity that bellies her years.
Born in Auckland, Nadia’s acoustic roots stem from an upbringing in a musical household where attending folk clubs and festivals were regular occurrences on the family calendar. “I was lucky to witness a lot of live music and theatre performances because my mum was an actress. I was encouraged to learn piano and guitar, and attended a Steiner school where we spent a lot of time in nature, singing songs.” Before long Nadia was listening to The Be Good Tanyas with friend and fellow recording artist Aldous Harding, which spurred her chosen career path. “There was something spiritual about the Tanyas’ records - I vividly remember the goose-bump feelings up my arms, a true connection to the lyrics and vocals,” she recalls. “Aldous was the first person who told me I had a good voice and I thank her for that. I admire her as an artist and writer, and we like to keep up with what each other is up to.”
Creating her own enchanting wonderworld, each of Nadia’s songs explores the elements; truly organic, her vocals ebb, flow and soar but are always ignited with fire from the gut. Her lyrics clearly reference lush landscapes but equally reflect alienation provided by the surrounding Pacific Ocean and mortality of living in such close proximity to Mother Nature’s wrath, as experienced whilst living in Christchurch at the time of 2011’s devastating earthquake. “It shook the city to its core,” Nadia recalls. “I’m sure living through it has shaped my personality and writing. My first EP was recorded just months afterwards, it was a strange time. We were all quite fragile, but I was braver somehow.”
Boldly infusing folk with full flavour, Listen To Formation, Look For The Signs was produced by Ben Edwards, owner of Lyttelton Records in his Sitting Room studios with Nadia’s band consisting bassist Richie Pickard, guitarist Sam Taylor and percussionist Joe McCallum. Whilst 'Reaching Through’s rich but unhurried nature evokes She Hangs Brightly -era Mazzy Star and intricate nuances of Beth Orton are recalled on lead single ‘Call The Days’ which talks of moving to a new town and was the first song penned after Nadia moved from Christchurch to Wellington; spurred on by a “panic attack” and being “worried about making the right choices in life”. Elsewhere ‘Runway’ and ‘Some Are Lucky’ immediately channel Nadia’s love of TBGT’s Jolie Holland and appreciation for New Zealand’s Maori music by Maisey Rika and Anika Moa, plus the inspirational narratives of Kenyan-born Somali poet Warsan Shire.

First Word Records areproud to present a new double-AA sided collaboration from K S R and Konny Kon (Children of Zeus) - 'Part of the Plan / Faded from the Jump', available on 7" vinyl and digital.

Two of Manchester's finest r&b ambassadors, the duo team up for two tracks displaying very different styles of soul music.

'Part of the Plan' has a timeless classic feel, nodding back to the likes of Stax and Atlantic, akin to the contemporary sound of Daptone artists like Jalen Ngonda or Thee Sacred Souls. Waves crash on the dock of the bay, with [ K S R ]'s soulful tones and Konny's laidback production (accompanied by Son of Zeus, Tyler Daley on the backing vox).

'Faded from the Jump' is another three and a half minutes of bliss, taking on a sound that's more signature to the duo's previous work, individually and collectively, sitting somewhere between future r&b, neo-soul and classic Manny street soul. [ K S R ] again takes the lead on this smoothed-out cut, with Konny behind the boards on production.

[ K S R ] hails from Moss Side and has been steadily building a strong rep for himself over the past few years with a slew of releases, including an EP and several singles via First Word. He was named "R&B act to watch" by Complex, and hand-picked by Mahalia to perform an event she curated personally at London's Jazz Cafe. He's toured with artists including Pip Millet, Etta Bond, Mica Miller & The Mouse Outfit, and also collaborated with various d&b artists, such as Zero T, Lenzman, Searchlight and Makoto. Music aside, [ K S R ] has also been creative ambassador for New Balance, Foot Locker, Nike, Size? and Manchester United.

Konny Kon is best known for being one half of hip hop soul duo, Children of Zeus. With performances for Colors and Soulection, and support from peers Jazzy Jeff, Jazzie B, Loose Ends & countless others, Children of Zeus have released two highly-acclaimed albums and two EPs on Worldwide Award winning-label, First Word. Additionally to writing, performing and producing, Konny is a formidable DJ, hosting a popular monthly show on NTS Radio, and performing at numerous events; most recently supporting Mercury Award-winner's Ezra Collective at every date on their European tour, culminating in a show with Children of Zeus at Wembley Arena, London.

