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PRESSING OF 200 COPIES ON CLEAR VINYL.

RIYL Zero 7/ Plaid / Hot Chip / Weather Report / Isolee / Baby Fox

Old friends Julian Bates and Alex Gray —working together as Mighty Truth for the first time since 1995’s From The City To The Sea — filled a car with old analogue synths, kids’ noise toys, and collected field recordings took a road trip down to hole up in an old water mill in southwest England’s bird-twittery, bee-loud Quantock hills.

Things got cinematic: unequal measures of early Weather Report, Wim Wenders, and Serge Gainsbourg kept them wonderfully lost in their imagined world. Back in London with guest singers Allonymous (Paris via Chicago) and Wayne Paul (London), they completed the album and decided to just call it Mighty Truth. With an aim to present the live show at moonlight pop-up cinema venues, Mighty Truth are here for the next chapter in their epic saga.

Back then….

Old friends Julian Bates and Alex Gray first met through their shared obsession with classic cars (both owned old SAAB 96s). At the time, Julian’s band Nightrains was signed to ACE Records in the UK whilst Alex worked first as a session keyboardist for the likes of Edwyn Collins, Billy Mackenzie, and Busta “Cherry” Jones, and later as a mixer and remixer working with S’express producer Pascal Gabriel, Malcolm McLaren, and soul DJ legend Dr Bob Jones.

Working together in the studio for the first time producing Vanessa Freeman (4 hero), Alex and Julian decided to embark on a drop-tempo jazz trip project they named Mighty Truth. Dr Bob heard that first self-released vocal track “Rebirth” and started dropping it on Kiss FM (UK). After guest DJ slots on Coldcut’s Kiss show, Alex and Julian signed to Tongue and Groove records.

The album From the City to the Sea produced a number of singles and both “Rebirth” and “Is it a Wizard or a Blizzard” were licensed to many compilations both in the UK and internationally (eg. Dope on Plastic, Mole Listening Pearls, Eight Ball).
The Sound of Sinners is a NYC boutique record label focused on vinyl and digital releases by Indie, ambient, avant-garde and electronic artists.

Das letzte Musical von Rodgers & Hammerstein war ein Triumph. The Sound of Music wurde am 16. November 1959 im Lunt-Fontanne-Theater am Broadway uraufgeführt. Es wurde 1.443 Mal aufgeführt und erhielt fünf Tony Awards, darunter den für das beste Musical. Außerdem wurde das Album der Besetzung mit einer Goldenen Schallplatte und dem GRAMMY Award ausgezeichnet.

Florence Henderson spielte die Hauptrolle in der ersten nationalen Tournee, die mehr als zwei Jahre lang lief. Jean Bayless verkörperte die Rolle der Maria in der Londoner Originalproduktion, die mehr als sechs Jahre lang lief und lange Zeit den Rekord als am längsten laufendes amerikanisches Musical in London hielt. 1965 kam die Filmversion von The Sound of Music in die Kinos und schrieb Hollywood-Geschichte. Unter der Regie von Robert Wise und mit einer von Rodgers überarbeiteten Filmmusik (Hammerstein war 1960 verstorben, so dass Rodgers sowohl die Musik als auch die Texte für zwei im Film enthaltene Lieder schrieb: ”I Have Confidence” und ”Something Good”) und einem Drehbuch von Ernest Lehman konnte The Sound of Music mit einer Traumbesetzung aufwarten: Julie Andrews als Maria, Christopher Plummer als Kapitän, Eleanor Parker als Elsa, Peggy Wood als Mutter Äbtissin und Charmian Carr als Liesl. The Sound of Music wurde mit fünf Oscars ausgezeichnet, darunter für den besten Film, und ist das beliebteste Filmmusical aller Zeiten.

Lange vergriffene Vinyl-Wiederveröffentlichung von Laibachs 'The Sound of Music', ein Album, das entstand, als die Slowenen 2015 zu einem Auftritt in Nordkorea eingeladen wurden. Bei dem Konzert in Pjöngjang spielte die Band mehrere Songs aus dem Soundtrack des Films von 1965, der nordkoreanischen Kindern gezeigt wurde, um Englisch zu lernen.

10th anniversary deluxe edition of Mac Miller's second studio album Watching Movies with the Sound Off on heavyweight galaxy vinyl. Includes a bonus 10" zoetrope picture disc with bonus track "The Star Room (OG Version)" and a never before released vinyl exclusive track "The Quest."

