Search:the original

'The joyous harmonies and high-octane jive dances of South Africa’s greatest mbaqanga girlgroup, the Mahotella Queens, have enthralled audiences for six decades. "Buya Buya: Come Back" is the first full album of exciting new Queens material in nearly 20 years and marks their long-awaited return to the world stage. "These songs are in the Mahotella Queens’ original style and I can promise fans that it has been worth the wait," says lead singer Hilda Tloubatla, who at the grand age of 83 is the group’s last surviving original member. Hilda has been leading the Queens with her famously resonant voice since the beginning in 1964 and is now actively preparing the ground for the group’s future. She is now accompanied on record and on stage by the youthful voices of Amanda Nkosi and Nonku Maseko – the next generation of Queens – proof if ever it were needed that the mbaqanga beat is as indestructible now as it was 60 years ago. "Buya Buya: Come Back" is the group’s debut album for Umsakazo Records in the UK and is being launched with a two-week tour of Japan, the first performances of the Mahotella Queens outside South Africa since 2019 and their first appearance in Japan since 2005.'

This is a very limited 10" press of these amazing original remixes...in blue smoked vinyl with a special edition sleeve! And I have to add, these remasters sound incredible!

Yes's 1972 3-track recording masterpiece, Close to the Edge, presents a snapshot of an adventurous rock band at the peak of its powers, daring to push itself musically, both as individuals and as a unit.

The first half of the 1970s was an especially fertile period for British progressive rock, laying claim to classics such as Tarkus, Selling England by the Pound, Larks' Tongues in Aspic, The Dark Side of the Moon, and Thick as a Brick. Collectively these and other works represent the best British progressive rock had to offer. Yet, many reviewers cite Close to the Edge as the ultimate prog rock album.

Author and music journalist Will Romano writes: "Yes had previously penned epic tracks for The Yes Album and Fragile, but nothing on the magnitude of the musical gems appearing on Close to the Edge. It's something of a small miracle — perhaps even magic — that the virtuoso quintet crafted such a cohesive and compelling album during an often-hectic recording process that very nearly relegated this monumental work to the dustbin of history."

The album's centrepiece is the 18-minute title track, with themes and lyrics inspired by the Herman Hesse novel Siddhartha. Side two contains two non-conceptual tracks, the folk-inspired "And You and I" and the comparatively straightforward rocker "Siberian Khatru." Original drummer Bill Bruford found the album particularly laborious to make, which culminated in his decision to quit the band after it was recorded, to join King Crimson.

Close to the Edge became the band's greatest commercial success at the time of release. It peaked at No. 4 on the U.K. Albums Chart and No. 3 on the Billboard 200 in the United States, the highest position Yes has reached on the latter chart.

In 2020, Close to the Edge was ranked at No. 445 on Rolling Stone's list of the 500 Greatest Albums of All Time.

Mastered by Kevin Gray at Cohearent Audio. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing.

The capstone of Miles Davis’ electric period, Agharta reigns as a funk-rock fireball — a blazing comet streaked energy and elan, a fearless organism feasting on adventure and freedom, a seven-headed Godzilla stomping its way through Osaka, Japan. Recorded on February 1, 1975 at Osaka Festival Hall at the first of a two-show stand, the double album offers an endless abundance of surprises and shifts — as well as a road-proven ensemble whose chemistry and abilities equal that of any of Davis’ celebrated bands. If the true measure of jazz is the capacity to adapt to the moment and challenge perception, Agharta is consummate.

Sourced from the original master tapes, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set of this epic live release presents it in audiophile sound on a domestic pressing for the first time. Offering greater degrees of separation, detail, and richness than the compressed CD editions and more clarity, openness, and presence than older vinyl copies, this version of the 1975 release helps bring the concert stage to your home. Just make sure your turntable and speakers are up to the challenge of Davis and Co.’s explosive performances — and producing the decibels they demand.

Teeming with vibrant colors, tones, and pace, Mobile Fidelity’s reissue captures the hear-it-to-believe-it flow, sweep, and moodiness of the music. Though the group honors looseness and freedom with religious verve, the specificity and scale rendered by this remaster allows you to detect methods behind the alleged madness that are often otherwise harder to discern. This insight extends to the understated changes in volume, harmonics, and phrasings. In many ways, you can listen as Davis himself did that early February evening as he helped coordinate the overall direction and decided on whether to blow his wah-wah-wired trumpet or take a turn on the organ.

Tellingly, Agharta would likely never have been made if not for Davis’ ventures overseas and, specifically, to the Land of the Rising Sun. Having for years faced a backlash on his native soil for his choices to experiment and blow past all known borders, Davis was welcomed with open arms in Japan. The concert documented on Agharta — as well as the day’s later show, captured on the equally exciting Pangea — stemmed from a sold-out three-week tour that would ultimately mark Davis’ final public appearances for years, as he soon settled into semi-retirement and nursed the wounds connected to an unprecedented stretch of restless and relentless output.

