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2024 RSD Release

Johnnie Mae Mathews is fondly referred to as being 'The Godmother Of Detroit Soul' as she was responsible for creating at least 8 different Detroit record labels and for discovering and nurturing many future Motown artists in their early years. In fact she was a major source of inspiration for the young Berry Gordy, founder of Motown. We are delighted to finally be releasing what many people consider to be the pinnacle of independent Detroit Soul music, the impeccable and gut-wrenching 'I Have No Choice', the defining record of Johnnie Mae Mathews many recordings with the equally impressive 'That’s When It Hurts' on the flip. 'I Have No Choice' is a record that has finally hit the heights it always deserved after being a cult record for almost 50 years and is now commanding a staggering £1200-1500 for a decent original copy for those lucky enough to be in that league. This will be a historic RSD release with comprehensive notes and photos from Johnnie Mae Mathews expert Richard Gilbert. If you’re a Soul music fan, then this record is indispensable. Full picture sleeve featuring Johnny herself in full swing, with liner notes, and fully remastered, heavyweight vinyl 45.

For our 50th release on Delusions Of Grandeur we're pleased to bring you seven exclusive tracks from a mighty-fine collection of both existing DOG artists and veritable newcomers alike.
Kicking off Part One we have Rush Hour regular Nebraska who manages to successfully combine elements of wait for it... trance and broken beat into an altogether more exciting and amazing way than that actually sounds on paper. Organic, sampled drums with plenty of grit and dirt lay down a groove whilst spacey synth arps and an almighty break (in a subtle way) make this something of an epic which all of us here have fallen for in a big way.
Quintessentials and Kolour LTD favourite Ugly Drums steps up next digging deep in his seemingly bottomless collection of brilliant of disco and soul to mine some killer samples and conjuring up a masterclass in deepest ravehouse in the process.
Rounding off Part One DOG mainstays and bona fide Retreaters Session Victim do what they do best on Came To Be Alive, turning in a completely blissed-out, dusty soul jam tailor-made as much for cozy nights in front of a log fire as for antipodean BBQ's under a hazy sun.

For our 50th release on Delusions Of Grandeur we're pleased to bring you seven exclusive tracks from a mighty-fine collection of both existing DOG artists and veritable newcomers alike.
Part Two opens with Underground Quality key player Son Of Sound who brings a bucketful of attitude on Under The Son, laying down a rough-edged groove and getting on one with his vintage keys.
Up next we have Sebastien Vorhaus & Ponty Mython who bring us the beast that is I'm The Slime. Easing us into things with gentle rhodes samples and a skippy groove, Vorhaus (of Soul Of Hex fame) and Mython soon develop things with hints of acid before unleashing a jazz piano riff that can be best described as unhinged.
Flipping over the mysterious Zepp001 hunt and gatherer brings us Enemy. There's elements of disco with bouncing syndrum fills and a mysterious mood prevails as shakers rattle, bells chime and congas slap but when the bassline drops it's clear we're into some serious future s**t here.
Finally, we have our very own Norm De Plume who lays down a bad-boy groove with a rocking bassline, clattering cowbells and tension-building pads bringing an intense build and rounding off our 50th release in fine fashion, we hope you agree.

Introducing THE BAD BEATS! A vibrant force embodying the true spirit of 60's garage punk! Hailing from the Pacific North-West and emerging on the scene in 2014, THE BAD BEATS have conquered both local stages and European circuits with their frenetic live performances, leaving audiences drenched in sweat.

In relentless pursuit of their unapologetic sonic mission, this dynamic quintet hurls a sonic onslaught reminiscent of the gritty, soulful vocals and fuzz guitar that defined the 60's punk scene. With the unmistakable whirr of an acetone organ in the mix, THE BAD BEATS resurrect the authentic spirit of that era while infusing it with a vitality that echoes the revival sounds of the 80's garage scene.

Their upcoming LP, "Gotta Get Loose," is on the brink of release, adding to THE BAD BEATS' already impressive discography. This powerhouse quintet already boasts two critically acclaimed albums, both launched through the esteemed SOUNDFLAT RECORDS.

Brace yourself as they persist in their sonic uprising! THE BAD BEATS are the torchbearers of a bygone era, bringing you the spirit of 60s rebellion, and the world is tuned in!

Polistrumentalist, composer and producer Alex Puddu (Al Dente/Schema Records), also known for his collaborations with Edda Dell'Orso (Maestro Morricone's legendary vocalist,) Joe Bataan, Lonnie Jordan from L.A funk band War, and Gene Robinson Jr of Breakwater, and who boasts a solo discography of 17 albums, including the three original volumes of the red light soundtracks of Danish films" The Golden Age Of Danish xxxography. He debuts for the first time with a new double single sang in Italian language, with two tracks "Pullover Grigio" and Texas Blonde", proposing a new sound that draws us into the Italian funk pop music of the late 70s and early 80s and into the pop/indie melodies of the new Italian scene, up to electronic sounds (as Calcutta, Fulminacci, Fra Quintale, Marco Castello and Nu Genea have done), between soul and disco, which are part of Alex Puddu's unmistakable production style. Don’t Miss It!

Did you know that for decades, record collectors across the Dutch-speaking region have overlooked a significant portion of their own musical heritage while avidly searching for rare grooves and breaks in bins filled with more exotic music? It's a fact! And that's where Harde Smart comes in. After delving deep into dusty crates of Belgian and Dutch music, Harde Smart's inaugural compilation in 2019, dedicated to music from the 1970s, brought to light a selection of smooth, jazzy, funky, and soulful gems from Flanders (the Dutch-speaking part of Belgium) and Holland. In addition to exquisite grooves and hard-pounding drums, these songs shared Dutch lyrics, offering a unique compilation of lyric-driven Flemish and Dutch music from back in the days.

Yet, nothing is as certain as the unexpected. This compilation marked the first time a Dutch album uncovered the authentic Afro-American funk and soul vibe, which, albeit sporadically, influenced the work of both popular and lesser-known singers and musicians in this corner of the world during the 1970s. Undoubtedly, influences also stemmed from French chanson and rock music of the era. This 21-trackalbum shattered all musical predictability, taking listeners on a strange and nostalgic journey, offering a revised collection of "essential homegrown classics" for local listeners while also captivating non-Dutch-speaking audiences.

With the second compilation, Harde Smart shifts its focus from the 1970s sound to explore the next decade, the 1980s. Vinyl aficionados No Sleep Richy and Micha Marva joined forces with Sjefke De Kok, one of Holland's premier crate diggers, to continue their musical odyssey. Digging even deeper into dusty bins filled with Dutch and Flemish records once again unearthed an exquisite selection of tracks-too weird to play, too rare to ignore. From butt-shaking boogie to weird disco adventures on wax, this album encapsulates all the good stuff of the 1980s: smooth and seductive alongside dark and wavy. Get ready for an atypical introduction into the Dutch lyric-driven music from the 1980's.

