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'Rhyze to the Top' is the debut LP by the American funk and R&B band Rhyze, released in 1981. It’s an essential album for fans of funk and R&B, offering a snapshot of the vibrant and dynamic music scene of the early 1980s. Second hand copies regularly change hands for £50+ and the LP has never been reissued on vinyl since its initial release 43 years ago. Now for first time soul fans can rejoice as the album has been fully remastered & lovingly reissued by Wanderick Records.

Big Crown Records ist stolz darauf, das Debütalbum von Dave Guy zu präsentieren. Nachdem er seine Talente sowohl auf der Bühne als auch im Studio für Künstler*innen wie Amy Winehouse, Lizzo, Pharrell und Sharon Jones zur Verfügung gestellt hat und derzeit als Mitglied von The Roots jeden Abend in der Tonight Show auftritt, macht sich Dave Guy mit einem sowohl einzigartigen als auch modernen Jazz-Album selbstständig.

"Ruby" mischt seine musikalischen Einflüsse mit der Energie der Stadt, in der er aufgewachsen ist, fängt verschiedene Stimmungen ein und lädt den Hörer in die Welt ein, wie Dave Guy sie sieht und fühlt. Aufgenommen in Queens in der legendären Diamond Mine, wurde das Album von Homer Steinweiss und Nick Movshon produziert und enthält musikalische Beiträge von Leon Michels, Marco Benevento, Claire Cottrill und anderen. "Ruby" reiht sich sofort in die Riege der Klassiker ein, denn es ist ein vollendetes Album und nicht nur eine Ansammlung von Songs. Die Leadsingle "7th Heaven" eröffnet das Album mit einer hymnischen Energie, in der Daves Bläsersätze über donnernden Drums, ätherischem Gesang und tanzendem Klavier schweben. Footwork" ist eine lateinamerikanisch inspirierte Nummer, die mit Sicherheit den Soundtrack zu vielen Tanzveranstaltungen von SoHo bis Harlem liefern wird. Das Synthie-Intro von "Pinky Ring" bereitet den Stimmungswechsel vor, wenn der Track losgeht. Tiefe Basstöne unterstreichen das tadellose Schlagzeugspiel und Dave vergeudet mühelos keine Noten, wenn sich die Strophen und Refrains abwechseln. Die Platte lehnt sich an spirituelle Jazz-Vibes auf "Diamond Encore" an, mit einem dunklen und tiefen, fast "Axelrod-artigen" Rhythmus-Track, um dann mit dem Stomper "Still Standing" die Energie wieder aufzunehmen. "Dave Wants You" hat einen ganz eigenen Bop mit einem unorthodoxen Schlagzeugmuster, das Dave mit seinen Trompetenschlägen verankert. Das jenseitige Arrangement von "Drony Boy" stellt die Produktion auf ein Podest. Das erste Intro wirkt fast wie eine Pause auf dem Album, während das zweite Intro den halsbrecherischen Track einleitet, der gleich folgen wird. Eine bedrohliche Gitarre signalisiert den Aufbau und das Ganze wird durch Daves wunderschöne Trompetenriffs untermalt. "Quesodillas" und "Green Door" leiten den Herbst des Albums mit ihrer sanften und intimen Energie ein und "Ruby's Rubies" ist der perfekte Abschluss der Reise.