For all the band-fueled merit of Agharta — and there’s plenty, given the cast of saxophonist Sonny Fortune, bassist Michael Henderson, drummer Al Foster, percussionist James Mtume, and guitarists Reggie Lucas and Pete Cosey seemingly blasts off to outer space and travels distant galaxies by the time this minimally edited record runs its course — Davis’ own playing often remains overlooked. As critics Richard Cook and Brian Morton observed, it is “often fantastically subtle, creating surges and ebbs in a harmonically static line, allowing him to build huge melismatic variations on a single note.” He attacks like a man on a mission, out to prove naysayers wrong and bent on trailblazing another new path forward. Convention and skeptics be damned.

Noisy and furious, dark and discordant, abstract and off-balance, radical and intense, abrasive and atmospheric, strangely beautiful and hypnotically eccentric: Agharta evades simple description, and refuses to be pinned down in any established category — rock, jazz, punk, ambient, prog, avante-garde, or otherwise. Shot through with trench-deep grooves, screaming riffs, scalding solos, and free-improv leads, its cosmic thrust comes on as the equivalent of an animated pointillist painting comprised of millions of textured dots, dashes, and dabs that hold your attention so raptly you want to revisit the ideas again and again.

Always steps ahead of everyone else, Davis knew what he was doing even when Agharta debuted in Japan before later hitting U.S. markets. Though “Maiysha” and “Theme from Jack Johnson” are identified in the track listing, the record contains a number of uncredited references to other Davis works, including a nod to “So What.” This decision to bypass labels only adds to the art of the reveal — the rare black magic in which Agharta expertly deals.

Supergroups existed before Emerson, Lake & Palmer formed in 1970. And, as we all know well, many came after. But few, if any, matched the English trio’s chemistry and its elevated combination of virtuosity, vision, and verve. Having influenced a multitude of followers, ELP’s prowess was obvious from the start. The band’s self-titled debut stands as a towering statement of creative imagination, execution, and discipline more than five decades after its original release.

Mastered at MoFi’s California studio, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180g 33RPM LP of Emerson, Lake & Palmer presents the benchmark album in audiophile sound. Clear, dynamic, and balanced, this collectible edition honors the perfectionist approaches that both informed the playing and recording of the record.

Distinguished with black backgrounds, this reissue brings to light the epic scope, tonal depth, and mind-bending degrees of musicianship on display. Aspects — textures, nuances, effects, melodies, tempo changes — that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first version, you’ll relish the presence, separation, imaging, and crispness that help make every song come across as if the group has set up shop in your listening space.

Opening the door to the seemingly infinite possibilities of progressive rock while steering clear of excess, Emerson, Lake & Palmer achieved a rare feat in that its complex, cerebral music didn’t prevent it from attaining mainstream success. The gold-certified effort launched the career of a band that would sell tens of millions of records. It also landed a Top 50 single in the form of the ballad “Lucky Man,” whose vocal harmonies, folksy strumming, multi-tracked instrumentation, and breakthrough Moog solo almost feel quaint in the face of the other fare on the album.

Comprised of genre-defying originals and hybrid arrangements of two classical pieces, the album Rolling Stone originally and rightly said is “best heard as a whole” matches outrageous ambition with the otherworldly skills of three musicians who remain among the finest to ever pick up their respective instruments. While Emerson soon drew the lion’s share of headlines for his ability on keys — clavinet, Moog, piano, Hammond organ, and pipe organ included — Greg Lake’s aptitude on guitar and bass, along with well as Carl Palmer’s monster talents behind the kit, created a three-headed hydra that devoured everything in front of it.

That extends to the radical reinterpretation of Bela Bartok’s “The Barbarian” that begins the LP, a performance that in less than four-and-a-half minutes runs the gamut from distorted to churchy to angular and blustery. More classical flourishes, keyboard wizardry, hard-rock heaviness, and gothic signatures emerge throughout “Knife-Edge,” which reimagines music by Leos Janacek and J.S. Bach — and ultimately invites you to explore a cathedral of sound teeming with separate bursts of keys and percussion.

And did someone say “drumming”? Check out Palmer’s monster salvo on “Tank,” a rhythmic showcase that marches out with knee-bent notes and mirror-reflected passages. Or dive into the mythological suite “The Three Fates.” Replete with three parts and Emerson playing the pipe organ at Royal Festival Hall, it shoots off sonic fireworks via sophisticated arpeggios, jazz improvisations, dancing counter-meters, sizzling chords, and a few explosions. Please don’t hold anyone at MoFi responsible if your system cannot handle it; this is heady stuff.