Diane Birch emerges as a formidable American singer-songwriter and pianist, boasting a repertoire of critically lauded releases spanning a rich decade-long career. With an eclectic array of musical influences stemming from a globe-trotting childhood - ranging from her humble beginnings as a preacher's daughter in Zimbabwe and South Africa to her transformative years as a gothic teen immersed in the vibrant cultural underbelly of Portland, Oregon. Her discovery while living in London via Myspace led to a record deal in New York, where she then spent the next few years.

Diane's journey is as diverse as her sound. Her profound experiences have culminated in a unique musical blend, characterized by her stint performing soulful covers and original pieces in the swanky lounges of the Beverly Hills elite. Receiving widespread attention with her debut album "Bible Belt" and her follow-up projects "Speak A Little Louder" and "Nous", these works not only cemented her position in the international music scene but also earned her accolades and respect from esteemed peers including Prince, Daryl Hall, Mark Ronson, Dave Stewart, Questlove, Elvis Costello, Bryan Ferry and Stevie Wonder.

Returning with her latest work, "Flying On Abraham", Diane presents a meticulously crafted collection of original compositions. This album is a heartfelt homage to her vast and varied musical roots, weaving together the rich tapestry of 70s AM radio, soul, jazz, classic rock, 80s/90s pop and R&B. Despite the eclectic mix, Diane's sound remains distinctly her own - her voice a blend of raw emotion and refined grace, echoing the legacy of iconic artists like Carole King, Carly Simon and Rickie Lee Jones, yet standing out with an authenticity and individuality that is unmistakably Diane Birch. Produced by renowned English musician Paul Stacey, known for his work with Noel Gallagher and the Black Crowes, "Flying On Abraham" was recorded in the UK, backed by an impressive lineup of musicians. This album is not just a collection of songs but a narrative of her artistic journey, offering a window into the soul of a woman who has traversed continents and musical genres to create something truly extraordinary.

With "Flying On Abraham", Diane Birch reaffirms her status as a musical virtuoso, continuing to enchant audiences worldwide with her evocative lyrics. It represents Diane's enduring vision of "making American music with an English sensibility."

Shelly y Nueva Generación was a cult Spanish soul and garage band that left an indelible mark on the late 1960s music scene. Their rare 45s, now classic DJ spins in the mod/psych 60s scene, boast a funky Le Beat Bespoke style freakbeat sound. Three singles were released on Philips between 1968-69, including their stunning take on Nonato Buzar's 'Vesti Azul' and the outstanding original 'I'm Just a Fool', as featured on Ivan Zulueta's cult film "Un, Dos, Tres, Al Escondite Inglés". This long-awaited release unveils their complete discography plus many unreleased recordings unearthed from lost tapes now seeing the light of day for the first time! It comes with a 8-page booklet with extensive notes and rare photos of the artists. This compilation stands as both a celebration of the band's legacy and a rediscovery of the timeless allure that made Shelly y Nueva Generación an enduring force in the annals of Spanish music history.

A peculiar addition to his discography, without denying his swing roots, the producer went exploring new landscapes, with a touch of electro-soul.

DJ Support: Danny Krivit, Craig Charles (BBC Radio 6 Music), Hallex M, Jazzanova, Delite Radio, Mi Soul, Pointblank, Totally Wired Radio, XFM, Radio Solar, Tony Minvielle, Simon Phillips, Chris Phillips (Jazz FM), KCRW DJs, Ian Friday, Aroop Roy, Samantha Badd (Café Del Mar), Mr. V, Simon Harrison (Basic Soul), Greame Park, Mike Fossati, Timo Mass, Deli G, Servino (Horse Meat Disco), Hyenah.

‘Badly Written Songs’ is, of course, a tongue-in-cheek title. It comprises a carefully structured and well-produced array of songwriting, topped and tailed with live instrumentation, commanding vocal performances and high-end production: the result of years of sound engineering and music production experience. Since the last album, Ross Hillard has continually honed his skills whilst earnestly crafting this sophomore long player. As well as developing a range of audio plugins, Ross also manages recording sessions at his own Paddocks Recording Studios: huge live spaces boast cutting-edge technology, integrated with distinguished analogue kit. The studio is complemented by a collection of prized microphones, together with a fully-restored vintage Raindirk mixing desk.

The opening track and first single from this album is the positively-anthemic gem entitled ‘Good Morning Sunshine’. It tells a forward-looking story promoting the merits of getting back into the driving seat of life. It’s propelled further by superb jazz-inspired drums and live horns that build up to an exhilarating crescendo. Featuring the vocal talents of Sophia Marshall, the story she paints is supported by a wonderful, darkly humorous cartoon video. An animated cadaver hilariously acts out her notions of positive living.
Other tracks also destined for a single release include: ‘Loving You’. It’s a song written around love lost. A bouncing house composition lays the foundations for Sophia Marshall's beautiful vocal that narrates the many facets to be found in loving another person. ‘Better’ again echoes jazz-inspired drums behind Sophia's vocals, drawing attention to how so many people are lost on their devices, missing out on the awesome world around them. A catchy chorus chants the notion behind this song, i.e., that you ‘could be better!’ This single is also supported by another fantastic video featuring the same comical, deceased character introduced through the ‘Good Morning Sunshine’ video.

Emotional Rescue dives back into one of its specialties, the formative years of Post Punk and Dub influenced music, presenting the, to date, unheralded Skinbat Scramble. The rarity of the unknown, the discovery of rich, lost music, it is a delight to release a compilation of the band's previously unreleased recordings. A snapshot of time, a journey that covers several decades of friendship but is concentrated here on the fertile 80's scene.

Forged around the friendship of Mark Eason and Fergus Crockford, but with ever changing line-ups, flowing in and out during misspent youths, self-taught playing, falling in and out of bands, travelling that well-worn journey from Home Counties boredom to the excitement of a rough edged London, taking in as music as possible, from Motown on to the The Velvet Underground, The Rolling Stones, Bowie, Pink Floyd, Gong and Fripp & Eno, before Dr Feelgood, Eddie & The Hotrods and a dose of John Peel led to discovering Dub and Punk and witnessing that short-lived burst of creativity at the Roxy Club, Marquee or Vortex and exploring back to early Rock'n'Roll, Rockabilly and old Surf'n'Soul, alongside the likes of Wire and Suicide.

As the Post-Punk sounds mixed simultaneously with Two-Tone, local Art College gave way to university and the early struggles of finding a way in the late 70s / early 80s of Thatcher's Britain. Music was central, Skinbat Scramble finally appearing, morphing from numerous teen bands, early studio excursions of tape loops and effects leading to the first recording sessions in 1981.

The slower tempos, introspection, open structures, and shimmering experimentation of Post Punk were pivotal. John Foxx's early Ultravox, Siouxsies' "Lord's Prayer" period and The Electric Chairs seminal "So Many Ways", influenced to a freer future. PIL, ACR, Section 25 and Pink Military let imaginations briefly roam.