Just a Man, Beres Hammond’s 1979 album, is a hidden gem in his illustrious career, celebrated for its heartfelt lyrics and smooth melodies, hallmarks of Hammond's signature style. This album offers a rare glimpse of Hammond before he became the lover’s rock icon we know today. Blending R&B, disco, soul reggae, and lovers rock, Just a Man showcases his soulful voice against the backdrop of disco-infused reggae rhythms, creating an irresistible vibe.
At this pivotal moment in his career, Hammond had just left the band Zap Pow to focus on his solo work, and Just a Man was a bold statement of independence. It reflects Hammond’s early musical journey, combining elements of R&B and disco with reggae, and marks a key moment in his rise as a solo artist.
Produced by Joe Gibbs, a legendary figure in reggae, and arranged by Willie Lindo, the album features some of Jamaica’s most esteemed musicians: Val Douglas & Mike Chung on bass; Mike Richards, Robert Stephenson & Calvin McKenzie on drums; Robert Lyn, Franklyn Waul& Harold Butler on electric piano; Lenox Gordon, Willie Lindo on guitar; Pam Hall, Prilly Hamilton, Sharon Forrester & Beres Hammond on backing vocals; Waul, Clive Hunt & Noel Seale on percussions; Hunt, Franklyn Waul & Harold Butler on piano; Dean Fraser on saxophone; Peter Ashbourne Group as string ensemble; Jerome Francque & Roland Robinson on trombone; David Madden, Willie Brackenridge & Clive Hunt on trumpet.
The album’s standout track, “Do This World A Favour,” became a UK soul hit, but the entire album features rare and funky gems like "Keep My Wheel Turning" that reflect Hammond's versatility and ability to transcend genres.
Our exclusive edition has been remastered, delivering superior sound quality that enhances the richness of every note.
This edition is published under the direction of Joseph Barthelet for Jamwax, under license from Gavin D.A. Gibson.
Just a Man is more than just an album; it’s a significant piece of jamaican music history.

Alpha Beta Gamma Delta Plus' endlich auf Vinyl, als expanded Doppel-LP in Gatefold. Die 13 Original-Tracks von 'Alpha Beta Gamma Delta', plus 9 Bonus-Tracks, die zuvor auf Single und alternativen Akustik-Tracks veröffentlicht wurden, auf einem denkwürdigen Album von unfehlbarem Inhalt: zeitgenössischer, aufregender, dunkler und gefährlicher Rock & Roll. Alpha Beta Gamma Delta, von der Band im September 2022 selbst veröffentlicht, war das erste neue Material der legendären britischen Rock'n'Roll-Gruppe The Godfathers seit fünf Jahren. Das während der obligatorischen Pandemic-Pause aufgenommene Album wurde von den Fans in den höchsten Tönen gelobt und erhielt einige der besten Kritiken in der gesamten Karriere der Band. Peter Coyne, Leadsänger und Frontmann der Godfathers, nannte es ,eine klangliche Tour de Force". Alpha Beta Gamma Delta ist eine brillante, aktuelle Sammlung von Rock-'n'-Roll-Songs, die perfekt mit dem konkurriert, was The Godfathers in der Vergangenheit gemacht haben, und Spannung in eine Welt bringt, die nicht mehr die Welt ihrer Anfänge ist. Sie behalten ihre Identität bei, aber der Gesamtsound ist etwas anders. Zur Wut der Vergangenheit gesellen sich Gesangsharmonien ('Bring on the Sunshine'), Gitarrensoli, Melancholie und eine Reihe neuer Referenzen, die auch ihre eigenen sind. Dead in Los Angeles", ein Song über einen Spaziergang im Mondlicht, könnte von einigen mit The Doors verglichen werden, und ,Tonight` ist sehr Iggy Pop. Die Godfathers machen auch leisere Nummern, wenn es nötig ist, und so ist Peter Coynes Baritonstimme auf dem sensiblen, honigsüßen ,There Is No Time" zu Hause. You Gotta Wait" ist ein melodischer Punkrock-Klassiker, der das Montagsgefühl auspackt, bei dem das Wochenende eine Million Meilen entfernt scheint... Kurzum, dreizehn Tracks solider und abwechslungsreicher wütender Rock'n'Roll für eine neue Ära. Darüber hinaus enthält Alpha Beta Gamma Delta PLUS drei Tracks, die auf der Originalausgabe des Albums nicht enthalten waren: 'Wild and Free' (zuvor als Single zusammen mit 'I'm Not Your Slave' veröffentlicht) sowie 'When the Cowards Fall' und 'Fade Away' (enthalten auf ABGDs Vorab-EP 'Midnight Rider'). Außerdem sind sechs akustische Neuinterpretationen der Titel enthalten, die während der Studio-Sessions eingespielt wurden. Alpha Beta Gamma Delta Plus ist ein melodisches, reifes und abwechslungsreiches Album, auf dem The Godfathers weiterhin ihr wütendes Wesen in einer anderen Ära, in einer anderen Welt zeigen, in der sie sich immer noch weigern, Rock 'n' Roll als Routine zu akzeptieren.