Indeed, everything on Emerson, Lake & Palmer is there for a purpose. Whether you aim to attempt to dissect all of the notes, shifts, and polyrhythmic bluster or just want to absorb this album as one living, breathing organism, this version invites you to do both as many times as you desire.

They are sexy, powerful, and subversive! HUMAN TOYS is a raw punk rock duo fronted by fierce female vocals

Poupee Mecanik (vocals, theremin) thrives on playing with female archetypes, bringing a subversive edge to their music, all flavoured with a generous dose of irony.

The addition of guitarist Jon Von, formerly of RIP OFFS, since their previous hit record "Spin To Win" (Topsy- Turvy Records), has revitalised the band with an all- new punk rock sound that lands somewhere between THE RAMONES and THE AVENGERS.

Since their debut album "Excuse My French" (Records Ad Nauseam), HUMAN TOYS has evolved musically into a wild punk rock riot grrrl-style force. Anyone lucky enough to catch one of their electrifying live shows around the globe knows they deliver relentless energy, raw power, and a tough yet seductive attitude. That same fierce energy shines through in their new album "At The Poor Cow", named after a legendary underground punk rock bar in Tokyo. The album features fantastic covers of IGGY POP's "I'm Sick of You", THE NERVES' "When You Find Out", and BOB CENTER's "Lost In The Jungle", alongside addictive and wild HUMAN TOYS originals. This record is a true modern-day punkrock-classic!

Wailin' Rhythm 'n' Blues ravers THE BREADMAKERS from Melbourne, Australia, first formed back in 1989, delivering an explosive mixture of Garage Rock Revival and rockin' Rhythm 'n' Blues

Featuring members of SHUTDOWN 66, THE BO-WEEVILS, and THE PURITANS, these guys have long achieved cult status in the Garage Punk scene. Following their selftitled LP released on SOUNDFLAT RECORDS in 2020, we couldn't get enough of their wild sound. Thankfully, our prayers have been answered with a brand-new hit record from the fantastic BREADMAKERS!

The album includes two smashing cover versions: Bo Diddley's classic "She's Fine, She's Mine" and Andre Williams' "Mojo Hannah" , alongside some fabulous BREADMAKERS originals. Whether it's the catchy, wild tunes like "Marisa In Your Ear", "Existential Homesick Blues" and "Mojo Hanna", or the cool, bluesy vibes of their take on Bo Diddley's "She's Fine, She's Mine" and the moody "Stuck In The Past", these guys prove they have rock 'n' roll coursing through their veins.

"Lonesome Sundown" is yet another fantastic release from Australian Garage Punk legends THE BREADMAKERS!

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! Coltrane playing with his former Miles Davis bandmates Featuring originals "Harmonique" and "Like Sonny" 180-gram 45 RPM double LP Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing The first album to hit the shelves after Giant Steps, Coltrane Jazz was recorded in November and December 1959, although one of the eight tracks ("Villiage Blues") was recorded in late 1960.

On everything save the aforementioned "Village Blues," Coltrane used the Miles Davis rhythm section of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb AllMusic describes Coltrane Jazz as the saxophone legend's preparation for his launch into his peak years of the 1960s. There are three standards aboard, but the group reaches their peak on Coltrane's original material, particularly "Harmonique" with its melodic leaps and upper-register saxophone strains and the winding, slightly Eastern-flavored principal riffs of "Like Sonny," dedicated to Sonny Rollins. The moody "Village Blues" features the lineup of McCoy Tyner on piano, Elvin Jones on drums, and Steve Davis on bass; with the substitution of Jimmy Garrison on bass, that personnel would play on Coltrane's most influential and beloved 1960s albums. Sound excellence can be found on this definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of Coltrane Jazz.

After finding fame with the Hollies and Crosby, Stills, Nash & Young, expatriate Englishman turned West Coast rock icon Graham Nash made an auspicious solo debut on this 1971 disc. It's an exemplary singer-songwriter effort, striking a vital balance between graceful introspection and political fervor — and while it's deeply personal, it still carries the harmonies, heart and politics that made CSN(Y) so essential.

With assistance from the likes of David Crosby, Jerry Garcia, and Dave Mason, highlights include the sensitive internal explorations "I Used to Be a King" and "Man in the Mirror" and the impassioned protest anthems "Chicago" and "Military Madness."

If Déjà Vu was a wild canyon party with four competing egos, Songs for Beginners is Nash's introspective morning after — a mix of heartbreak, hope, and a little bit of righteous protest. He recorded it while reeling from his split with Joni Mitchell, and you can feel that melancholy seeping through the grooves.