With the release of his sophomore album, Pittsburgh native Mac Miller goes up against some of hip-hop's heavyweights to shatter the public perception and prove that he is a talented lyricist.

Miller made a name for himself several years ago with the release of his popular mixtapes , gaining a following from the party-heavy beats and whimsical rhymes. Miller's first album Blue Slide Park debuted on the charts at the number one spot of Billboard's 100 making it the first indie album to snag the number one spot since Tha Dogg Pound's Dogg Food in 1995. Despite the commercial success of BSP, Miller's debut album received mixed reviews and he was lambasted and accused of being one-dimensional. Determined to prove himself as a serious lyricist, Miller's Watching Movies With The Sound Off goes toe to toe with Cole and West. Picking up where his 2012 mixtape Macadelic left off, Miller continues his psychedelic journey through hip-hop with a more serious undertone to his lyrics.

Miller once again pulls double duty and puts on the producer's hat of his alter ego Larry Fisherman. The 21-year-old handles most of the production on the album but he enlists the help of several others including Pharrelll Williams, Diplo, The Alchemist, Clams Casino, Flying Lotus and more. It's clear Miller has grown just as much as a producer as he has as a rapper. Sonically, WMWTSO is a complex and challenging conglomerate of trippy, acid-laced sounds that mesh well with Miller's laidback flow.

WMWTSO may seem like a far leap from his debut album, but with the several projects released in between the two albums, Miller has been on this path for a while. Accomplishing the goal of proving he's more than a flash in a pan and can make more than party hits, Miller's sophomore album WMWTSO holds its own against his colleagues that share the same release date. A must have on vinyl for any fan!

Das neue Album "The Sound of Movies" von Klassik-Superstar Jonas Kaufmann erscheint am 15. September 2023 bei Sony Classical. Großartige Songs aus klassischen Filmen waren schon immer eine Leidenschaft von Jonas Kaufmann, und sein neues Album feiert dies mit unvergesslichen Filmsongs aus fast einem Jahrhundert - Musik, die weltweit das Publikum begeistert hat."The Sound of Movies" enthält Hits aus großen Filmklassikern wie West Side Story, Gladiator, Cinema Paradiso, The Sound of Music, Les Misérables, The Mission, The Great Caruso, Singin' in the Rain, Once upon a Time in America, Breakfast at Tiffany's und vielen mehr! Das Album wurde mit dem auf Filmmusik spezialisierten Czech National Symphony Orchester und Chor unter der Leitung von Jochen Rieder aufgenommen, ein spekatuläres Sounderlebnis ist garantiert. Bei drei Titeln wird Jonas Kaufmann vom bekannten Gitarristen Miloš Karadaglić begleitet. Auch eine Weltpremiere ist auf dem Album zu hören, das Thema aus dem Film "The Cider House Rules" der Oscar®-gekrönten Komponistin Rachel Portman. "Für ein paar Stunden in diese Welt einzutauchen und alles um sich herum zu vergessen, ist unglaublich faszinierend - ähnlich wie im Theater oder in der Oper", sagt Kaufmann über klassische Filmmusik. "Ich bin über viele Jahre viel gereist, oft allein für Wochen und Monate in fremden Städten am anderen Ende der Welt. Neben den Museen war es das Kino - diese großartige Möglichkeit, sich zu unterhalten, wenn man allein ist - das meine Fantasie beflügelte.""The Sound of Movies" erscheint als CD, Vinyl und digital.Die limitierte 2-LP-Gatefold-Edition auf 180 Gramm Vinyl enthält eine persönliche Einführung von Jonas Kaufmann und ein ausführliches Booklet.Das Standard-Jewelcase enthält eine persönliche Einführung von Jonas Kaufmann und ein ausführliches Booklet in Englisch, Deutsch und Französisch.

Erstmalig erscheint die späte Compilation mit 10 ausgesuchten Tracks (Lost Demos) aus der Ära beim Label Statik als LP. Inkl. 'Counting The Days', 'Whirlpool' und 'Love Is Not A Ghost' erscheint die LP mit brandneuem Artwork, das von Fotograf und Filmemacher Nigel Grierson etworfen wurde. Die zehn Songs erschienen bislang lediglich als CD in einem Boxset aus dem Jahr 2015, und wurden für diese LP von Phil Kinrade in den AIR Studios neu gemastert.

Orpheu the Wizard has a magic touch at finding records that fall between the gaps in music - oddities, curios, the weird, the wonderful. But that's just half the trick. It takes a sensitive and selective ear to construct a coherent, accessible narrative from them. So you get DJs who can play for the crowd and "selectors" adept at mining the black gold. In Orpheu, you've got yourself someone who can do both. On a festival main stage, he can keep it weird enough for the heads. In an audiophile setting, he'll keep the flow.

