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The debut album from Jonathan Richman & The Modern Lovers and featuring the U.S. single tracks, “New England” and “Here Come The Martian Martians” This version of The Modern Lovers included drummer David Robinson (The Cars) and Greg “Curly” Keranen on bass (The Rubinoos) Co-Produced by Beserkley Records founder Matthew King Kauffman and Glen Kolotkin (Jimi Hendrix, Janis Joplin) Available CD & LP. Jonathan Richman formed The Modern Lovers in 1970 in Boston with Jerry Harrison (Talking Heads), Ernie Brooks and David Robinson (The Cars). The band recorded a series of demos, first with John Cale (The Velvet Underground) and later with producer Kim Fowley. Both sets of demos were eventually released, but not until the original group had disbanded. In 1975 Jonathan relocated to California and secured a recording deal with Beserkley Records. By 1976 he had pulled together a new version of The Modern Lovers. This group included the holdover David Robinson from the original band and added, Leroy Radcliffe and Greg 'Curly’ Keranen (The Rubinoos). The self-titled release delivered on Richman’s desire for more acoustic and harmony-based material. Unfortunately, nearly on top of the bands’ debut album release, the earlier demo material drawn mostly from the Cale demo sessions was issued, and Jonathan Richman & The Modern Lovers was overshadowed by “Pablo Picasso,” “Roadrunner,” and their—now classic—“debut.” Shortly after the release of their actual self-titled debut, Robinson departed to join The Cars. Needing a new drummer, the band found D. Sharpe (later of the Carla Bley Band) and this new line-up recorded Rock ’n’ Roll With The Modern Lovers which was released in 1977 and achieved some chart success in Europe with “Egyptian Reggae” making it to #5 on the U.K. Singles Chart. Greil Marcus called it “the purist Rock and Roll album I’ve heard this year.” However, another in the series of personnel changes, Keranen left the group. Modern Lovers ‘Live’ followed in 1977 with new bassist Asa Brebner. While the U.S. might not have caught on to the magic of Jonathan Richman & The Modern Lovers, the U.K. certainly did. Recorded at the Hammersmith Odeon, ‘Live’ features Jonathan and The Modern Lovers performing classics from their first two releases to an enthusiastic crowd. The set included the recent Top 5 U.K. single “Egyptian Reggae,” as well as tracks from The Modern Lovers’ previously releases plus an eight-minute version of “Ice Cream Man.” 1979’s Back In Your Life marked the end of any original versions of The Modern Lovers and closed the Beserkley era with Jonathan stepping back from music for a few years after its release.

Big Crown Records is proud to present another strong 7" offering from the legendary Sunny & The Sunliners. Pulling two very in demand tunes from Sunny's Keyloc Records catalog and making one unstoppable reissue 45 that will put these tunes back in the mix around the globe. Since we released the first Mr Brown Eyed Soul compilation in 2017 the price of Sunny's records have skyrocketed. We are sure a lot of people will be happy to be able to get their hands on these tunes and it will be great to see them getting spins in a whole world of new circles. The A side, "If I Could See You Now" is a classic dance floor burner from Mr Brown Eyed Soul. From the first note of the organ intro those in the know will be grinning ear to ear, as soon as the beat drops and Sunny starts singing anyone who never heard this tune before will be hooked. "Give Me Time" is a bit of a sleeper in Sunny's catalog. Not one of the flagship tunes that everyone knows but absolutely worthy of reissue and becoming one of the classics alongside "Should I Take You Home", "Smile Now, Cry Later", etc. The band is as sharp as the man himself on this one, running through the beautiful arrangement while Sunny pleads for time to get over his lost love.

UDO DIRKSCHNEIDER is the voice of Heavy Metal! "My Way" is the most personal and extraordinary album to date and It contains 17 cover versions of the very songs that have influenced the musician and singer from Germany the most.

He is THE constant of the German metal scene: On April 6, 2022, icon Udo Dirkschneider will be 70 years old. Born in post‐war Wuppertal, when heavy metal was far from being invented, he has for many years been one of the decisive characters who have helped shape this musical genre so decisively. For about five decades, it is impossible to imagine it without him. On April 22nd his most personal and extraordinary album will be released: it contains 17 cover versions of exactly those songs that have influenced the musician and singer the most. Among them are all kinds of classics of music history ‐ even those you might not have expected from Udo. Behind all the tracks is not only a very personal story, but also a sometimes surprising arrangement, which despite their very individual implementation, however, live and breathe Udo's signature at all times. The cover album also makes one thing clear: how many in the music business have come and gone over the years. Udo Dirkschneider is still here. If his unchanging nature was briefly what almost doomed him in the midst of the norm‐constructed music industry in the 80s, it has long since become his very great strength. All this makes Udo Dirkschneider one of the greatest and most imposing rock and metal icons of the last decades.