But don't mistake this for a wallowing breakup album — it's also a call to action, packed with the kind of folk-rock anthems that made Nash an indispensable voice of his era. If you love CSN's folk-rock harmonies but also crave a more personal, raw touch, this is a must-listen.

This Analogue Productions (Atlantic Series) reissue of Pain in My Heart is a standout for your collection. First, we turned to Bernie Grundman to cut lacquers from the original master tape. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

To celebrate the 50th anniversary of Profondo Rosso, Dario Argento’s masterpiece with its iconic Goblin soundtrack, comes a once-in-a-lifetime collector’s box set.

This box set, limited to 450 copies, includes:

GOBLIN - PROFONDO ROSSO / 2LP SET
Special double vinyl reissue with gatefold cover and brand new artwork including the original soundtrack, plus a bonus disc that contains a collection of tracks with the actual music used in the movie.

CALIBRO 35 - CANZONCINE PER BAMBINI / 12” LP
Exclusive 6-track LP featuring brand-new compositions by cinematic jazz-funk masters Calibro 35, blending their trademark sound with nursery rhymes sung by a real children’s choir.
The project is inspired by one of the film’s key scenes — a sort of MacGuffin around which the music playfully revolves — transforming that cinematic idea into a standalone concept full of irony, tension, and imagination.

FABIO CAPUZZO - NEL ROSSO PIÙ PROFONDO
LP-sized book, in English, containing one of the most detailed and thorough analysis on both “Profondo Rosso” movie and soundtrack ever written, courtesy of Fabio Capuzzo,one of the greatest Italian experts on the matter.

LENTICULAR IMAGE, revealing the film’s key scene, turning this edition into a true display piece.

A celebratory release of extraordinary cultural and collector’s value, blending cinema, music, and memorabilia into a total experience. An unmissable tribute to Profondo Rosso, fifty years on.

Rakkit Records is a brand new label that specialises in darkside jungle techno.

Heading in a different direction to Radman's older releases, this EP is inspired by two of his young loves: London squat parties and militant EA raves. That darkside hardcore sound you'd hear in the morning at the squats, with the energy of the main event at a Thetford Forest party. Dark, stompin', and drenched in 303s.

It's dedicated to one of his partners in crime of the time, Phil Sayer, who introduced him to much of the above and always pushed Radman to keep releasing tunes, with his support and brutal critique. Radman took samples of one of Phil's original poems for the track ACAB, from his performance in his old living room. Phil loved vinyl, 303s, darkside and hardcore, so we think he woulda been chuffed.

Just 150 copies getting pressed. Once they're gone, they're gone.

The Psycheground Group has been a completely mysterious band for a very long time, about whom nothing was known except the fact
that they released an obscure LP in 1970, with a red front cover with a stylized drawing of a male face wearing a coloured bandana.

Only in recent times it has finally been revealed that “Psychedelic and Underground Music” was played and recorded –
and sung on very rare occasions – by musicians from Nuova Idea, who would debut only a year later with the LP “In the Beginning”,
the first in a trilogy of albums that would leave an important and indelible mark on the Italian Progressive Rock story.

“Psychedelic and Underground Music” is a fully instrumental album – with the exception of some vocal harmonization –
of rhythm & blues, pop and psychedelic music with a strongly British imprint: it is no coincidence that for a
long time it was mistakenly believed that The Psycheground Group were a English group.

“Psychedelic and Underground Music” is a wonderful cult album, impossible to find in its first edition
which is valued thousands of Euros in the collectors’ market. It is now reissued in an original-like version, on clear red vinyl.

This is the third release by Trevor Dunn (Mr Bungle, Fantomas, Trio Convulsant, various with John Zorn) and Kevin Rutmanis (Tomahawk, Melvins, Cows, Hepa/Titus) On this outing Trevor joins Lords and Lady Kevin (duo of Kevin Rutmanis and drummer/artist Gina Skwoz) for a full length LP "Last Days at Hot Slit"

Songs are loosely based on assorted gospel, blues and jazz songs, some original, some covers. Included is a re-working of Mingus "Devil Woman". The trio based the pieces on improvisations that were then arranged and used to build free standing songs. A multitude of instruments were exploited by all those involved, to create a sizzling blend of aural delicacies. The album title is from a collection by writer Andrea Dworkin, often sited as the Celine of feminism. Less outre perhaps than their previous recordings, these songs hover somewhere between soundtrack- like excursions, to jazz/ blues mutations to a demented "rock" sounding affair. Something for everybody, or perhaps, nobody! Uniting former and current members of Tomahawk, Last Days At Hot Slit marks a powerful reunion between Rutmanis and Dunn. The record took shape gradually, born from Rutmanis's raw, unconventional bass recordings. "I sent Trevor a phone recording of some hideous bass racket and asked if he wanted to add anything," Rutmanis shares. "What he sent back was something like delicious fresh cherries with ice and banana slices." The pair's combined creativity gave rise to a new, immersive soundscape, while their collaborative piece, Crackpot Whorehead, set the tone for the current formation of Lords and Lady Kevin."