'Far out and weird', those first recordings made at Leeds Uni's Fine Arts Dept utilized Revoxes, Tandberg, MiniMoog and even a borrowed drummer. This was followed up with completed sessions at Elephant Studios in London, forming the basis of this compilation.

The tight scattergun rhythms on opener Submit, in both Vocal and short Dub mix, bely an unreleased band. Taught and crisp, it's like a song you've heard propelling open-minded, leftfield dancefloors for years.

The writing, musicianship and studio mastery displayed on North By Northwest and Skiddadle should not be music unreleased for almost 40 years. In North Dub and closer, Pixie Boot Dub their understanding of the opportunities of dub Reggae are clearly apparent, ethereal music wormholes for late night smokers.

However, it is in Basement Voltaire that the band step out time. Recorded in 1986 this is a 9-minute proto-techno wonder that mixes all their psychedelic meets punk youth in a crescendo of crashing claps and rolling toms that is of a time and so far ahead of its time.

And that was that, after 6 gigs, including a couple at the infamous St Martins, to an audience total you can fit on one hand, the band's first incantation closed and the master tapes were stored for several decades, waiting for "The Psychedelic Pirates" to finally surface.

We’re hugely excited to announce the brand new album from Dee C. Lee - ‘Just Something’, out 22 March on Acid Jazz. It follows the incredible response to the new single ‘Walk Away’ and last year’s double-sider ‘Don’t Forget About Love’ / ‘Be There In The Morning’, marking the return of one of the UK’s most revered soul singers. Dee is known for her work with The Style Council, Wham!, Slam Slam and Animal Nightlife, and an illustrious solo career (including the Top 3 hit ‘See The Day’). ‘Just Something’ is her first new record since 1998, and her debut for Acid Jazz. Available on LP and CD, all pre-orders from the Acid Jazz Store will be signed by Dee.

‘Just Something’ features 11 songs: nine originals co-written by Dee, a song penned by her daughter Leah Weller, a successful singer/songwriter in her own right, and two inspired covers. Produced by Sir Tristan Longworth, the album is a soulful collection that frames her instantly recognisable vocals in luxurious horns, percussion and keys, and heritage soul with a disco backdrop. While making the record has been a collaborative process, ‘Just Something’ is nevertheless the sound of a singer in charge of her own style and direction. Her vocal delivery and phrasing steal the show throughout, bright and lilting one moment, passionate and ringing the next. She cites Chaka Khan and Jean Carn as major influences, but Lee’s voice is resolutely her own, the product of a life lived.

Inspired by classic Motown, current single ‘Walk Away’ was written by Dee with one of her ‘brothers from another mother’, former fellow Style Council member Mick Talbot, and features Talbot’s distinctive piano and Wulitzer playing on the track. Talbot also plays on another of the album’s many standouts, the Leah Weller-penned ‘Everyday Summer’.

Three of the album’s songs, opener ‘Back In Time’, first single ‘Don’t Forget About Love’ and ‘How To Love’ were co-written with Michael McEvoy and Ernest McKone, whom Dee wrote with back in the 1980s. All three songs channel her musical past, from the thrill and excitement of those early Wham! days, going out and partying, to The Style Council’s trademark jazzy soul, and expressive balladry and killer choruses, which places Lee in the lineage of classic soul singers.

Elsewhere, on ‘Anything’, co-written with Paul Barry, Dee sings her heart out on a song full of optimism and hope for the future, while ‘For Once In My Life’, the oldest song here dates back to 1998, is effortlessly commercial and has hit written all over it, with Lee empowered and regal sounding over a warm blanket of bassy funk.

The album’s two covers, meanwhile, were both suggested to Lee by Acid Jazz’s Eddie Piller. In Lee’s hands, Renee Geyer’s ‘Be There In The Morning’ is pure celebration, taking its cue from the Norman Connors version from 1979. ‘I Love You’, written by Don Blackman and recorded by Weldon Irvine in 1976, could have been written with Lee in mind. A big club tune, Dee recalls hearing it everywhere she went and I wanted to keep as close to the original vibe as she could.

Dee’s relationship with Acid Jazz the goes back to The Style Council days, and it was the 2019 documentary ‘Long Hot Summers’ that renewed Dee’s friendship with label founder Ed Piller and director Dean Rudland. We’re honoured to release this record and be a part of Dee’s return to the forefront of UK soul music.

Fabiana Palladino announces full details of her hotly anticipated self-titled debut album. The UK vocalist, songwriter, multi-instrumentalist and producer releases ‘Fabiana Palladino’ via Paul Institute / XL Recordings. Made in the wake of the end of a long relationship, the album is an intimate record that sees Fabiana Palladino confront complex questions about love, loneliness and normativity in relationships. The result is a 10-track full-length of shapeshifting sonics that draws inspiration from the big R&B, soul, pop and disco studio productions of the 1980s and 90s and filters them through a modern lens.

Written and self-produced by Palladino, the album features performances from renowned musicians and close friends including Paul Institute co-founder Jai Paul, her father and legendary session bassist Pino Palladino, brother and Yussef Dayes bassist Rocco Palladino, renowned drummer Steve Ferrone and strings from Rob Moose.

Speaking on the new music and forthcoming album, Fabiana Palladino says: “A central theme of the album is aloneness. Whether it’s a song where I’m searching for connection with someone else, or trying to embrace the aloneness, it tends to come back to me, who I am when I’m alone, what I feel when I really look inwards. I’d say it’s a pretty introspective record overall. The songs are often about trying to go deeper into yourself, exploring your true feelings and how they then relate to and affect your relationships with others

Technically, Yeah. Detroit artists Eddie Logix and Jo Rad Silver alchemize sonic matter on Real, No. The EP emerges from years of creative collaboration and blends each of the artists’ strengths into a deep-house, hi tech jazz, dubby leftfield assemblage straight from the pulse of today’s Detroit.

Since 2017, the pair has been producing tracks and co-curating Technically, Yeah., an influential monthly happening that encourages (Live) electronic musical expression. The duo’s curation is grounded in community, widely genre-diverse and steadfast in commitment to technological experimentation. The Real, No. EP distills this ethos and puts it on wax.

While Jo Rad is known for techno leanings and Eddie for organic jams (recently on Rocksteady Disco,) the two transform beats into substance with a diverse and thoughtfully constructed release. Glued together with attuned mixing from Salar Ansari and cut loud at Archer Pressing in Detroit, the EP’s range puts deep grooves in the bag for every discerning DJ.

AKKA’s Side: “King David” sticks the synthy deep house groove right in gear with a driving, bubbling bassline and floating effervescent vocal chops from and for a special someone. “Mango Strut” offers a slight island twang and dives into a breaky depth of a bracing cathartic arpeggiated, hand drum ecstasy. A vitamin filled chugger.