Snatch's label boss Riva Starr steps up to the plate to deliver delectable edits of two early 2000’s club classics. First, he joins forces with Mark Broom for a Star B extended remix of Bob Sinclair - I Feel For You with the duo looping the vocal hook and juiced up beat to maximum effect. The result is a star studded, disco house stomper.

On the flip Riva goes solo, offering up a tasty-and-cheeky edit of one of Groove Armada's most successful tracks to date, 'Superstylin'. Riva’s fresh-sounding rework features most of the original’s main ingredients but tweaked and manipulated to fit around a stomping new house groove.


DJ Feedback:

Laurent Garnier - Very cool disco track

Todd Terry - always banging

Hector Romero - The classic that keeps on giving. H

Sam Divine - Dopppeee!!!

Mixmag - Star B always delivers

Kiss FM - vibes!!

Jamie Jones - the remix of superstylin is dope!!

Hot Since 82 - sick armada remix is pretty heavy oooosh…. nice work x

Fatboy Slim - LOVING that mix of 'supersylin'!

Loco Dice - I dig !

Maya Jane Coles - I did like the edit of the classic

Tiger Stripes - Classy!

Huxley - feeling the superstyling edit!!

Solardo - big

DJ Mag Spain - coooool tunes!

‘Words & Music, May 1965’ is the first of Light In The Attic’s archival series exploring the work of Lou Reed.
The songs here - penned by Reed in the early summer of ‘65 with the help of John Cale - are a mixture of embryonic versions of future Velvet Underground classics

City Jazz is a collection of re-imagined Japanese and Cantonese
classics, which is a veritable journey through sonic styles and emotion,
riddled with well-thought-out arrangements and creative interpretations
that simply cannot be done any better by any other group of musicians
As the main man/musical director/producer/pianist of 4te!, KRIZ B was quoted
saying in a previous interview: "it's always a big challenge and not as easy as it
would seem, re- imagining these well- loved classics; my task is to spin it 180
degrees yet maintain the melody and the spirit of the song," City Jazz is a very
entertaining and well-rounded album for both the novice, casual listener, and has
the rare ability - in its accessibility - to reach even the most discerning aficionado
of the genre

Blue Marbled Vinyl

Delroy Wilson was one of Jamaica's most soulful vocalists, and over a 40-year career the singer unleashed a flood of hits and a multitude of masterpieces. Born on October 5, 1948, in the Kingston neighborhood of Trenchtown, Wilson's phenomenal talent would be his ticket out of the ghetto, and his discovery by producer Coxsone Dodd in 1962 would change the path of Jamaican music. Released on Big Shot in 1973 and produced by Bunny Lee, 'Captivity' is one of the true classics from Delroy's discography, back on vinyl for the first time since its original release.

**Hardcore, FWD dance music from two leading sound artists. Edition of 500, Mastered and cut by Matt Colton** Mark Fell and Gábor Lázár ratchet the game with their razor-sharp debut collaboration, 'The Neurobiology of Moral Decision Making'. As promised in the wake of Gábor's acclaimed vinyl debut, 'EP16', the duo have colluded on a full set of ten tracks, ranging from short synapse bursts thru to an uncannily emotive 12 minute masterpiece on the closing side. As the 10th release on The Death of Rave, it demonstrates the distance travelled since the early '90s paradigm shift of original rave culture, effecting a radical recalibration of meter and tone conventions in electronic/dance music, and by turns, acutely probing our perception of time and space. Essentially it's incredibly "funky", if "funk" is taken to mean syncopation or a play on tension-and-resolution. By utilising the grid-morphing potential of Max/MSP software, they unlock mutant ballistic patterns cleanly weaving between and recoding the tendons and ligament of techno, garage, footwork and hardcore with muscle memory-reprogramming impact. Kicks, claps and visceral chromatic stabs land at irregular, blind-spot junctures, acutely rewiring our sense of rhythmic anticipation and offering a thrilling new freedom of expression and dancefloor discipline in the process. It's a masterful step forward from Yorkshireman, Mark Fell's Sensate Focus output and SND classics, and, likewise, a logical leap from Budapest-based Max whizz, Gábor Lázár. If you're into Mumdance, Errorsmith, Lorenzo Senni, Autechre, Actress or SND; we'd say it's as essential as they come.