Both artists have had wide support across the board from numerous tastemakers, including 1Xtra, BBC Radio 1, BBC 6 Music, Rinse, Represent, Unity, Mixmag, Notion, Hypebeast and tons more. The duo have previously collaborated on 'All on You' (from the CoZ album 'Travel Light') and single 'CGWY' (from [ K S R ]'s EP 'Peace + Harmony').

This single showcases the vocals of [ K S R ] and the production of Konny Kon to a degree that exudes pure quality and class, exemplifying the power of modern British soul music.

'Part of the Plan / Faded from the Jump' is released on 7" vinyl and digital, 22nd November 2024.

Formed in 2019, Lawne is the result of a meeting of minds between old friends and self confessed music nerds Joe Nicklin and Joe Martin. Their sound draws upon myriad influences with dub, electronics, hip hop, psych, jazz, post-punk and Afrobeat all somehow ingrained within the mix.

It's something that evolved during at a time of change for both of them, as Joe Nicklin explains:

"The start of this project coincided with me moving onto a canal boat, which was a hugely rewarding time of my life but not without its challenges. You can hear some of my boating vents coming through in the lyrics of Beta Pan and Ame Tova.

Another challenge during this time was trying to figure out a way of still playing and recording drums that wasn't going to break the bank. I decided to start renting a tiny storage space near Caledonian Road in North London, that I would convert into a makeshift studio and soon learned that corrugated iron sheets aren't the best walls for a drum booth. My friend cut me some curtains and a few egg boxes later we were able to insulate the thing, sort of.

These limitations meant that we had to keep recordings pretty simple and I feel like this set the tone for the whole record. Whether it was digging out my childhood bass guitar for Joe to play, squeezing every last drop out of Logic presets or mumbling into a SM57 for the first time, we made do with what we had and I'm proud of the charming thing we were able to create. I felt like I was learning on the job at times for this album and I'm grateful for what it has taught me, whilst being excited for what we can do next. As I was moving off the water and out of my lockup, the album masters were also starting to trickle through. A fitting close to that chapter of my life and the making of our first album."

Joe Martin reflects more on how their unique sound came about:

"It's interesting thinking back to the sound we were exploring when we first started writing together, and how different much of the record is to that original sound. We didn't set out a clear musical direction and that meant we were rarely constrained stylistically, we could shift between genres and feels and grooves, take inspiration from the new and the old and it still sat comfortably with what we were trying to do. I think the eight tracks we landed on illustrates that nicely.

The record's named after the self storage unit we used as a studio for many years, there's something quite poetic about parting ways with the space within weeks of the album coming out; a final homage to the place it all started."

Direct follow up to OKC noise rock band’s 2022’s breakthrough album God’s Country. Mixed by Benjamin Green (Uniform, Portrayal of Guilt, Drab Majesty). Mastered by Matt Coloton (The Rolling Stones, Blur, Nick Cave, Sunn O)). Full US tour in 2024, EU early 2025, with more dates to come. Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has stuck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift—a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. While Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

NYC duo Straw Man Army return with their third LP, “Earthworks”, to complete a trilogy of records begun with 2020’s “Age of Exile,” and 2022’s “SOS”. Whereas “Age of Exile” dealt with the haunted landscapes of colonial history in the Americas, and “SOS” gave voice to a crisis of the present moment, like a prayer in bewildering times, 2024’s “Earthworks” signals the band’s attempt to close this trilogy by turning their gaze towards the future, where paradox, complexity and contradiction spiral in ascendance to an agonizing pitch. While continuing to develop their own style of anarcho-punk, “Earthworks” finds the band pulling once again from jazz and ambient influences, expanded Krautrock rhythms, and post-rock experiments, with a stronger emphasis on melodic vocals and varied song structures than on previous offerings. Taking cues from the wistful anti-war harmonies of The Byrds and the angry melodies of Zounds, tracks like “Turn the Wheel” and “Second Nature” mark new territory for a group whose messages and methods of experimentation have merged to form a singular sound equally at home on All the Madmen Records or in the spiritual legacy of ESP Disk. “Earthworks” is an album that holds and subverts many contradictions—juggling the weight of melancholy, grief, guilt, impunity, and the yearning for clarity against the backdrop of boiling wrath; the wrath of nature, the occupied, the dispossessed, and of the mind against itself. To quote the track “Spiral” — “Is this all that’s left for us these days? / Apathy and rage?”— Straw Man Army offers this record as a companion to our frustration, our sickness, our despair, and a lifeline for our fugitive attention in the struggle for peace.