BEEP’s Side: The duo recorded “June Buggy” the first time they jammed together on a borrowed Juno. This propulsive Italo-ish conga groover is a mechanical piece of action. The record ends by summoning the ancestry of “Callin’ Dybbs,” a textured hi-tech jazz heater. Kasan Belgrave, young-gun horn of known pedigree, lays down the sax. The sultry brass tones lock in with buxom stabs. For those who know and those who don’t yet. This one holds depths!

“Fierce jazz buggin futurism in outerspace” - Luke Una

“Driving and psychedelic and gorgeous hi-tech.” - Peter Croce

“Perfectly crunchy soul squeezed jams begging to be rinsed” - 2Lanes

“Funky, jackin’, atmospheric, groovy, ravey and ethereal”- Father Dukes

“I’m calling dibs on callin’ dybbs!” - DJ Etta

Red Vinyl Repress!

(Feat. Joe Killington & Duane Harden)

The world’s leading disco house artist Purple Disco Machine teamed up with Joe Killington & Duance Harden to deliver ‘Devil In Me’ which was the first official single taken from his highly anticipated debut LP ‘Soulmatic’.

This vinyl features an extended mix, a Club Dub mix from Purple Disco Machine himself and a mix from one of dance music’s most established and decorated stars, Fatboy Slim.

Der Album Klassiker von Mr Scruff zum ersten Mal auf Vinyl (3LP im Deluxe Gatefold) inklusive einigen Bonustracks, Sticker und Downloadcode!

Als DJ spielt Andy Carthy alias Mr. Scruff quer durch alle Genres: Soul, Funk, Hip Hop, Jazz, Reggae, Latin, African, Ska, Disco, House, Funk, Breaks, Soundtracks und vieles mehr. Als Produzent macht er Musik, die sich auf diese Einflüsse stützt, mit einer großen Portion Frechheit und guter Laune. 16 Jahre nach der Veröffentlichung seines Album-klassikers "Ninja Tuna" wird die Platte zum ersten Mal auf Vinyl veröffentlicht, und zwar in Form einer schwarzen 3LP-Biovinyl-Deluxe-Scheibe in einem Gatefold-Sleeve aus Graukarton und mit einem unendlich abziehbaren Thunfisch-Aufkleber auf dem Cover. Inklusive Features von Roots Manuva, Quantic, Alice Russell, Andreya Triana, Danny Breaks, Pete Simpson, Skuff & Inja.

Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work.

Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than "authentic," and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.

While Joplin's electrifying vocal prowess is universally lauded – she's recognized as the greatest white female blues singer the world has ever seen – her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain – the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby," underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment – yet Joplin also reveals a sense of humour and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.

Playfully introduced as "a song of great social and political import," the acapella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanour and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.

Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band – the only group she ever considered to be her own – as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labours fill Pearl, be it the guardedly optimistic "Get It While You Can" or assertive, fleet-footed "Move Over."

Experienced in the new light brought to fore by this definitive Mobile Fidelity edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.

Every morning when Dent May wakes up, the first thing he says is, “What’s for breakfast?” For the Los Angeles-based songwriter and pop auteur, this question is part inside joke with his girlfriend, part sitcom-style catchphrase, and part mantra about getting up every day and persevering in the face of good or bad is happening around you in your life. It’s also the title of his sixth album, which is out on March 29, 2024 via Carpark Records. What’s For Breakfast? is May’s most immediate, nostalgic, and rollicking LP yet, one that’s concerned with breaking daily routines and rediscovering the joys of songwriting.

Over the past 17 years, May has been a consistently adventurous and prolific bedroom pop pioneer and connoisseur of impeccably crafted melodies. Though his songs are always well-written and comfortable, with What’s For Breakfast?, May has freed himself up to more playfully experiment with new and vintage musical inspirations. “I’ve occupied a lot of different lanes over the years,” says May. “I’ve always been drawn to making kaleidoscopic pop inspired by old soul, disco, country, whatever. This time around, I was tapping into music from my childhood, like The Strokes, Weezer and Elephant 6 Collective bands.” By revisiting the music of his youth—energetic and infectious guitar rock—he found a vibrant palate to explore for this new LP.

Lead single “One Call, That’s All” kickstarts with frenetic guitar-driven intensity. While the track slyly takes its name from the slogan of an ambulance-chasing Mississippi lawyer, May sings of unrequited love and phone-based ennui. “It’s a fast tempo pop-rock song that isn’t like anything I’ve done before,” says May. Elsewhere, opener “You Already Know” showcases May’s goofball lyrical charm with lines about playing chess online and looking like a Dawson’s Creek character. Beyond the jokes in the song, there is a bittersweet recognition of time passing and a call to action when May sings, “Now you already know what time it is / It’s time to live your life / Cuz it’s flying by / No matter the day, week, month or year / It’s time to do a lot / Ready or not.”

What’s For Breakfast? marks another first for Dent in being his most collaborative LP yet. Alongside guest appearances from Jimmy Whispers and co-writes with Paul Cherry, are two standout singles with Jordana and Pearl & The Oysters respectively. Jordana assists on the wistful “Coasting on Fumes,” which captures the feeling of being stuck in a rut while the yearning “Time Flies When You’re Having Fun” guests Pearl and the Oysters. “My first album came out almost 15 years ago, so bringing in others to help out is crucial to keep things interesting,” says May. “I’m constantly falling back in love with music through the eyes of others. This album is about remembering why I like music.”

The title track "Who You Are" has become a dance floor favourite making appearances during Templé's DJ sets opening for the likes of Rick Wilhite, Osunlande, Trus’me, Rahaan, Alkalino, Late Nite Tuff Guy, Hidden Spheres and Harvey Sutherland.

It's the kind of track that can get the party started, keep it going or close it out with its tough verses, 303 acid line, drum machine build up and poppy chorus. It’s so versatile that it’ll never leave your record bag. Staying with side A, the EP's charm is further amplified by Prins Thomas's magical remix of the title track.

This luminary of the electronic music scene adds his Nordic touch in only the way that he knows how. Delicately weaving his disco sensibilities into the fabric of the original track, making the chorus the break down, turning the original track on its head. This one will get you in the feels.

Flipping the record over to the B-side, we encounter "Wait For Love." It's a powerhouse of a track, driven by a rolling acid bass line and a saxophone solo that lands right in the sweet spot, ensuring the party never stops.

The vocals soaked in effects and skilfully sliced and diced, guides the listener's focus making it the perfect tune for those late night dance floor occasions. Then there's "The Tetrah" - a departure from the rest of the EP. It's a deeper and more intricate piece featuring the soulful interplay of saxophone and trumpet throughout. These two instruments seem to tease and tantalise each other, never quite aligning until the final drop. It's a near 9-minute journey and each moment holds your attention.