'My Echo, My Shadow, My Covers and Me' is a fiercely collaborative and celebratory project. An eclectic collection of masterfully crafted and carefully curated covers, each track features at least one acclaimed musical artist. It includes epic re-imaginings of classics such as 'Wind Of Change' by Scorpions, 'Take A Chance On Me' by Abba and 'Beds Are Burning' by Midnight Oil. It features collaborations with artists like Portugal the Man, Brandon Boyd of Incubus, Jewel, Beck, Taylor Hanson and more. It will be available on one-of-a kind recycled coloured vinyl, mystery coloured cassette and CD.

"2022 marks a year of celebration for Roxy Music. Throughout the year, each of their eight studio albums, all heralded as modern classics, will be reissued as special anniversary editions with a new half-speed cut, revised artwork and a deluxe gloss laminated finish. In addition, Roxy Music will tour for the first time in more than a decade to mark the 50th year since their groundbreaking debut album.

The final studio offering from Roxy Music would draw upon a smoother, more adult orientated sound giving us the now iconic single ‘More Than This’. Avalon would be yet another UK no’1 album staying there for more than three weeks and in the album charts for over a year

5 ausgewählte Pop Classics Picture Vinyle in einem
Pizzakarton zum unschlagbar günstigen Preis.

Ending a break of twelve years, The Villains Inc. returns from the past to deliver four lost tracks from the label mastermind himself! Author of a short yet remarkable discography on Dominance Electricity, Electro Empire, and Drivecom just to name, Italian don Gab.Gato takes this opportunity to revisit some of his classics by a quatuor of undisputed electro heavyweights.

UK veteran Phil Klein opens hostilities on A side with his outstanding remix of "Electro Empire". Originally released on German Electrocord back in 2003, Gab.Gato's version sees a luminous electro-funk treatment in pure Bass Junkie style. Needless to say this electro banger will hit you hard with its untouchable sub bass, oldschoolish tones, hammering drums and retrofuturistic atmosphere!

Italian techno / electro legend Max Durante, coming next, propels "The Villains Inc" cut to another dimension. Taken from the "No Light Or Shadow EP" (ATVS002 in 2008), the track mutes into a milestone of an experimental slaughter tinted with industrial sororities. Following a catchy Speak n' Spell overture, the song introduces some hot and sexy female orgasms, while a heading acid line enhanced by a straight to the point rhythm will drive you on the dancefloor.

US DJ / Producer Sinistarr on the flip goes deeper into the realm with his "Couterterrorism" rework of "A Scanner Darkly". Published on Boris Divider's Drivecom in 2007, the tune evolves into a completely fresh and transformed version. A frantic bassline carries you away on a fast inducing grimey dancefloor boogie combined with hi tones and no nonsense electro beat!

Last but not the least, Drexciyan Dj Stingray closes the EP with its groovy "313 Psycotropic mix" of "S.N.A", a tune written by Gab.Gato and Matteo Merlo in 2007 on "The Systematik Network Attack EP" (ATVS001). Stingray's mix sounds like a sonic, ethereal and thought after assault based upon cutting-edge sororities over playful vocals.

Craftily written and designed (artwork project by Gab.Gato, and illustrated by Simonloop aka Urbanmagic, in 2009 was prophetic on his own: clones programmed to reappear from the past), nasty "Reprogrammed EP" features the almighty ATVS signature we all know, a dark, magnetic and rough sound ranging from breakbeat acid-tinged to Detroit-influenced electro and techno style. Should we mention that this limited 12" (no digital) is expected to sell fast and earn the status of collectible masterpiece, just like the previous releases on the label!

'The Best Of The MPS Years' presents you all the classics and highlights
of Oscar Peterson's time at the Black Forest label on one album
It was 1961 when Oscar Peterson came to Villingen, Germany the first time.
Hans-Georg Brunner-Schwer, former owner of the hifi dynasty SABA, had just set
up the first version of his studio, equipped with the most advanced recording
technology of the time. This was the bait used by the piano enthusiast to attract
the famous pianist to the Black Forest. After a performance in Zurich, Peterson
climbed into a limousine and embarked on a journey across the mountains. As
soon as he arrived, along with bassist Ray Brown and drummer Ed Thigpen, the
international star was led to the Steinway grand in the living- room where a
number of excited guests were eagerly waiting. "I listened to him play 'til four
o'clock in the morning and lost the desire to ever hear the Beatles again!", says
Matthias Brunner- Schwer, HGBS' son, still starry- eyed half a century later. The
legendary pianist himself was equally delighted when he listened to the recording
of the nocturnal living-room performance, never before having heard such a direct
and pristine piano sound on tape. Peterson's enthusiastic response marked the
beginning of a long-term friendship and spiritual kinship with Brunner-Schwer.
In the following years, the Canadian pianist returned again and again with various
line-ups to capture his musical vision on tape. The legendary "Exclusively For My
Friends" live series was the very first release for Brunner- Schwer's newlyestablished MPS label with many studio albums to follow.