Although never released until recently, Jazz Sabbath's music has been finding its way to millions for over 50 years. Through a vicious cycle of personal tragedy and plagiarism the songs intended to change the jazz world ended up giving birth to a much darker sound. Now a third recording from the Sixties has resurfaced, perhaps their most important one.

In 1968 Jazz Sabbath were an instant hit on the UK jazz scene. It wasn’t long until they were offered a record deal. They spent weeks in the studio recording the tracks that got the heaviest reactions at their shows until they captured their live energy on tape. Unfortunately, the label manager told them the album was far too experimental and there was no hit potential. Ordered to play some of their ‘easier’ tracks instead, they reluctantly gave in.

The 2 albums that followed still are classics in their own right, but they were not mistaken in thinking they had recorded their best work in 1968. Like the tracks from their 2 albums, these tracks were also blatantly presented as 'original songs' by that band from Birmingham a few years later. Whether they copied them from live bootlegs or if they got their hands on the mix, it doesn’t really matter. Their lasting popularity, even in the crude way they were covered, only proves just how monumental these songs were and how record labels are often wrong.

With the truth now finally out there and that Birmingham band exposed as the musical charlatans they are, Jazz Sabbath have finally mastered the 1968 tapes to present their best work to the public.

Repress of this Christmas classic, 300 copies on snowy WHITE vinyl! "At long last! Finally on vinyl! Can Fifteen Great Christmas Songs be collected together on one lovely 12-inch vinyl disc featuring bands and artists from the Damaged Goods archives? ...you betcha bottom dollar they can! Each song has been recorded with the Christmas spirit in full flow and we'd guess the odd mince pie was consumed along the way as well. The full-on Christmas feeling that is flowing through these wonderful tracks is a joy to behold and we implore you to not just read these sleeve notes but to go crimble-crumble-crazy and actually buy this record and treasure it, not only this year but for many years to come. We are very proud to have put this album together as Christmas is our favourite time of the year. We love the feeling at special Christmas gigs - the overinflated people and prices of things and the way everyone just has to go out and drink as much as they possibly can in the name of the good old lord Jesus. We did this for you, and only for you because we really, really care and want to share the joy that only Damaged Goods Records can bring you at this special time of the year. So enjoy some great music from the likes of Will Billy Childish, Miss Holly Golightly, Helen Love, Goldblade & Poly Styrene, The Courettes and so many more and remember, this LP is not just for Christmas it's for LIFE!" - Ian Damaged, National Elf

Miles Away are thrilled to present the first-ever 7-inch vinyl reissue of the modern-soul classic "Yes It's You" now backed with the original A-Side "We're Lovers Day & Night". Officially licensed from the Smiley estate and presented in brand new picture sleeve designed by the talented Jeremy Zombie.

Eugene Smiley had soul music running through his veins. His career began with The Mists (later to be known as The Visitors), who signed to Dakar Records in the late '60s. Under the mentorship of one Carl Davis, Eugene grew into a powerful musician, who would go on to tour with the likes Rufus Thomas, Bobby Womack, Al Green, the Stylistics, Eddy Kendricks and The Chi-lites.

Released in 1978, "Yes It's You" is a three-minute, up-tempo modern soul gem that draws from the decades Eugene spent spreading quality soul music performing across America, with some of the finest cats the soul music world has ever seen. A track that wouldn't have been out of place had it been found on the Brunswick catalogue.