An R&B band formed in Milwaukee, Wisconsin, USA, in 1961. The members were lead vocalist and guitarist Harvey Scales (b. 1941, Arkansas, USA), Monny Smith, Bill Purtie, Rudy Jacobs, Al Vance, Bill Stonewall and Ray Armstead. Superstar James Brown was sweeping the charts in the late 60s with his new kind of hard soul called ‘funk’, and under his influence, Harvey Scales And The Seven Sounds, like numerous other groups at that time, made their presence felt recording new funk sounds. The group’s one hit, ‘Get Down’ (number 32 R&B, 1967), was recorded on Lenny LeCour’s Magic Touch label. The b-side, ‘Love-itis’, was later recorded by the rock group J. Geils Band. After signing with Chess Records, Scales and his group had a regional hit with the LeCour-produced ‘The Yolk’ in 1969. Later, under the aegis of Detroit producer Don Davis, the group recorded for Stax Records with little success. In 1976, for southern soul hit-maker Johnnie Taylor, Scales co-wrote the massive hit ‘Disco Lady’. That success secured Scales a recording contract with Casablanca, with whom the artist released two albums. Scales was still recording in the early 90s.

After his first two one-off singles "Black Pegasus" and "Day Without You" introduced DJ Swagger's massive songwriting abilities and love for recording instruments, his first album on Kommerz Records, "Chemistry Forever", showcases his background in UK-leaning elec- tronic music as well as new tendencies towards neo soul, indie pop and jazz. Welcome DJ Swagger to the Kommerz Records stage and prepare for the album to drop on March 22nd.
The 25-year-old from West Germany's Bielefeld is pretty much the archetype of a so-called Wunderkind. At his young age the producer, DJ, multi instrumentalist and songwriter released more than 40 vinyl records including two solo albums and endless rave tracks since turn- ing 16. As of most recently and even though coming from an electronic music background DJ Swagger's creative agenda ventured more and more into classic songwriting and taking over the role of lead vocalist of his one-man-band. His third solo album "Chemistry Forever" show- cases this transformation from UK-influenced electronica towards neo soul and indie without losing its listeners at any point. His subtle melancholic vocal performance and the just as subtle, yet constant pop appeal make this equation solve itself magically. From electro, 2 step and breakbeat over hip-hop, indie and R&B to a final bebop (!) madness - "Chemistry Forever" is a trip for music lovers while each and every song has heavy potential to be listened to on repeat.
Besides his own vocal performances DJ Swagger also invited rappers TripSixVivo (London), Vitus04 (Bielefeld), Kaba (Paris) and poet Dainell Aiken (NYC) for mesmerizing guest perfomances. Additional production work came from Hamburg dance producer Speckman and jazz outfit Jonas Gersema Trio.
Aaaand since we called him a Wunderkind: Be aware that he's not only a next level musician, but studied graphic designer, illustrator and most likely many more things. Just an example: Most recently he sold self-made perfumed candles through his D.I.Y. label and fashion brand Goddess Music. He obviously designed everything around the album, directed the music videos and merch drops are to be expected.
For us, brothers Lukas and Jonathan, the love story goes way back though. In the midst of the long gone lo-fi house hysteria (2017-2018) we discovered the Bielefeld native's dance floor productions, which fused hip-hop braggadocio with pumping electronic music. We kept following up on his ever evolving musical journey into new genres and felt super honored when he reached out to release his upcoming projects via Kommerz.

Embark on a soul-stirring voyage with Oriana Ikomo as she unveils "THE HEALING," an EP that encapsulates the profound metamorphosis she has undergone in recent years. This musical journey is an ode to personal empowerment, and Oriana's resilience echoes through each note and lyric.

The EP unfolds with a powerful, ethereal introduction where the piano and Oriana's soulful voice are in the center. With a hauntingly beautiful atmosphere, she passionately repeats the mantra, "Be kind to the mothers, the sisters, the brothers, and the sisters," serving as both an affirmation and an importantmessage to the world.

Oriana's sonic palette is a rich tapestry of genres, seamlessly weaving together R&B, Gospel, Ambient, Jazz, Electronic, and Pop influences. Her sound throughout the EP is affirmed and robust, reflecting the strength she has discovered within herself.

In each track, Oriana showcases her exceptional versatility as an artist. From the heart-wrenching 'MAMA, LET'S GO' to the rhythmically charged 'IMMA PLEASER', she navigates effortlessly through different musical landscapes. The EP becomes a sonic experience, offering you a diverse and immersive experience.

"THE HEALING" is not just an EP; it's a musical expedition that invites you to delve into the depths of Oriana Ikomo's soul. Through her evocative lyrics and dynamic melodies, she invites you to witness the beauty that emerges from personal growth and self-discovery. Join Oriana on this transformative journey as she leaves an indelible mark on the intersection of R&B, Gospel, Ambient, Jazz, Electronic, and Pop, proving that empowerment and artistry go hand in hand.

This new 45 from Karma Chief Records showcases two tracks from Pale Jay's latest LP, Bewilderment. The A side, In Your Corner is an Afrobeat inspired song that addresses a conversation with the self. An uplifting tune at first glance, the lyrics lay bare the internal struggle for self-acceptance. The song explores the push and pull between self-love and self-judgement that can often leave us feeling lost and uncertain. The B side and title track to Pale Jay's latest LP 'Bewilderment' showcases the main elements of his unique sound palette: silky falsetto over soulful harmonies and dusty hip hop beats. 'Bewilderment' tells the story of the disintegration of a family, creating a captivating and soulful musical experience and a journey into self discovery.

As the beats echo through time, Isolate proudly marks its fifth anniversary with a resounding celebration of creativity. Five years of great music, unforgettable events, and unwavering support from our dedicated community have brought us to this momentous occasion.
With gratitude for the boundless talents of our artists, the steadfast support from our community, and the dedication of our team, Isolate reflects on this joyful journey. Building on the anticipation we shared earlier this year, we are excited to unveil the grand finale—a remix compilation that breathes new life into some of our most cherished tracks.
This compilation isn't just a retrospective; it's a heartfelt exploration of Isolate's history. From melodic transformations to rhythmic reinterpretations, this remix compilation stands as a tribute to the nuanced fusion of emotions and relationships intricately woven into the fabric of our musical community.
Isolate's fifth anniversary transcends being a mere marker of our past; it stands as a promise for the future. It's a strong affirmation of our dedicated commitment to supporting emerging talent, offering a platform for them to share their distinctive musical stories. In this celebration, we see not just where we've been, but where we're heading—a future that echoes with the distinct voices of those yet to be discovered.
Stay curious, join the rhythm, and come celebrate with us

Stolen Goods Records announce Pergola's cinematic techno 'Zed' EP, featuring a remix from indie-dance legend CURSES.
Exploring hypnotic, emotionally charged melodies and vast techno breakdowns, the title track opens up the EP with a strong sense of mystery. Suspenseful strings build in anticipation as the bassline filters in intensity, this deep space offenng is the perfect example of a tune fit for the club as well as headphone-listening.