This is a very limited new version of what was once a very limited 7" release. The original 7" contained a remix from Pete Cannon and the mash up Mozaik, but in both cases the mixes were cut down in length due to restrictions with the 7" format. So now we have this exclusive 12" version, which not only allows for the full length versions of those classic tracks, but also allows us to add the much requested Gothika Shade remix of Disturbance to the EP as a whole!

“Stuck in My Head / Home is Behind” marks the most profound and personal release from Jamie Collomb, known to many as Oneduz - artist, father, husband, and co-founder of The Global DNB Collective. This vinyl project, created with unwavering passion and intention, was Jamie’s proudest work, a true reflection of his artistic soul.
Tragically, Jamie passed away unexpectedly just as the record entered production. Featuring original tracks by Eclipsed Shadows and Noisesmith, and powerful remixes by two of Jamie’s heroes: drum & bass legends Blame, and longtime friend and inspiration Danny Styles. This release stands as both a musical statement and a lasting tribute.
Following Jamie’s passing, his creative partner Andy (Syntax Era) and GDNBC designer Ryan Feyler (Drbblz) came together to carry his vision across the finish line. Every detail of this release honors Jamie’s legacy.
All profits from this album will go directly to support Jamie’s wife, Shanda, and their two young children, Porter and Hadley. This is more than a record, it’s a celebration of Jamie’s life, his music, and the community he helped build.

'Fully licensed, all tracks restored & remastered for the 1st time!
'Lots of Loving was the third album, originally released in 1980 by Freedom Sound Record, by legendary and controversial Jamaican deejay and singer Ranking Dread.
'Recorded at Channel One studio, with Barnabas as engineer and produced by Sugar Minott the album featured musicians from the Black Roots Players, Sly & Robbie, Steeely (Steely & Clevie) and many others... Voiced and mixed at King Tubby's Studio!
'One of the most dangerous rub-a-dub deejay lp’s!'

The Jack Ruby releases have been some of the most sought after dnb/jungle tracks on Discogs, mastered from the original DAT by Beau and pressed on 180g vinyl, sounding incredible!

TimeZone was originally released on Knowledge by Subreption - another Zinc alias...

Babylon, der über zwei Stunden Originalmusik enthält, ist ein originelles Epos, das im Los Angeles der 1920er Jahre spielt, mit Brad Pitt, Margot Robbie und Diego Calva in den Hauptrollen und einem Ensemble mit Jovan Adepo, Li Jun Li und Jean Smart. Der Film ist eine Geschichte von übergroßem Ehrgeiz und unverschämten Exzessen, die den Aufstieg und Fall zahlreicher Charaktere in einer Ära ungezügelter Dekadenz und Verderbtheit im frühen Hollywood nachzeichnet. Der Soundtrack besteht aus 48 Musikstücken von Oscar-Preisträger Justin Hurwitz (La La Land).

One side is a powerfull Downtempo Techno tune, featuring a long break intro, inna Dubstep mood. The other side is a Breakbeat Electro progressive tunes (an Ambient bonus track). Original and nice.

Made in 1994/5 by DJ Zinc at the Green Room, East London.

'Beyond Reality' was originally released under another Zinc alias 'Tyranny' (KR005) and 'Ophelia' was on KR001

Remastered by Beau, sounding better than ever!

Nice and original breakbeat melodious overdrive 1 techno electro killer.

James Brown wants to know one thing before he and his band begin Sex Machine. “Can I get into the thing, really?,” he asks. His cohorts enthusiastically respond in the affirmative. And for the next hour and change, Mr. Dynamite gets into it and more, turning in a sweat-soaked, feet-moving, hip-swiveling, emotion-purging, in-the-red, drop-everything-you’re-doing-and-dance performance for the ages. Ranked by Rolling Stone among the 500 Greatest Albums of All Time, the sweeping 1970 effort towers as a testament to Brown’s inimitable legacy as well as the peak powers of his voice, vibrancy, and bands.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set presents Sex Machine in audiophile sound for the first time. It explodes with the energy the lightning-strike music demands. Dynamic, immediate, present, airy: Everything from the brassiness and fluidity of the horns to the snap and decay of the snare to the swell and carry of the organ comes across in full-range perspective.