To celebrate the 30th anniversary of bob sinclar"s iconic label, Yellow Productions, step into the catchy world of the french touch with an exceptional and limited boxset with 3 LP vinyl records plus a poster. Discover hits, unreleased nuggets and rare tracks ranging from house to trip-hop, jazz and hip-hop. Discover some of the biggest names on the electronic music scene : Like Dimitri From Paris, Dj Gregory, Kid Loco, Martin Solveig and David Guetta!

How did Dexter make a TV audience sympathize with a serial killer? No question, it took an ingenious premise, great writing, great direction…and a stellar ensemble cast headed by lead actor Michael C. Hall. But long-time viewers of the show know there was another “character” that played a huge role in the series: the soundtrack. From Rolfe Kent’s unforgettable title theme to the well-chosen Latin-tinged tunes that fit the Miami setting to composer Daniel Licht’s brilliant themes, the score of Dexter commented on the action even as it amplified its emotional power. Special mention must be made of the late Licht’s work, which employed Latin and electronic elements to portray Dexter’s warm and cold sides; among the favorites here are “Astor’s Birthday Party” and the haunting “Blood Theme” that played over the credits in every episode. In 2007, the Milan label put out a CD and a truncated single-LP soundtrack album containing music from the first season; now, for the first time, we at Real Gone Music are offering all of the music that appeared on the CD in an expanded double-LP edition, pressed on blood with white swirl vinyl and housed inside an appropriately gory gatefold. Don’t miss Michael C. Hall’s spoken word pieces, either…perversely pleasurable listening, limited to 1500 copies!

Singer Andy Stokes, billed as the 'Northwest King of Soul Music', may have recently worked with such industry luminaries as Snoop Dogg but, way back in the late 70s, he was fronting a hopeful Jazz-Funk group struggling to break into even just the Oregon circuit. Despite boasting members from internationally successful acts like Fantasy Records' own Pleasure, Lights Out never saw their one demo – cut in 1982 for the well-established Solar Records – even get a promo pressing. Two of the tightest and busiest of their dancefloor wreckers from the session now grace their only 7" to date.

First time ever on 7" 45rpm vinyl, dinked centre hole with picture sleeve, 500 numbered copies only.

Paul Carrack is known for his role in the bands Ace, Squeeze (replacing Jools Holland on piano), and Mike & The Mechanics (a side project by Mike Rutherford of Genesis). Next to this collaborations, Carrack has forged a successful solo career in the process. All the songs from his impressive career are now bundled under the Collected series.

Dubbed by the BBC as the "The Man with the Golden Voice" Carrack sang some of the most important songs from bands like Ace (“How Long”), Squeeze (“Tempted”), Mike + The Mechanics ("The Living Years" and "Over My Shoulder") . As a solo musician he recorded hits such as "Don't Shed a Tear", "When You Walk in the Room" and "Don't Dream It's Over". He has served as a session and/or touring musician for the likes of music greats like Elton John, Eric Clapton, B.B. King and The Smiths.

Collected by Paul Carrack, released 8 March 2024, includes the following tracks: "Don't Shed A Tear ", "Love Will Keep Us Alive", "Over My Shoulder ", "Satisfy My Soul " and more.

This version of Collected comes as a 2xLP. This release comes with (a) Insert(s).

DJ Support: Pete Tong, Majestic, Leftwing:Kody, Sam Divine, DrPacker and Michael Gray.

Chart surfing release of some of Husky’s best selling records on Bobbin Head Music. Huge remixes from Michael Gray, Johan S & Dr Packer. ‘We Rave Tonight’ has seen Radio 1 radio support from Pete Tong, as well as Kiss FM via Majestic,Leftwing:Kody & Sam Divine. Dr Packer remix of ‘Heaven’ reached the Traxsource top 10 for Soul/Funk/Disco, along with the Michael Gray remix of ‘Only One Way’.