Suffocating, the hidden child of Plastikman, Farmer's Manual and Warp. The glitches could just as well be the disgusting sound system of the club crackling under the humidity as a rhythmic pan too well timed to be honest. From durations to sound grain, the gloves are removed. The standards are far behind, the pleasure vibrates from the ears to the lower abdomen. The listener manages to get lost on a straight line, the perfect labyrinth according to Borges, but the exits flash red for those who want to escape. Will Elvis leave the building?.

Research Records teams up with organist and synthesist E. Bobby G. to release his sophomore album, Bobby Business. Once again, the album is primarily centered around the 1982 Kawai DX900, but it masterfully explores more genres than his debut, Giving You M.O.R.E.

Bobby Business was recorded in 2022 after E. Bobby G. received an eviction notice from his beloved sharehouse of 12 years. After moving out, he stored the organ at his workplace, Bakehouse Studios, where his boss let him use the space overnight to record until the early hours. The remainder of the album was recorded in his old studio space, NGBE.

The first track, "Ha-Ha," is as meditative as it is glittery, with floating sustained chords. "Big Boy" and "Disco Shift" bring back a slightly more polished E. Bobby G. sound—lo-fi library music with bright tones that will appeal to fans of proto-electronic icons like Brian Bennett. Tracks like "Lucky Strike" and "Tropical Dino Ride" are video game music dreams, featuring West Coast lead lines and strutting percussion. The second half of the album explores spaced-out '90s downtempo and dub elements, with a distinctive refinement that hides the fact it was created primarily using the Kawai DX900.

Bobby Business closes with "Lillian," a sonic dedication to the artist's Grandmother, with a more traditional song structure that hints at what Bobby has planned next.

The short but intense initial phase of Jumbo’s career, marked by the release of three albums in 1972/1973, revealed their distinctive approach to Italian progressive rock and rapid artistic growth.

“Vietato ai minori di 18 anni?”, released in 1973, represents the peak of this era, showing the band’s evolution from an English beat-related beginning to a more mature and meaningful work for Italian prog fans.

On the occasion of the 50th anniversary of this masterpiece’s release, Jumbo were invited to the prestigious Prog and Frogs festival, where they performed the entire album live, enriching the experience with interesting explanatory introductions for each track. During the show, Jumbo amazed the audience, displaying the same drive and passion as they used to fifty years ago.

Simply put, a must-have for lovers of Italian progressive rock music! Clear orange vinyl edition with gatefold cover.

The first eponymous album by Biglietto per l’Inferno, released in 1974, represents one of the most significant and influential peaks in the Italian progressive rock scene, a constant presence in any Italian rock records of all time “best of” list.

Anything related to this masterpiece has become iconic and timeless, from the cover image made by visionary photographer Cesare Monti to the album’s unique sound for that era, from the challenging and refined lyrics by the histrionic singer Claudio Canali, who later retired to a convent until his death in 2018, to the record company bankruptcy that caused the end of the band’s career after only two years, to a second album, “Tempo della Semina”, that remained unreleased until many years later.

Celebrating 50 years since the release of “Biglietto per l’Inferno” is therefore more than necessary.

This commemorative white vinyl edition, with a special 350gsm cover and a 60x30cm insert with lyrics, a presentation of the album written by music collector and connoisseur Mox Cristadoro, as well as a collection of photographs from those unforgettable years. A must-have release for any music collection!

Released in 1956 this album is a compilation of recordings from different sessions held between 1953 and 1954

Thelonious Monk and Sonny Rollins were both giants of jazz, each known for their individual approaches. Monk, with his unorthodox approach to rhythm and harmony, was one of jazz's most original composers and pianists. Rollins, one of the greatest saxophonists in jazz history, was known for his inventive and bold improvisations. Thelonious Monk was still establishing his reputation during this time. Though considered a genius by some, Monk's highly original style, marked by dissonant harmonies, abrupt rhythmic shifts, and a percussive attack on the piano, was still divisive among critics and audiences in the early '50s. It wasn't until later in the decade, when he started working with Columbia Records and gained wider recognition, that he achieved broader commercial success. Sonny Rollins, though younger, was already a notable figure in the jazz scene by this point, having played with Miles Davis, Charlie Parker, and Bud Powell. He was known for his inventive and bold improvisational style. In these recordings, Rollins was solidifying his status as one of the major voices on tenor saxophone. The album shows both musicians in their prime, experimenting with harmonies and extended forms. Even though the sessions were recorded at different times, there is a strong synergy between them, particularly in how Monk's percussive piano style complements Rollins' flowing saxophone. A record that captures a moment in jazz history, a testament to the artistic brilliance of both musicians and a significant piece of jazz history, blending the freewheeling spirit of jam sessions with complex, forwardthinking compositions.