Then there’s Brown’s superhuman singing, which here emerges with a purity, naturalism, and transparency that ensure you feel everything. Screeching, shouting, pleading, moaning, preaching, stinging, commanding, testifying, crooning, humming: The Godfather of Soul contributes one of the finest vocal performances known to man. This definitive 55th anniversary reissue of Brown’s monster funk statement further exhibits a combination of clarity, solidity, separation, and imaging that helps bring to light what he and his crack ensembles committed to tape. Both in the studio and on the stage.

Just how lifelike does this reissue sound? Senior Mobile Fidelity Sound Lab engineer Krieg Wunderlich, who handled the remaster, notes: “There were some artifacts that sounded a bit like mistracking. But they turned out to be breath blasts on the vocal microphone. That is part of history. JB was workin' hard, and breathin' hard. And there was an edit the timing of that was truly strange. Again, a part of history.”

Originally marketed as a live album, Sex Machine contains six songs recorded in the studio and later overdubbed with canned crowd noise and reverberation. Save for “Low Down Popcorn,” the tracks on the latter half stem from a phenomenal performance captured in October 1969 at Bell Auditorium in Brown’s adopted hometown of Augusta, GA. The special relationship between the singer, the audience, and the location is palpable.

As the 1960s gave way to a new decade, Brown experienced immense success and dealt with unexpected change. Soul Brother Number One soon expanded his idea for an official live album captured in Augusta when the ensemble that backed him on that date morphed into the original version of the world-famous J.B.’s just months after the show. The virtuosic abilities, sticky chemistry, and rhythm-forward nature of the J.B.’s prompted him to book a one-off session in Cincinnati, OH, on a late July night.

Anchored by brothers William “Bootsy” Collins and Phelps “Catfish” Collins, the group — as well as two different drummers — laid down a nearly 11-minute rendition of “Get Up I Feel Like Being Like a Sex Machine” and a thrilling medley of “Bewildered,” “I Got the Feeling,” and “Give It Up or Turnit a Loose.” A pair of then-recent studio singles cut in separate locations in 1969, “Brother Rapp” and “Low Down Popcorn,” each featuring his prior group, took care of the second LP worth of material that complements the originally planned live set.

Complicated? Somewhat. Unusual? Definitely. But just as he elevated the expectations for all present and future R&B artists, Brown not only makes it all work. He makes it positively electrifying.

“Get Up I Feel Like Being Like a Sex Machine” is alone deserving of a dissertation on the art of funk music, seeing it moves up and down akin to an oil derrick, witnesses Brown unleashing a trademark series of grunts, squeaks, and “good god” asides, and glides to a hypnotic groove that won’t quit. Or look to the syncopated rhythms of “Brother Rapp (Part I and Part II),” one of multiple pieces here that signify the point where Brown began viewing every instrument as a percussive tool. Brown closes the three-song medley with his new band with a skedaddling “Give It Up or Turnit a Loose,” which provides jolts on the order of sticking your finger into a socket.

Not that the actual live material falls short in any way. Setting an insistent tempo for the vitality that follows, “I Don’t Want Nobody to Give Me Nothing” positions Brown as a role model, leader, and self-sufficient entrepreneur. All simmer and boil, the short and sweet “Licking Stick” dares you to keep pace. The floating, almost comforting “Spinning Wheel” spotlights the instrumental prowess of Maceo Parker and company, and functions as a seamless segue into the tender, horn-saluted “If I Ruled the World.”

And Brown and his mates still aren’t done. Just try to resist the one-two closing punch of “I Can’t Stand Myself (When You Touch Me)” and “Mother Popcorn.” Mercy.

Ain’t it funky? Sure ‘nuff.

The Cryovac machine operates independently to service the world with an original strain of techno. Our people are pioneers of their own sound and seasoned veterans of its' cause. This cause is the basis for our action and the motivation for our vinyl. Cryovac believes the vinyl format is the truest way to take in our music, and this is why we take great care to personally craft our own plates and photograph our own art. The Cryovac approach and stance make it a true oddity in a world of commodities, and we hope you realize, feel, and respect our work.

Andy Vaz is a rebel from the city of Cologne. He is a creator of techno labels that follow their own path and challenge the standard dogma. His version of the techno sound has gone from stark and funky minimalism to synth cascades and housey feels. Andy Vaz is the perfect choice to collaborate with Andy Garcia. Garcia's brand crunchy soul tech mixed with vocal nonsense is the yin to Vaz's yang. These like minds share a name, a spirit, and a drive to keep moving forward no matter the cost.