'Freak' is a beautifully intense piece featuring soft synths marked by subtle scratches, a feel-good vocal and the catchy strum of a quitar. '"Zed' is then given the CURSES treatment, the Optimo Music, Bordello a Parigi and Correspondant artist amplifies its retro feel resulting in nine minutes of pure dark disco hedonism. Closing out the release is an ambient collaboration between Pergola and Luigi Sambuy, 'Tunnel' is an ode to the early days of IDM through to the '70s.
*"Zed' marks the third release on Lele Sacchi & Asian Fake's Stolen Goods Records and follows up their widely acclaimed 'Volume 0' compilation as well as the recent collaborative EP between Black Loops & Innocent Soul. Since its launch last summer, the label has seen the support of artists like Dixon, Sasha, DJ Seinfeld and DJ Sneak and has garnered plays on prestigious stations like NTS and BBC Radio 1. The imprint continues its strong start to the year with three new tracks from the hyper-talented Pergola: a newcomer to the scene whos aready listed on labels such as Multinotes, Sementa ano Adriatiques Siamese, the latter which saw/ him reach number one on Beatport's Electronica chart.

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40 year anniversary release of this in demand modern soul masterpiece. For their third vinyl outing, Selector Series dig into the Archives of New Jersey’s Debbie Records from 1981 to re-issue this storming boogie re interpretation of The Carpenters standard, which found itself a legion of fans in the UK thanks to Gary Dennis’s championing of it.

In a pre Discogs era, this record attracted a £400 price tag amongst serious collectors back in the late eighties, with the original pressings still going for £500+ even now. The album has been re issued by several different labels over the ensuing years, but this double header is being made available for Record Store Day on a seven inch format for the first time officially, featuring the original album sleeve artwork.

With this 12" reissue made for Giancarlo Meo, legendary producer of Easy Going, Vivien Vee, Capricorn, Amin-Peck, Steel Mind, Claudio Simonetti (aka Kasso) and many other artists, Best Record once again offers a great dance music service for those who perhaps don't know to need it. Claudio Casalini, who 40 years ago was not only a record producer, but above all one of the most important club-DJs in Italy, remembers well the cheering crowd of the jet-set in the elegant Roman lounges, with the dance floor full of people vibrating for that fusion of disco, soul and funk sounds that many Italo-Disco songs featured in those early Eighties. The three versions of "Out to Get You" contain all those sounds, but is mainly the version re-edited by the imaginative and passionate Massimo Berardi DJ that brings a portion of musical restoration making it current, and so exciting and modern, absolutely suitable for dancing again in every part of the world.

My Back Was A Bridge For You To Cross, ANOHNI"s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, ANOHNI addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016"s HOPELESSNESS, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. "Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago." ANOHNI"s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. "I learned with HOPELESSNESS that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On "It Must Change," ANOHNI soulfully describes systems in collapse with a note of compassion for humanity: "The truth is I always thought you were beautiful in your own way // That"s why this is so sad." ANOHNI"s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. "We"re not getting out of here // No one"s getting out of here // This is our world," she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that ANOHNI has held space for in the presentation of her own work. Elsewhere, the album artwork states "IT"S TIME TO FEEL WHAT"S REALLY HAPPENING". In some ways it feels as if she is reaching across her life"s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. "I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning."

Athens Of The North präsentiert Renée Geyers modernes Soul-Meisterwerk "Be There In The Morning". Das Original wurde Anfang 1977 in den USA aufgenommen, aber als Single nur in Australien veröffentlicht. Warum dies kein weltweiter Hit wurde, ist allen ein Rätsel. Die Flipside enthält die unglaublich seltene Version von 1976, die in Australien aufgenommen wurde, bevor Renée in die USA ging. Die Reissue (aus 2014) ist laut und tief geschnitten, klingt fantastisch und ist ein unverzichtbarer 45er für Disco- und Modern Soul-Fans. Neuauflage.

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Presenting a collection of deep spatial gems mined from the ever impressive TK Disco vaults for your playback listening pleasure!

The TK Disco music empire has blessed our ears and minds with an endless stream of music since it's late 1960's inception. Countless soul and funk sides were produced, cut and released by label founder Henry Stone and his associates, in turn changing the face of contemporary black music in the USA and across the world forever. It is true that the TK story originated on America's 'Space Coast', the modern frontier of lunar exploration and galactic travel, the home of NASA and countless missions beyond the stars nestled on the East Coast of the United States.

'Moon Ride' - The compilation you hold in your hands, is merely one strand of the incredible music that was beamed out of Hialeah, FL over the decades. The focus on this collection is the idea of the 'cosmic' from the Disco era. These are records that emit a spacey vibe, either from their lyrical content or equally from their sonic qualities, imbibing synths and electronics to create otherworldly grooves. These records were big hits on underground music scenes such as Daniele Baldelli's cosmic movement in the 70's and 80's in Lake Garda, they were vehicles of escapism and hedonism on the discerning dancefloors of NYC in the hands of progressive DJs like David Mancuso and Nicky Siano and they were also essential building blocks in the creation of House and Techno music in the Midwestern cities of Chicago and Detroit, inspiring legendary artists such as Mr Fingers and Jeff Mills and countless others. An essential collection of music for listening, dancing, loving and travelling!

TK Disco's influence is still felt today and this carefully curated selection of tracks showcases some absolute classics, overlooked nuggets and rarities from the label's huge output. Mastered with love by Optimum Mastering, Bristol UK. Brought to you by TK Disco / Henry Stone Music & Above Board Distribution 2021.

Africamore: The Afro-Funk Side of Italy (1973-1978)

Continuing Four Flies' dedication to delving into lesser-explored periods of Italian music, Africamore takes us on a captivating journey into the intersection of Afro-funk and the Italian soundscape during the six years between 1973 and 1978 - a time when disco was looming on the horizon and the nightclub market was rapidly expanding.

Before reaching Italian shores, the infectious sound originating from African and Afro-Caribbean roots traversed both the Mediterranean and the Atlantic, landing on New York dancefloors, where DJ Dave Mancuso discovered "Soul Makossa" by Manu Dibango. In 1973, from Mancuso's Loft parties, the song's hypnotic groove spread to the rest of the globe, including in Italy, where it sparked a wave of imitations and variations.


Tribal influences thus found their way into Italian soul-funk and early-disco productions released between 1973 and 1978 – from psychedelic-tinged tunes like Jean Paul & Angelique's "Africa Sound" to the Afrobeat-inspired club banger "Kumbayero" by composer/producer Albert Verrecchia (aka Weyman Corporation); and from groundbreaking Afro-cosmic songs like Chrisma's "Amore", co-written by Vangelis and featuring the rhythms of Ghanaian-British Afro-rock band Osibisa, to mind-blowing floor-fillers like Beryl Cunningham's "Why O", a re-write of Nat King Cole's "Calypso Blues" arranged by Paolo Ormi, with percussion breaks that sound pretty much like what would later become known as techno.