These skill sets come into play on the fifth The Sound of Love International compilation. Jumping between genres, decades, continents, the truly rare, and many B-side cuts that passed you by. But never eclecticism for its own sake; this collection makes sense. Orpheu never loses sight of the listener - he's a friendly and knowledgeable guide to the cosmic outer reaches.

He opens his account with the warm, psychedelic electronics of Drawing Future Life, with ‘1969’. Tucked away on the B-side of an LP of ambient/trance hailing from Fukuoka, this is a very pretty piece of music on a truly rare piece of wax. Then, leapfrogging a couple of decades and timezones, we have Rutuu Poiss' "IHATSIN." Off-kilter, experimental sounds with an endearing melodic hook, followed up by the with lethargic ambient breakbeat of Digital Distortion's "Mellow Bug".

On the B-side, things start to get lively. French Audacity featuring Valerie's "That Fine One" is Gallic garage that has simultaneously got it hugely wrong and mas­sively right. Owing as much to new wave as New York house, this is propulsive and quirky dance music at its finest. Next, we're on a ferry over the channel for DJ Spike and "Gaps In Space." Up-tempo electro with a fondness for sampled vocal cut-ups, like its predecessor.

lnterdance's "Kurz" (another B-side) is the perfect segway - house from 1990 with that sweet, slightly goofy naivete. Things move toward the gnarly with Bad Behaviour and "Living on Smoke," a lesser-known cut on the legendary Atmosphere records. The tempo edges upward on "Systematic Input" by Frequency, hectic hardcore techno that still retains a lightness of touch.

"Lushes" by Diffusion spins us off into space, filigree techno with an emotive trance edge. The chiming intro of "Blue to Be Happy" by MFA lulls us into a sense of false security before massively putting the boot in with a pounding kick drum, bassline, and arpeggiation. From there, it's a sharp left turn into the urban psychedelic dub of R.I.P's "E.O Pan" on cult label Digi Dub.

Sticking with UK sound system music but taking it down a notch, Orpheu closes proceedings with a leftfield reggae excursion from the master of the mixing desk, Mad Professor’s"Oh Hell".

It's a compilation as varied as the many moods and grooves of Love International itself - from sun-dappled olive groves to moments deep in the strobes. This is serious music for party freaks or party music for serious freaks. Tisno is calling.

For years he mesmerized audiences with his unique North Mississippi Hill
Country Blues style and influenced a new generation of blues musicians.
University of Memphis professor, David Evans, recognized Burnside's
extraordinary talent while he was still working in the cotton fields in North
Mississippi. The seventeen tracks on "Raw Electric 1979-1980" reveal R.L.'s true
talent. Most of the recordings were made at Burnside's home near Independence,
Mississippi, with a live audience participating.Song-by-song descriptions and rare
photographs are included in the "bonus" booklet.

Es ist wahrscheinlich das beste und eindringlichste Album der Band aus Florida, deren oberstes Gesetz Leidenschaft und Hingabe ist. Ihre Motivation ist bis in jeden Winkel der elf Songs zu spüren, und selbst die sanften Momente auf The Sound Of Madness haben noch eine Wirkung wie ein Faust in der Magengrube. Aufgenommen mit Star-Producer Rob Cavallo bringt es die geballte Kraft des Ultimativen in die Bahn, die SHINEDOWN mit dem US-Platin-Debüt Leave A Whisper
(2003) und dem Nachfolger Us And Them (2005, Gold) eingeschlagen haben.
Jetzt zum 75. Jubiläum von Atlantic kommt das Album als exklusives Crystal Clear Vinyl.

New compilation featuring the greatest tracks from the Philadelphia International label Pressed on standard black vinyl.

Tardam Records was born out of a collaboration between the Southern Italian City of Taranto at the top of the Puglian isthmus and Amsterdam, the far more northerly metropolis. The label was founded by DJ Goffredo Santovito and musicians Fabrizio Carrieri and Mikel Van Der Meulen. They were passionately motivated to release the music of a select set of European groups that were capturing a new sound in retro soul and R&B. Over the next four years they released nine singles from groups including the Mighty Typhoons, The Spinshots, The Ska related Uppertones and the raw R&B sound of the Working Voodoo Club, which resulted in dance floor winners, rare 45s and many great moments.