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.
Often-overlooked, his second album Season For Love (1970) is a must for all deep soul fans and has been sought-after by collectors of different stripes for decades. Whereas his debut featured thundering, gritty numbers, Hutch treats us to a mellower soul here - sumptuous, warm and string-led. He compared his approach to that of Otis Redding and there are definite parallels, from the raspy, rough-hewn vocals that tend to roam between sweet and deeply impassioned to the horn-heavy, emphatic sonic backdrops.
With flawless originals presented alongside a few well-chosen classics (his stunning cover of "Wichita Lineman" arguably bests the original's splendour), it's easy to see why sample-based musicians have been falling over themselves to plunder from this album. Witness the sweeping strings that grace "The Magic Of Love" and the heartbreaking "Walking On My Love", the mellifluous guitar work on the contemplative instrumental "The Shortest Distance" and gorgeous single "When A Boy Falls In Love".
Whilst the arrangements and playing are subtly jaw-dropping throughout, Hutch's uncontrived voice has a certain warmth to match a Nat "King" Cole and a purity of tone that even recalls the great Sam Cooke. Indeed, a few numbers are almost in a jazz vocal territory reminiscent of artists Lou Rawls. That's not to say that others lack the righteous energy and undeniable groove of Willie's later sound.
Remarkably consistent throughout - a rare commodity for many 70s soul albums - the lack of one signature song likely hindered its progress. Regardless, it deserved to make more of an impact and now, paired with the majestic debut, Soul Portrait, these recordings shine a new light on the early work of a soul legend.
Original vinyl copies of this album are extremely rare - and correspondingly expensive - so we're thrilled to present the first ever vinyl reissue of a true lost classic. This release is officially licensed and has been remastered for vinyl by our esteemed engineer Simon Francis. It has been pressed on audiophile 180g vinyl for the first time and features the original, rarely seen artwork.

The Konduko 7" series ends with the 4th and possibly best single with Noel Williams aka King Sporty's cover version of Bob Marley's Them Belly Full, here released as Dance To The Music.

First released on the Natty Dread album of 1974, it was Marley's first album working away from Peter Tosh and Bunny Wailer and was a spiritually charged political and social statement, also featuring classics No Women, No Cry, Lively Up Yourself and Rebel Music.

As an associate and friend from their Studio One days, William's version makes sense, in the tradition of covers throughout reggae's history. Appearing a year late, the 1975 single came in Jamaican and US pressings, a nod to Konduko's roots, having started in Kingston before the move to Miami in the earlier part of the decade.

A warning against allowing the poor to go hungry, with the prophetic "a hungry mob is an angry mob", the cover includes a lot of the Miami feel Sporty was incorporating. With instrumentation again from the Ocean Liners KC And Sunshine backing band), the horns and guitar raise the soul, with counter keys, Part 1 is a straight vocal, while Part 2 is close to a Version but more than an instrumental and in its title, shows its funk and soul background too. A perfect end to the series, the uplifting tracking belies the powerful message, bringing the Miami swing to the JA groove once more.

Mr. K transports us to the golden era of the Loft with two disparate, but equally heavyweight classics from the Mancuso oeuvre mastered and cut loud, deep, and clear for club play.

First up is an edit of a track that embodies the spirit of early ’80s downtown New York City. Released in 1982, “Konk Party” was the band’s calling card and first hit, and represented their multicultural, no wave, hip-hop/disco hybrid perfectly, the opening sax riff itself a sly nod to Wild Sugar’s breakbeat classic “Bring It Here” that the Beastie Boys would later sample. A Loft staple — the video was even filmed there — “Konk Party” was also played widely across the influential clubs of the day, becoming an instant staple at Danceteria, Mudd Club, and other hot spots. The easy-going groove, heavy on the percussion and low-slung bass, complimented by bilingual lyrics from Angel Quiñones, has dated well, and sounds especially ready for action in this new edit from Mr. K, largely inspired by the original 12-inch’s choice Uptown Breakdown Mix. This is the first time “Konk Party” has been available on 7-inch.