Toy Tonics presents a new EP by one of the label’s lead artists: CODY CURRIE. The London born talent comes with 4 new tracks that combine neo soul and jazz funk with uptempo house music
Cody usually plays all the instruments on his tracks working as the bassplayer, singer, guitar virtuoso and drummer and becoming one of the hot names in London's club scene as a DJ around 5 years ago at a young age.

His vibe is similar to his the soulful and extravagant sound as these his heros had. Not needing any help from anybody. Even mixing and engeenering all his music himself
Cody Currie’s sound is perfect for today’s DJ sets and fits with the current wave of funky house and groove oriented music coming from London that is taking over the clubs.

Bon Jovi has used great hooks, epic-sounding productions and stadium-sized passion to forge a sound that combines a pop sensibility with a heavy-metal attitude.

This LP features Elvis's best tracks from 30 films (1956-1960), showcasing his musical range from ballads to energetic rock.

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

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

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

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

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

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

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

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

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

Nobody could disagree with that.

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

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

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

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

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

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

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

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

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

Nobody could disagree with that.

Stalwarts of the London music scene The Boom Yeh are at the forefront of redefining British Jazz-Funk with the release of their new album Near-Earth Objects. Featuring a host of musicians that have worked with Jamiroquai, The Brand New Heavies, Incognito, Alice Russell and Leroy Hutson.

Keep Right On
A blistering syncopated jazz-funk assault reminiscent of The Brecker Brother and Tower Of Power. Featuring solos from trombone player Tom White and sax player/horn arranger Ian Bailey, followed by a virtuosic drum solo courtesy of Alessio Barelli.

Chronic Tonic
A smooth jazz-funker with hip-hop undertones, echoing early Prince with a boogie funk outro in the vein of George Duke, propelled by bass player Matteo Grassi.

Hot Tamale
If Jimi Hendrix was stuck in a Mexican traffic jam, it would probably sound like this. An abrasive funk-rock stomper featuring a heavy duty guitar solo from band leader Jon Speedy.

Pocket Rocket
Deep pocket funk in tribute to George Clinton's Parliament-Funkadelic with be-bop infused horn riffs. Featuring solos by Paul Silver on baritone sax and guest keyboard player Carl Hudson on Oberheim synth.

Near-Earth Objects
High energy jazz-fusion exploring the universe of Herbie Hancock and The headhunters with an afrobeat inspired horn outro. Featuring guest keyboard Carl Hudson on Fender Rhodes and synth.

Othership
Bombastic big band jazz-funk with a rare groove flavoured mid section. Composed by band leader/guitarist Jon Speedy as a nod to his father Dave Speedy - a jazz trumpet player and big band leader.

Mind's Eye
Laid back Ibiza chill out mixtape vibes meets Donald Byrd and the Mizell Brothers. Featuring blissful Fender Rhodes and synth by guest keyboard player Carl Hudson.

Possibilities
A slow burner in the spirit of Roy Hargrove's RH Factor and early neo-soul with a gospel flavoured outro.

1967 setzte Nancy Sinatra ihren künstlerischen Aufstieg in die Pop-Stratosphäre fort: mit dem James-Bond-Titelsong ,You Only Live Twice", dem groovigen Farbfernsehspecial ,Movin' With Nancy", der Aufnahme eines der beliebtesten Duette aller Zeiten, ,Some Velvet Morning", und einer Pilgerreise quer durch das Land ins Zentrum der Country-Musikszene. Nancy reiste nach Nashville, um ihr fünftes Album in den RCA Studios aufzunehmen, wo viele der größten Country-Songs aller Zeiten entstanden sind. Auf ,Country, My Way" verschmilzt Nancy ihren persönlichen Stil mit der Country-Musik, was zu einem neuen hybriden Sound führt. Der Produzent Lee Hazlewood nannte es ,Hippie-Billy". Zwar wird der zeitgenössische Country-Sound vielen zugeschrieben, doch wie bei vielen Meilensteinen der 1960er Jahre war Nancy eine der Ersten. Nancy Sinatra war gleichermaßen stark, schwül und klug und war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys kultigem Album von 1967 ist eine wunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Singles "Jackson" und "Oh Lonesome Me", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und kommt in dieser Auflage mit fünf Bonustracks: den Non-Album-Singles von 1967: "Love Eyes", "You Only Live Twice", "Lightning's Girl", "Until It's Time for You to Go" und "Tony Rome".