Combining feel-good vibes with driving rhythms, world-style percussion, and even synths, all these productions pushed the boundaries of dance music at a time when disco had not yet taken over. In doing so, they sowed many of the seeds of the later Italian cosmic scene and its unique mixture of African elements, disco-funk and electronic music.

This was a brief but nuanced period in Italian music history, one that deserves to be rediscovered, with love.

Africamore is due out on March 22nd and will be available as a gatefold 2LP and digipak CD. Both formats come with stunning artwork by Kathrin Remest and liner notes by Pierpaolo De Sanctis and Elena Miraglia.

At the same time that Neville 'Bunny Wailer' Livingston recorded his debut solo long playing masterpiece, 'Blackheart Man', he was also creating a series of singles for his own Solomonic label. These records were every bit as good, at times even better, but they have never been released outside of Jamaica. Until now...,

It is next to impossible to ever overstate the importance of The Wailers to the history of Jamaican music and, as the last surviving member of the group, Bunny Wailer rightly regards himself as the sole keeper of their history ever mindful of the group's exalted position in the story of reggae music and the importance of their legacy. In 2010 Dub Store were proud to be able to work with Bunny on re-releasing a selection of his earliest recordings for the Solomonic label, lovingly restored and presented in reproduction sleeves and labels, on limited edition seven and twelve inch singles. Now, taking another step forward, we are more than proud to present Bunny's timeless music on two beautifully packaged CD's and double LP's. Bunny's first solo album, 'Blackheart Man' originally released in 1976 on his own Solomonic label in Jamaica and on Island in the UK, is one of the undisputed all time classics of Jamaican music and established Bunny Wailer as a highly respected, world renowned artist in his own right. During this period Bunny also produced a series of singles released in Jamaica and the UK in strictly limited quantities without the benefit of international distribution, that are every bit as good and, in some cases, even better than this awesome debut long player. Original copies have subsequently become highly prized, and highly priced, collector's items. "Classic rarities" is an overused and abused term too often employed to describe average records that failed to sell on their initial release but both 'Tread Along' and 'Rise & Shine' are packed from beginning to end with a searing selection of some of the greatest and hardest to find reggae records ever produced. 'Tread Along' opens, naturally enough, with 'Tread Along' from 1969, one of the last singles for The Wailers' own Wail N Soul M label, and runs through the first release on the Solomonic label, 'Searching For Love' also known as 'Search For I', 'Bide Up' released as 1974 drew to a close, a radical reworking of 'Pass It On' and a marked contrast to the version on The Wailers' 'Burnin'', album, 'Life Line' and the prophetic 'Arabs Oil Weapon' kept the pressure on as Bunny began outlining the flawless 'Blackheart Man' album. Each release was a certified classic in its own right. Peter Tosh's melodica version to Bunny's 'Amagideon' ('Armageddon'), the first track on 'Rise & Shine', is followed by 'Love Fire', an update of another Wail N Soul M track, 'Fire Fire'/'Babylon Burning', through to one of the deepest roots records ever created, 'Rise & Shine', on to 'Riding' from the 'Bunny Wailer Sings The Wailers' sessions (but not featured on the album) and a huge hit in the UK in 1981, and closing with 'Rule Dance Hall' from 1985. No idle boast..., The liner notes feature the story of The Wailers, as told to Dub Store by Bunny himself in Kingston in an enlightening 2012 interview, and rarely seen contemporary photographs complete these essential releases. The music of Bunny Wailer was not only a medium for change and protest but also to elucidate and educate and 'Tread Along' and 'Rise & Shine' finally complete the canon of un-compiled Wailers music. "I'm quite satisfied, you know, reggae music is the kind of music that although sometimes you would look at it and say..., boy, it's hard..., then again you look at what it has done for the people of the world you know that that couldn't be locked up in a little place like Jamaica!" Bunny Wailer

Jards Macalé’s biography is a testament to the electrifying energy of music and the unwavering spirit of artistic rebellion. Macalé has remained true to his vision, unapologetically embracing the unconventional and challenging the status quo. His music, a conduit of emotion and a mirror to society, continues to weave a sonic tapestry that resonates with the souls of listeners.

In 2022, Macalé celebrated the momentous 50th anniversary of his debut solo album, a groundbreaking masterpiece released by Philips in 1972. This iconic record gifted us timeless tracks such as “Vapor Barato”, “Mal Secreto”, “Farinha do Desprezo”, “Revendo Amigos”, and “Hotel das Estrelas”. Its sheer brilliance united the realms of Brazilian music, infusing samba and bossa nova with the fiery essence of rock, classical harmonies, and the improvisational spirit of jazz. As the years passed, a new generation of musicians and fans discovered this gem, fueling its resurgent popularity and inspiring fresh collaborations.

Last year, Jards Macalé assembled a formidable new band, igniting stages across Brazil with a tour that now sets its sights on Europe. Together with Gui Held on guitar, the Paulo Emmery on bass, and Thomas Harres on drums, Macalé conjures an exhilarating homage to his illustrious body of work. This live performance embodies the untamed spirit and boundless musical freedom that define this visionary artist, transporting audiences to a realm where the past intertwines with the present in a breathtaking display of artistic prowess.

Stix Records, a sub-label of Favorite Recordings, presents the 3rd release from its new Mellow Reggae Series project. Following two stunning covers of Bobby Caldwell and Player alongside label mates Ethel Lindsey, Mato is now taking over the famous hit by Sylvia Striplin, this time inviting his longtime friend and singing partner, Lady Gatica.

Produced by Roy Ayers in the early 80s , “You Can’t Turn Me Away” belong to this kind of title recognized by everyone, while Sylvia Striplin remains a name known by just a few. Like always, Mato production skills perfectly fits with the original and his Reggae rendition sounds like coming out straight from Kingston.

While with her long experience singing Soul, Funk and Disco, Lady Gatica is also a perfect match for the vocals. Starting his reggae production career in 2006, Thomas Blanchot (aka Mato) has released music through various projects on EDR Records, Big Singles or Makasound... In the meantime, he developed a real trademark: taking over classic French, Hip-Hop, OST, Classical or Pop songs, into roots reggae-dub new versions. His 15 years collaboration with Stix Records and label honcho Pascal Rioux gave life to many masterpieces and the story seems far from the end…

The album "Folkhemmet" by Raa is a captivating musical journey that was released by Malmos Diskografiska. With its unique blend of folk and indie pop, this album offers a refreshing and soulful listening experience.

Raa, a talented Swedish singer-songwriter, showcases her exceptional storytelling abilities throughout the album. Her heartfelt lyrics delve into themes of love, loss, and self-discovery, resonating with listeners on a deep emotional level.

The melodies in "Folkhemmet" are beautifully crafted, combining acoustic instruments with subtle electronic elements. The arrangements are intricate yet understated, allowing Raa's enchanting vocals to take center stage. Her voice effortlessly glides over the melodies, conveying both vulnerability and strength.