Rival Sons play Rock N Roll in its purest form without apology or pretence. Beyond sharing stages with everyone from Black Sabbath, The Rolling Stones, AC/DC to Guns N Roses, they’ve ignited television shows such as The Late Late Show with James Corden & BBC2 Later Live with Jools Holland. Along the way, they’ve architected a critically acclaimed back catalogue that has earned them multiple GRAMMYâ nominations and 100s of million of streams. 2024 marks the 10th anniversary of the 3rd studio album ‘Great Western Valkyrie’. Originally released in June 2014, this album propelled Rival Sons to Rock N Roll royalty featuring the fan favourites ‘Electric Man, ‘Open My Eyes’ & ‘Good Things’ . It became the first Rival Sons album to achieve Top 20 status in the UK Album charts (peaking at #14). This very special anniversary edition includes the original 2 bonus tracks from the album’s 2014 Tour CD-Edition, first time on vinyl. Jay Buchanan’s voice is stunningly soulful whilst Scott Holiday’s signature guitars riffs,licks and solos elevate the sonic landscape that Rival Sons create to another level.

Ltd. to 500 colored copies worldwide. The band's first album from 1993, lovingly remastered by Johannes Scheibenreif. A classic of German progressive rock. The band's only English-language album. In 1973 the band signed a contract with Brain Records and Jochen Petersen (later keyboarder with Randy Pie) produced their debut album "Banished Bridge" at the Chameleon Studios in Hamburg. The album was recorded completely without electric guitars, the centerpiece being the 17-minute title track "Banished Bridge". The music is slightly fragile, flowing, almost lyrical. The floating synthesizer and keyboard passages are reminiscent of the early works of Pink Floyd and Genesis. A debut album that already showed where the band would later go. "Banished Bridge" remained Novalis' only English-language record, but for many it is still considered a classic of German progressive rock.

"Fresh off the release of their critically acclaimed singles The Colour in Everything & Walking on Broken Glass, their albums “The Borderland”, “At Her Majesty's Pleasure” (recorded at 10 HMP prisons) & “Fly the Flag”, Hardwicke Circus is a band that’s breathing new life into the British music scene.
Their upcoming unplugged album, recorded live at The Pizza Express, Holborn in London is set to drop into the still waters of the indie music world on their own label Alternative Facts Records on Vinyl & CD. These lads are proving there’s more to their sound than just amplifiers and attitude. ”Cumbria Pizza” is the soundtrack of northern nights – raw, real, and soaked in the sweat of a thousand gigs."

Status Quo has endured for over 50 years and is known for worldwide hits and tours to millions of fans across the globe. This compilation collects together, for the first time, many of the band’s rare tracks from the late 1990s and early 2000s, some of which have been unavailable for over 20 years. Until now, many of these tracks have only been available on CD singles or editions of albums only available in one country. This remastered compilation is supported by the band and has been overseen by the recordings’ original producer, Mike Paxman, who has also written liner notes for the release. Mike Paxman said of the release: “Status Quo recorded many of these songs for soundtracks or non-album singles, so it’s fitting that this album is called Driving To Glory, because it’s the band striving for success. All of these songs were recorded as lead tracks and released in various different places. This collection brings them together and deserves to be thought of as an album.”

AFTER OVER 50 YEARS SINCE THE RELEASE OF THE FIRST LP “DEDICATO A FRAZZ” THE SECOND AND HIGHLY SEMIRAMIS’ ALBUM “LA FINE NON ESISTE” IS FINALLY RELEASED!

Thanks to the determination of founder Paolo Faenza, intent on continuing the reunion experience already shared since 2014 with his lifelong companions, in particular Maurizio Zarrillo and Giampiero Artegiani, the new work was recorded by a renewed lineup, made up of talented musicians coming from Rome’s progressive rock scene.