American Nightmare's "Year One" collection on 180 gram vinyl for its 25th anniversary. Available again for the first time in decades. Originally released in 2001, the Boston hardcore band’s 25th anniversary release of "Year One" pays tribute to their formative years. This collection unites their first two 7”s, originally released by Bridge 9 Records founder and then-roommate Chris Wrenn, on a 180-gram LP, with all tracks recorded by Kurt Ballou at God City. Originally designed by Jake Bannon (Converge), this edition has been reimagined by Del Jae (Futurismo Records) and singer Wesley Eisold, and comes packaged in a gatefold with an insert of handwritten lyrics and collaged images. "Year One" doesn’t just celebrate a milestone; it reaffirms American Nightmare’s enduring legacy. Their music raised the bar for emotional depth in hardcore, adding a distinctly poetic and existential lyrical approach that set them apart and changed the rules of the scene, paving the way for countless bands that followed

This is the fourth 7-inch vinyl release of Tatsuro Yamashita covers from Junk Fujiyama, a leader in the city pop scene.
Junk has been collaborating with creator Itsuki Kamiya in recent years, and the track was produced by him.
Juny-a plays alto saxophone, while Itsuki Kamiya plays guitar, chorus, and all other instruments. Junk sings this emotional and reverent song over an exhilarating
track that recreates the original sound.
The B-side is the popular track "Boku Dake no SUNSHINE," which has topped Spotify's viral chart three times.
The jacket is an original illustration by hikari&-, evokes a summer feeling.

This package evokes those vivid summer feelings, brought back to life at Christmastime.
Junk's passionate vocals and spirit vividly color Tatsuro Yamashita's timeless summer song.
Of course, the B-side is Junk's own popular summer tune.
(Kanazawa Toshikazu)

"Petitmas! PETIT IDOLM@STER" (Akane, original story by Bandai Namco Entertainment, 15 volumes published by KADOKAWA ongoing) is a popular
four-panel comic series currently running in Dengeki Maoh magazine. It's based on "The Idolmaster," a series that has garnered immense support from
fans across a wide range of media mixes. The anime series "Petitmas!" began airing in January 2013, and the 12 solo single CDs by the 12 idols from
765 Production will now be released on LP!

The records will be released as six products, each containing two titles from all 12 volumes of "Twelve Seasons!", on two discs.
The first wave will see the release of three products over three consecutive months.
The jackets feature designs from previous CDs, and are double-jacketed, with the jackets from both volumes on the front and back four.

The second release in French beatmaker Medline's 7" cover series of soul, jazz-funk, and rare groove classics!

Much like Leon Michels of El Michels Affair, Medline plays all the instruments himself?this release features two stunning tracks, including a newly recorded cover.

Side A presents a brilliant rendition of "Wind Parade," Donald Byrd's immortal 1975 masterpiece that has been widely sampled in hip hop. The iconic bassline remains intact, while Roni Alkekengi's transparent vocals and a bold substitution of flute in place of trumpet create a uniquely groovy interpretation.

Side B is a refined cover of the 1972 soul classic "People Make the World Go Round" by The Stylistics, which has also been heavily sampled and covered. Medline retains the charm of the original while adding his own polished touch.



[a] 01: Wind Parade (45 Edit) [feat. Roni Alkekengi]

A peerless debut album by Jacks, born during the dawn of Japanese rock, is reissued as a colored vinyl modeled after the original red disc released by
Toshiba Musical Industries on September 10, 1968.

Its dark and freaky lyrics and sound, as if gouging out the depths of the soul, had a profound impact on the music scene that followed.
In addition to the original 10 tracks from the album, this reissue includes the single A-side track "Kono Michi", which was released around the same time but not included in the original album.

Now recognized worldwide as one of the biggest artists, BTS released this album about two years after their Japanese debut, solidifying their status as
top artists in both Japan and Korea. This marks the analog release of their second Japanese album, coming two years after their previous one.

Included on the album are their 4th single "FOR YOU," which earned them their very first No.1 on Japan’s weekly chart, the hit single "I NEED U,"
and their 6th single "RUN," along with Japanese versions of tracks from the "Hwa Yang Yeon Hwa" series such as "FIRE," which capture the most
beautiful yet fleeting moments of youth. Additionally, the album features the Japan-original song "Wishing on a star," as well as many tracks only
available on this release.

Mokum Records proudly presents a fresh slab of hardcore:
Remixed by:
Dysistor
RETRO
The Outside Agency
Faniac
Plus: the original track included on the record!
A must-have vinyl for collectors and hardcore heads — raw, dark, and uncompromising.

The third chapter of Vesuvius Soul Records connects distant corners of the underground — from Canada to the UK, passing through Barcelona and Naples — building a sonic bridge between different energies and creative visions.