In celebration Acid Jazz asked their friends from Tardam if they could release a compilation of their work, and when they said yes, the label commissioned an exceptional mid-Century style illustration by Dutch illustrator Emanuel Wiemans to wrap it all up in.

In the world of Dance, the 90s were characterized by the worldwide explosiion of House Music. Among the protagonists many were artists and producers of Italian origin and this sub-genre was called Italo House. This double vinyl collection contains 12 classic songs
from that magical period, all in the original 'full version', by:
Don Carlos, Soft House Company, Double Dee, Tameka Starr, Key Tronics Ensemble, Omniverse, Jestofunk, Riviera Traxx, Kipper, Aritmya, Be Noir e Bossa Nostra.

2022 Repress
The Sound of Studio One can be identified by the great singers that it cultivated along the many great songs that these singers released. But as studio 1's dominance was slowly pulled away by the up and coming new breed of producers many of the artists would inevitably end up working for these new camps and so the songs and singers found a new audience. The reggae sound of the Studio 1 would make a great combination and the man to pull this was together Bunny Lee.
The 1960's in Jamaica was run by two main factions, Coxsonne's Studio 1 and Duke Reid's Treasure Isle. These two leading protagonists saw what some of the other great Sound System men like ' Tom The Great Sebastian' had not taken onboard, that when the tunes they imported began to dry up from the USA, their future lied in producing music. Tunes that suited the musical styles that the people of Jamaica still enjoyed. By the late 1960's thse supremacy was being challenged by the up and coming new producers on the scene, Lee Perry being one, and the other being 'Ghost of the Studios' himself, Bunny Lee. Bunny 'Striker' Lee may have inherited the moniker 'Striker' from his liking of a particular TV show called 'The Hitch-Hiker', but it would soon stand also for the considerable hits he would obtain as he was declared producer of the year in Jamaica in 1969, 1970,1971 and 1972.
For this release, we have compiled many of the great Studio hits that Bunny Lee recorded with the singers that had originally cut at the famed Studio 1. Bunny Lee's sprinkling of magic over some classic tunes....the sound of Studio 1 backed up this time Bunny 'Striker' Lee's set of star musicians The Aggravators. Proving you can't keep a good tune down, or a great producer pushing forward.....Bunny Lee strikes back....
Hope you enjoy the set.....

In late 1961 Spector formed Philles Records with Lester Sill, buying his mentor out the
following year. The slogan was ‘Tomorrow’s sound today’, and Phil Spector proceeded to live
up to that boast. Three-track tape machines were then state of the art, and he perfected the
method of ‘bouncing’ the tracks to get the biggest possible sound. As time went by, his ‘twominute symphonies for the kids’ would be increasingly gilded by his ‘everything but the kitchen
sink’ production including Strings, Percussion and banks of Vocals. Spector gained his
second U.S. chart-topper and his first as a Producer in 1962 with the Gene Pitney penned,
He’s A Rebel. Spector became increasingly obsessed by the production process. ‘My records
are built like a Wagnerian opera. They start simply and end with dynamic force, meaning and
purpose. I dreamed it up.’ He retired from the music business, returning only sporadically to
work with first The Beatles (their Let It Be album, plus solo LPs by George Harrison and John
Lennon), plus a handful of other artists including Dion, Cher and the Ramones.

Mounting and abating in billowy ebbs and flows, Piano Piano is almost wantonlyBalearic. Riding the waves of smooth sea glass instrumentation and tri-tone vocal breeze reminiscent of a 70s Italian film score (à la Piero Umiliani), a heartbeat percussion drives the beachy lullaby from cool dawn through a sun-bleached afternoon into a softly settling sunset. Refreshingly simple and warm, the track offers a welcome glimpse of uncomplicated summer romance and joy.

Sparing none of the track’s original warmth, Spinna’s version introduces sumptuous bass and tenacious percussion to the original’s classic vocals for a groovy and cerebral interpretation that suggests more of a sophisticated late-season smolder than a youthful fling.

Leicester born Kevin Hewick is still considered a truly representative force of the post-punk counterculture. His first ‘proper’ gig was on a bill with Joy Division, A Certain Ratio and Section 25. He released a couple of records on Factory in the early 80's, then moving to Cherry Red in 1982. His collaboration with The Sound stands truly as his own masterwork. Recorded and mixed at Elephant Studios, Wapping, London on November 3rd, 4th & 5th 1983, this EP still is a refreshing example of their combined effort. The four tracks move along a sort of outsider folkish post-punk, being perhaps his most accessible work ever.