The heavy percussion backing is perhaps the only similar element that links our A-side to its flip, but that only goes to show the breadth of styles that coexisted in the audio landscape of the Loft. “Hold On To Your Mind,” first released in 1970 by Northern Irish rock group Andwella, is a heavy, psychedelic tour de force that more than lives up to its cautionary, heady title. Mr. K has outdone himself with his new mix, a supercharged blend of extended percussion breaks — absent on previous 7-inch mixes — driving vocals, and fuzz guitar. For those who have never been able to track down the original single, an expensive proposition, and even for those who have, this new edit is certainly the definitive version.

repressed !

Point G reissue one his all time Classic « Underwater » with two bonus track form that era Amazinggggly remastered for the occasion !
Phat, Raw & Celestial.

In the late 90’s and early aughts, internet video capabilities like Real Video and Quicktime were expanding, proving the early prophecy that ‘anyone would be able to have their own television channel on the internet’ was indeed coming true. After the critical success of Mulholland Drive, director David Lynch doubled down on the medium, funneling virtually all of his time into personally animating, filming, and scoring content for his own internet destination: davidlynch.cm. It was fertile and limitless ground for a creative like Lynch, allowing him to return to the days of his experimental film roots, where it was actually possible for him to have his hands on every element of the process.

It was out of this newfound digital freedom that the early seeds of Inland Empire were born, evolving and fissuring from an internet-bound experiment itself, into something much more expansive. The film collated a variety of ideas and working methods that the recent web paradigm had nurtured in Lynch, one of which was an increased frequency of his own solo music productions. Having finished constructing his own personal recording studio in 1998, he was no longer tethered to the scheduling and high premiums of rented studio time and was free to accelerate his musical experimentation without constraint. As a direct result of this was a unique shift in Lynch’s musical trajectory; a shift that would eventually bear multiple albums and a short film featuring a lounge-crooning monkey. In the first weeks of 2005, Lynch would record a blues instrumental and instead of getting someone else to sing on the song, he would sing, via a formant and pitch-altering piece of equipment known as the Boss VT-1. It was because of the davidlynch animated series “Dumbland” that the director had discovered the device that would enable him to be ‘any character he needed.’ With “Ghost of Love,” Lynch was experimenting with bringing those ‘characters’ into his own musical compositions. Intrue Lynch fashion, it’s difficult to know which inspired which: did “Ghost of Love” birth a scene in Inland Empire, or did the film’s ideas birth the song? Just as “In Heaven” had served to encapsulate Eraserhead, “Ghost of Love” managed to encapsulate Inland Empire allowing its listener to close their eyes and immediately channel the film’s images and mood onto the screen of the mind.

“Ghost of Love” is backed with “Imaginary Girl,” originally released via CD single in 2006 are now finally seeing their vinyl and digital release for the first time in celebration of Inland Empire’s 2022 theatrical re-release. Both are signature cinematic Lynchian classics that feature Lynch on guitar and vocals, accompanied by his long-time collaborator and Sacred Bones staple Dean Hurley on bass.

A voice in the ether. A calm, clement drone. A gentle, pulsing throb. Like the ghost of a forgotten future as imagined by the distant past, Certain Creatures' sophomore LP Nasadiya Sukta is a study in timelessness - crystalline, heartfelt ambient music designed to push light through shadow. Nasadiya Sukta is the debut release on Mysteries of the Deep, a record label dedicated to total sensory immersion. Mysteries (as it's known colloquially and affectionately) launched in 2011 after a particularly fruitful late-night mixing session, first as a cult podcast series dedicated to narcotic music of all kinds, subsequently expanding into a series of seasonal events. Now, with the release of Nasadiya Sukta, Mysteries of the Deep becomes a full-fledged outlet for music to play in the dark. Certain Creatures is the alias of Brooklyn-based artist Oliver Chapoy, and Nasadiya Sukta was crafted especially for Mysteries of the Deep. Its genesis came when Grant Aaron, Mysteries' proprietor, tapped Chapoy to perform at Mysteries' Halloween event in 2015. His performance was the night's axis point, bridging earlier subdued sounds with late-night upbeat moods. Two years later, reworked and reconfigured, this performance is reborn as Nasadiya Sukta. Although divided into six tracks, Nasadiya coheres into a single extra-terrestrial mass, its beautiful understated elegance encouraging repeat listens. Simultaneously harking back to ambient classics from the '90s (you know who they are) while cementing Chapoy as a visionary artist with his own unique voice, Nasadiya Sukta is one for the space travellers indeed. Releases on Styles Upon Styles, Medical Records Label Promo + Tour