1967 setzte Nancy Sinatra ihren künstlerischen Aufstieg in die Pop-Stratosphäre fort: mit dem James-Bond-Titelsong ,You Only Live Twice", dem groovigen Farbfernsehspecial ,Movin' With Nancy", der Aufnahme eines der beliebtesten Duette aller Zeiten, ,Some Velvet Morning", und einer Pilgerreise quer durch das Land ins Zentrum der Country-Musikszene. Nancy reiste nach Nashville, um ihr fünftes Album in den RCA Studios aufzunehmen, wo viele der größten Country-Songs aller Zeiten entstanden sind. Auf ,Country, My Way" verschmilzt Nancy ihren persönlichen Stil mit der Country-Musik, was zu einem neuen hybriden Sound führt. Der Produzent Lee Hazlewood nannte es ,Hippie-Billy". Zwar wird der zeitgenössische Country-Sound vielen zugeschrieben, doch wie bei vielen Meilensteinen der 1960er Jahre war Nancy eine der Ersten. Nancy Sinatra war gleichermaßen stark, schwül und klug und war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys kultigem Album von 1967 ist eine wunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Singles "Jackson" und "Oh Lonesome Me", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und kommt in dieser Auflage mit fünf Bonustracks: den Non-Album-Singles von 1967: "Love Eyes", "You Only Live Twice", "Lightning's Girl", "Until It's Time for You to Go" und "Tony Rome".

Sugar war das vierte Album, das Nancy Sinatra 1966 aufnahm - eine unheimliche Leistung, wenn man bedenkt, dass die Beatles zu dieser Zeit etwa zwei Alben pro Jahr aufnahmen. Das kultige Ron Joy-Coverfoto von Nancy im rosa Bikini (der erste auf einem Albumcover!) war 1967 ein gewagter Schachzug, der dazu beitrug, Sugar auf Platz 18 der Charts zu katapultieren (Nancys zweithöchstes Chartalbum nach Boots). Es ist ein seltsames Album, das einen von Nancys bekanntesten Songs, Sugar Town, mit Kompositionen aus den 1920er Jahren kombiniert, die in einem zeitgenössischen Dixieland-Jazz-Pop-Fusion-Stil aufgenommen wurden, der so nur von Produzent Lee Hazlewood stammen konnte. Nancy Sinatra war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau - und zwar gleichermaßen stark, schwül und versiert. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys legendärem Album von 1967 kommt alswunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Hits "Sugar Town", "In Our Time", und "Coastin'", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und enthält zwei Bonustracks: die Non-Album-Singles "In Our Time" und "Leave My Dog Alone".

Sugar war das vierte Album, das Nancy Sinatra 1966 aufnahm - eine unheimliche Leistung, wenn man bedenkt, dass die Beatles zu dieser Zeit etwa zwei Alben pro Jahr aufnahmen. Das kultige Ron Joy-Coverfoto von Nancy im rosa Bikini (der erste auf einem Albumcover!) war 1967 ein gewagter Schachzug, der dazu beitrug, Sugar auf Platz 18 der Charts zu katapultieren (Nancys zweithöchstes Chartalbum nach Boots). Es ist ein seltsames Album, das einen von Nancys bekanntesten Songs, Sugar Town, mit Kompositionen aus den 1920er Jahren kombiniert, die in einem zeitgenössischen Dixieland-Jazz-Pop-Fusion-Stil aufgenommen wurden, der so nur von Produzent Lee Hazlewood stammen konnte. Nancy Sinatra war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau - und zwar gleichermaßen stark, schwül und versiert. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys legendärem Album von 1967 kommt alswunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Hits "Sugar Town", "In Our Time", und "Coastin'", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und enthält zwei Bonustracks: die Non-Album-Singles "In Our Time" und "Leave My Dog Alone".