“La fine non esiste” (The End Does Not Exist) consists of 6 unreleased tracks, sung in Italian, characterized by a modern sound but still in continuity with the debut album. In fact, all the instruments that characterize Semiramis’ background are present, such as keyboards, moog, flute, acoustic and electric guitars, vibraphone, leading to wide-ranging compositions, supported by rich and lively arrangements, definitely “prog rock”.

Like the ever-changing seascapes of award-winning saxophonist/composer Josephine Davies" Shetland birthplace, the music of her Satori project presents a constantly evolving tableau, at once consistent and different every time. The music on "Weatherwards", pays direct tribute to the islands that she left at an early age but that continue to exert a powerful fascination for her, drawing her back, just as the Satori project has continued to draw her back over the course of seven years and four albums - "Satori is where I find myself most at home as a saxophonist."

Status Quo has endured for over 50 years and is known for worldwide hits and tours to millions of fans across the globe. This compilation collects together, for the first time, many of the band’s rare tracks from the late 1990s and early 2000s, some of which have been unavailable for over 20 years. Until now, many of these tracks have only been available on CD singles or editions of albums only available in one country. This remastered compilation is supported by the band and has been overseen by the recordings’ original producer, Mike Paxman, who has also written liner notes for the release. Mike Paxman said of the release: “Status Quo recorded many of these songs for soundtracks or non-album singles, so it’s fitting that this album is called Driving To Glory, because it’s the band striving for success. All of these songs were recorded as lead tracks and released in various different places. This collection brings them together and deserves to be thought of as an album.”

Operating since the late 2010s, Vienna-based sound artist the concept horse has quietly amassed a distinctive and diverse discography, drawing inspiration from the rich traditions of musique concrète, noise, plunderphonics, microsound, and free improvisation. “Public Detail” follows releases on labels such as FALT and czaszka rec., as well as the artist’s own eë editions, and neatly encapsulates the polyglottic breadth of the project. Patinaed piano loops and wistful ambience give way to chance percussion environments, beat research, and treated location recordings, resulting in a suite of evasive and diffuse music informed by dialectics such as repetition/unrepeatability and formal rigor/chaos.

“A door space to further diagrams, white on blue, a window.”

recorded and arranged in vienna, austria between 2021-2023.
35mm photograph taken by the concept horse.
risograph print and cover design by marie vermont.
mastered by angelo harmsworth.

"Ghostwood” is the debut-album of the Dutch melodic death metal band Procreation. This long-out-of-print cd-release was recorded in 2014, but only officially released two years later by Vic Records. Now finally available again, and for the first time on vinyl. The band chose some new artwork and did a re-mix/master of the 2016-release; and it came out damn dynamic without losing the original brutality. It brings you back to the early ‘90s Gothenburg sound’; Swedish melodic death metal à la Dark Tranquillity, At The Gates and In Flames, spiced up with more progressive and technical influences (Edge Of Sanity, Soilwork, Disillusion, Opeth and Scar Symmetry), thrash vibes (Flotsam And Jetsam, Evile, Destruction and Sodom) and brutal old school death metal (Benediction, Unleashed, Bolt Thrower, Obituary and Massacre).

"Ghostwood” is the debut-album of the Dutch melodic death metal band Procreation. This long-out-of-print cd-release was recorded in 2014, but only officially released two years later by Vic Records. Now finally available again, and for the first time on vinyl. The band chose some new artwork and did a re-mix/master of the 2016-release; and it came out damn dynamic without losing the original brutality. It brings you back to the early ‘90s Gothenburg sound’; Swedish melodic death metal à la Dark Tranquillity, At The Gates and In Flames, spiced up with more progressive and technical influences (Edge Of Sanity, Soilwork, Disillusion, Opeth and Scar Symmetry), thrash vibes (Flotsam And Jetsam, Evile, Destruction and Sodom) and brutal old school death metal (Benediction, Unleashed, Bolt Thrower, Obituary and Massacre).

4LP Vinyl-Box oder Doppel-CD-Set!