Each track on the album has its own distinct personality. From the hauntingly beautiful ballad "Lost in Time" to the upbeat and infectious "Wanderlust," Raa showcases her versatility as an artist. The songs are expertly produced, creating a rich sonic landscape that draws the listener in from start to finish.

"Folkhemmet" is not just an album; it is an immersive experience that transports you to another world. Whether you're looking for introspective moments or catchy tunes to sing along to, this album has something for everyone.

With its thought-provoking lyrics, mesmerizing melodies, and impeccable production quality, "Folkhemmet" is a must-have addition to any music lover's collection. Immerse yourself in Raa's enchanting world and let her music touch your soul.

NOW Music is proud to present the third in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres of 1980’s Dance music. This volume, featuring 30 tracks across 2 LPs pressed on flaming yellow and orange vinyl, presents the best from the era of Soul and Disco.

The first LP kicks off with Tina Turner's landmark remake of ‘Let's Stay Together,’ a testament to her timeless vocal prowess. Jocelyn Brown’s ‘Somebody Else’s Guy’, brings a fabulous fusion of Funk and Soul, followed by Gwen Guthrie’s anthem ‘Ain’t Nothin’ Goin’ On But The Rent. Womack & Womack's ‘Teardrops’ blend of captivating lyrics and rhythm, leads into Joyce Sims' ‘Come Into My Life’, before the Stock Aitken Waterman written & produced ‘Say I’m Your Number One’ from Princess. Loose Ends' ‘Hangin' On A String’ offers a smooth, jazz-infused sound, echoed by Will Downing's very first hit, ‘A Love Supreme’, which closes this side.

Side B takes you on a whirlwind trip around the dancefloor with Whitney Houston's ‘How Will I Know,’ showcasing her stellar vocal range. Alexander O'Neal’s ‘Criticize’ and Aretha Franklin's ‘Who's Zoomin' Who?’ bring a blend of irresistible beats. Lionel Richie's ‘Dancing On The Ceiling’ makes you want to move, and Laura Branigan’s ‘Self Control’, alongside Imagination's debut single, ‘Body Talk’, offers a cross of Hi-NRG Disco with a sensual groove. Hi-Gloss's ‘You’ll Never Know’ is a gem of smooth, elegant Soul to finish the first LP.

Side A of LP 2 begins with the iconic duo Ashford & Simpson's ‘Solid,’ a celebration of enduring love. Up next is the #1 Disco anthem ‘Fame’ from Irene Cara, and Diana Ross's ‘My Old Piano’ - showcasing her unique ability to blend Pop with Soul on this Chic-produced classic. Donna Summer's Grammy-nominated single ‘Love Is In Control (Finger On The Trigger)’ fuses Disco with a Funk edge, while Odyssey's ‘Inside Out’ provides a smooth, and melody filled dance. Terri Wells's ‘I'll Be Around’ is a soulful delight, and Hall & Oates' ‘I Can't Go For That (No Can’t Do)’ mixes Rock with Soul, and became a hugely sampled and influencial track. The side ends on a romantic note with Fat Larry’s Band's ‘Zoom’.

The final side opens by showcasing Rufus and Chaka Khan’s ‘Ain’t Nobody,’ a masterpiece of Funk and Soul synergy. Womack & Womack make their second appearance with ‘Love Wars’, followed by Steve Arrington's ‘Feel So Real’ - a true example of the era's crossover with Disco and Soul. Miami Sound Machine's ‘Dr. Beat’ injects Latin-infused Pop rhythms, while Jermaine Stewart's biggest hit ‘We Don't Have To Take Our Clothes Off’ became a global dance-floor smash hit. Billy Ocean's Grammy award winner, ‘Caribbean Queen (No More Love On The Run)’, blends Soul, Disco and Pop, and Sister Sledge's ‘Thinking Of You’ is the perfect closer, uplifting and full of joy.

A Limited edition pressing, and an essential addition to any collection. Perfect for collectors, DJs, and anyone who loves to get down to the greatest dance-floor-fillers of the ‘80s. NOW That’s What I Call 80s Dancefloor: Soul & Disco is released on February 23rd 2024.

The Edits Collection label is fast becoming essential with a third irresistible offering in a little over a year. This latest one opens with some soul drenched boogie and disco featuring a heart-aching vocal hook and snappy grooves, then gets more deep and jazzy with 'Disco Is A Feeling'. The flip side opens with the steamy 'Take U 4 A Ride' with its explosive Philly strings and busy percussive lines and '10.15' then slow it down with a more steamy and sexy late-night sound that is all big loved-up vocals and freewheeling synths. All four of these are glorious weapons to have handy.

Sourced from the analog master tapes for the first time, Sharp-Flat presents the WITCH disco albums as you've never heard them before in sleeves that replicate the original album artwork.

Over the course of the 1970s, WITCH delivered an impressive run of garage, rock and prog releases. By 1980, the band was ready for a new chapter. Shuffling their lineup and relocating to Zimbabwe, they undertook their mythical transformation into an African R&B, soul and funk powerhouse. With access to a state of the art recording studio in Harare, WITCH produced two exquisite albums from 1980 to 1984.

With crisp beats, funky bass, swirling synths and tight horns, 1980's Movin' On was a sharp departure from the group's Zamrock roots and made no bones about the fact that the WITCH was ready to embrace the sound and spirit of a new decade. Trading lead vocals with founding member Chris Mbewe are newcomers Christine Jackson and Stanford Tembo, making for a well rounded set that combines dance floor burners with mid-tempo boogie grooves. A carefully crafted, great sounding album from a seasoned ensemble, Movin' On is an African pop classic.

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A.Skillz and Krafty Kuts team up once again on this track with funk and soul Sensation Gizelle Smith on Vocals.

Creating a disco, funk summer time groover. Their remix takes the track in a more Chilled slice of Electro Funk.

The track has been licensed to a Monkey Shoulder Whiskey Campaign and will be featuring as part of their space launch project. The brand launched a bottle of whisly into space on a carbon netural Ballon, where it circled the earth and the track was played before decending to earth where the whsikey was used to create a cocktail.

On “The Adventures of Jefferson Keyes” , Cool Million member Frank Ryle goes solo, delivering a sumptuous debut album chock full of slick, Disco and Boogie influenced Soul and Jazz-Funk. He’s drawn on his bulging contacts book, roping in singers and musicians from Germany, Denmark, the UK and U.S.A. These include Soul man Kenny Thomas, Danish singer Gregers (who guests on the impeccable boogie jam “Busy Dreamin”) and Incognito member Sulene Fleming, whose confident vocals seemingly soar over the rich, organic Disco-Funk grooves of one of many album highlights “Lift Your Head Up” . These headline contributions are backed up by sensational playing and deft production of the one and only Boogie-Funk mastermind Rob Hardt, making “The Adventures of Jefferson Keyes” a revivalist Disco-Boogie treat.