Void Fill, a supergroup formed by members of Gad Whip, Everything Is Geometry, and King Pong Dub System, deliver two tracks that merge new wave and post-punk tension with synth-pop sensibility, each paired with its instrumental version. Their sound blends analog drive and emotional depth, echoing the label’s exploratory spirit.

On remix duty, the A-side features Lvca, one of the most influential names in today’s European underground scene. The B-side comes from Computer Rage, the Neapolitan duo behind VSR002.

repress!
After releasing Louie Vega & The Martinez Brothers’ ‘Let It Go’ in 2020, Defected now deliver a special 12” package of this irresistible summertime jam and accompanying remixes. With a copy of the original record going for up to £230 on Discogs, this release makes an anticipated arrival for crate diggers craving this red-hot release. Featuring the soulful, slick, groove-filled original as well as the Vox Dub on the A-Side, on the flip you can catch house sensation Honey Dijon’s ‘Berlin meets NYC’ style remix, as well as Australian powerhouse Dom Dolla’s chart-topping, high-energy version. A homage to NYC’s rich Latin American dance scene, this 12” delivery is a record box essential for any discerning house collector.

Santa Fiebre return with a new 45 on Acid Jazz’s Fingier Records, with producer Kevin Fingier at the helm. The Argentine Rhythm & Soul outfit turned heads with their label debut last year, double-sider ‘Earthsplosion’ / ‘That’s Where We Go’, and here they offer two new, explosive original sides.

Over the past few years, Kevin Fingier has released a series of hard-hitting, high-selling 7” singles, on his own Acid Jazz-group imprint, along with a compilation LP and an original album. He is known for his authentic 60s R&B sound, with a distinctly Latin touch. ‘Waterfalls’ sees Santa Fiebre move into funkier, late-60s territory, with a percussive beat and driving horns accompanying a wonderful, soulful vocal.

Meanwhile, ‘Pain of Sights’ is a characteristic Soul/R&B crossover smash, guaranteed to hit at a club night. Another modern classic from the man in Buenos Aires and this brilliant ensemble.

Presented in the signature Fingier Records house-bag.

Released in limited numbers in tandem with Black Mahogani back in 2004 and never repressed. Black Mahogani II was a departure from Kenny Dixon Jr's usual house based music and featured cuts from Kenny Dixon Jr's late night jazz band sessions
The centrepiece is the eighteen minute 'When She Follows', a deep jazz session skittering live drum rolls into an electric Fender Rhodes, loping acoustic bass and distant saxophone all wrapped up in an amorphous vocal that drifts ever onwards like some epic detroit techno cut replayed by Gil Scott Heron's band in 1970. Incredible music.
'Rectify' follows in a similar mode, jazz in a detroit techno framework, while the final two tracks 'Dirty Little Bonus Beats' and 'When She (Reprise)' are revisions of the main cut, the former altering the bassline, adding vocal sighs and more rhythmic drums, while the latter shifts up the tempo with a wigged out techno synth element.
Stone, cold.

DINTE's survey of folk music traditions in Northeastern Brazil, originally broadcast on NTS Radio in 2019, becomes the latest to be committed to cassette as part of their 10th anniversary series. It specifically focuses in on the spur-of-the-moment improvised "duelling" poetry of the repente, embolada & aboio styles that are unique to the Nordeste region.

To celebrate the 30th anniversary of Snoop Dogg’s multi- platinum Doggystyle, heralded as one of the most important albums of all time, Death Row Records will be bringing this back to retail with the original 1993 track listing on vinyl.

This new 30th Anniversary edition will include the track “Gz Up, Hoes Down” which has not been on the album since its pressing in 1993. For new and old fans alike, this is the definitive version of the classic album that launched Snoop’s solo career and helped define the sound of Los Angeles in the process.

The cultured dub and tech label Sushitech marks its 20th anniversary by branching out with a new imprint, Wood White Sessions, which has been designed as an outlet for more intimate, home-focused listening sounds that don't stray too far from the parent label's original ethos. Dedicated to albums from long-time collaborators and core artists, the new venture expands the Sushitech sound with a softer, more reflective edge and seasoned dub craftsman Another Channel is up first. Across eight cuts rich in texture and atmosphere, he hooks up with Prince Morella, Masis and Yassin Omidi to immerse you in the most shady and pristine dub.

Pull Up is the debut collaboration between Concret (Italo-Mexican producer shaping Latin America’s underground) and Australian late-night chill-rave artist Kate Stein. Based in NYC, the duo blend post-punk attitude, minimal wave textures and house rhythm into a bold club track. With heavyweight remixes from Mike Simonetti, Lauer and Blu:sh, the EP reflects the electric pulse of the city they call home. Released on Rollover Milano Records.

“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.” To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist / vocalist Holden and drummer / keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal.

Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. “I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.” And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.

Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.”