Vor zwanzig Jahren veröffentlichte Matt Elliott (auch Third Eye Foundation) Drinking Songs, den ersten Teil einer bedeutenden Trilogie düsterer Folk-Alben mit acht Songs, die bis heute die meistgehörten auf Streaming-Plattformen sind und von den Fans des aus Bristol stammenden Musikers hoch gelobt werden. Drinking Songs ist eine tiefgründige Erkundung des menschlichen Zustands und eine Reise durch die unzugänglichsten Ecken der Seele. Zur Feier des 20-jährigen Jubiläums des ikonischen Werks präsentiert Matt Elliott nun Drinking Songs Live 20 Years On, eine Sammlung alternativer Versionen, die er als Trio live aufgenommen hat.Was Matt Elliott auszeichnet, ist seine Fähigkeit, verschiedene Stile miteinander zu verschmelzen, indem er kammermusikalischen Folk mit osteuropäischer Kabarettmusik mischt und gleichzeitig seinen Hintergrund in der elektronischen Musik, insbesondere seine Beherrschung von Sampling und Effekten, in den Dienst des Songs stellt. Nach mehreren hundert Konzerten in ganz Europa und sieben Alben präsentiert Matt Elliott nun Drinking Songs Live 20 Years On und lässt dieses bahnbrechende Album wieder aufleben. Aufgenommen im L'Autre Canal in Nancy, wo der Engländer seit einigen Jahren lebt, enthält dieses Album bisher unveröffentlichte Trio-Versionen, mit Musikern, die ihn regelmäßig auf der Bühne begleiten: Anne-Elisabeth de Cologne (Kontrabass) und Barbara Dang (Klavier). Jeder, der ihn schon einmal solo oder mit diesem Trio erlebt hat, weiß, wie gerne Matt Elliott auf die Stücke von Drinking Songs zurückgegriffen hat. Diese Zusammenarbeit geht über die Studioversion hinaus und fängt die rohen Emotionen eines Matt Elliott ein, der mit 50 Jahren auf dem Höhepunkt seiner Kunst zu sein scheint. Unabhängig davon, ob man die Studioversionen kennt oder nicht, muss man vom ersten Track an gefesselt sein, einer Verflechtung, einer Überlagerung der ersten beiden Tracks des Originalalbums: ,CF Bundy / Trying to Explain". Siebzehn Minuten, größtenteils instrumental, wunderbar zu Tränen rührend, vor Milz und Absinth triefend. Indem er seinen Drinking Songs zwanzig Jahre später neues Leben einhaucht, hat Matt Elliott uns ein kostbares Geschenk gemacht: die Möglichkeit, Drinking Songs zum ersten Mal wieder zu hören.

If you feel like motoring down the highway at 100 miles per hour breathing in pure rock n roll exhaust then look no further– Rowdy is here to kick out the jams and rev up with their self-titled debut LP Rowdy! These seasoned rockers are dealing out a heavy dose of song-forward classic garage punk that sounds like a mixed bag of Joan Jett singing for Teengenerate and Roky Erikson and The Aliens covering Oblivions. This is no surprise as Rowdy is formed by members of legendary Austin band Hex Dispensers and Scotland's Goldie Dawn, (Hex Dispensers, major contributors to the Texas garage punk scene). Rowdy’s sound runs the gamut with catchy 77 punk tunes like “All in My Head”- with its huge chorus, anthemic doo-wop tinged songs like “Fine Mystery, and bluesy garage rippers like “Cost Of It”. The recording is raw and punchy, dripping with overdriven twangy guitars, a steadfast, tight rhythm section, and blown out vocals. This record is pure rock n roll madness! Pop this Rowdy on in your headphones, shotgun a Steel Reserve, and you’ll be on your motorcycle doing donuts on your highschool principal’s lawn in no time.

In the week that Billy Reeves second LP sells out, we are delighted to announce LP 3. When Lord God Almighty Reads The News will be released on CD and Lossless download in November 2024. (Limited Edition Vinyl will follow shortly thereafter)

Vinyl will be strictly limited - as was the case for Steve. The first 50 copies will be include a signed insert print and individually numbered.

We are manufacturing a mere 200 units, thus we urge you to grab one soon if you wish to add this album to your collection.