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

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

NO COVER!

LTD Edition white vinyl version of RÜFÜS DU SOL's debut LP 'ATLAS' that hit Number 1 in Australia. The album was a testament to the band’s passion, work ethic and DIY approach to music, featuring the much loved singles 'Take Me' and 'Desert Night'.

A labour of love, the album was written, produced and recorded by the band between two studios they built themselves - one in a remote farmhouse on the NSW south coast, the second in a hollowed out water tank under one of their parents houses.

John Prine's 1984 release, is available on LP from Oh Boy Records for the first time since the original pressings.

NWOBHM legends GRIM REAPER release their first three studio albums on GATEFOLD COLOURED VINYL!!! FEAR NO EVIL is the second studio album released in 1985 under the British independent label Ebony Records.

Here it is, the first masterpiece by the exceptional Italian artist Gigi D‘Agostino. Before Gigi became an international electronic music icon with hits like „Bla Bla Bla“, „The Riddle“, „L‘Amour Toujours“ and conquered the international charts, he released his legendary „Gin Lemon E.P.“. Already back then, his typical style, characterized by catchy, danceable rhythms and superb melodies, was impressive. Now, „Gin Lemon E.P.“ is finally available again on 3 colored vinyl records.

*** TRILOGY ***
post-punk experiments

VOLUME 3 of a series of 3 re-releases of the 80s underground solo cassette tapes by Menko Konings (aka EM / Menko / eM.)

This third re-release/remaster is the cassette tape album “To To New York” (1984) by EM

Remaster (2024) by Rude 66

Limited edition of 50 (hand numbered) green colored cassette tapes with original J-card

“When I went solo in 1983 I only had a guitar, a bass and a four track cassette tape recorder. Sometimes I borrowed a rithmebox or a synth for a couple of days. These solo cassette tapes were created in that period.” (MK)
Music journalist Oscar Smit described these tapes in the 80s - in his column Dolby of the legendary Dutch magazine Vinyl - s.a.: “Big city music, metropolis beat, drum composers, funking basses, nervous rhythm guitars, radio and TV sounds in the background and intonationless vocals.”

Menko Konings was also the founder s.a. of S.M. Nurse, Plastic Cocon, No Honey From These and Top Tape.

Living in the Material World, George Harrisons hochgelobtes zweites Soloalbum mit Originalmusik nach
der Auflösung der Beatles im Jahr 1970, feierte kürzlich sein 50-jähriges Jubiläum. Mit Texten, die seine
fortwährende Auseinandersetzung mit spirituellen Themen unterstreichen, fand das Album großen Anklang
beim Publikum. Nur 5 Wochen nach seiner Veröffentlichung im Mai 1973 belegten sowohl die LP als
auch ihre Single „Give Me Love (Give Me Peace On Earth)“ gleichzeitig die Spitzenplätze der US-Albumund Single-Charts. Bei der Veröffentlichung beschrieb Rolling Stone es als „Pop-Klassiker“, ein Werk, das„als Glaubensartikel allein dasteht, wunderbar in seiner Ausstrahlung“. Unter der liebevollen Aufsicht von
Dhani und Olivia Harrison wurde Living in the Material World nun für eine atemberaubende Suite von
Veröffentlichungen zum 50. Jubiläum vollständig von den Originalbändern neu abgemischt. Der neue Mix
wurde vom dreifachen GRAMMY®-ausgezeichneten Toningenieur Paul Hicks neu abgemischt und verleiht
dem Album ein klangliches Upgrade, das einen Sound liefert, der heller, satter und dynamischer ist als je
zuvor.

Living in the Material World, George Harrisons hochgelobtes zweites Soloalbum mit Originalmusik nach
der Auflösung der Beatles im Jahr 1970, feierte kürzlich sein 50-jähriges Jubiläum. Mit Texten, die seine
fortwährende Auseinandersetzung mit spirituellen Themen unterstreichen, fand das Album großen Anklang
beim Publikum. Nur 5 Wochen nach seiner Veröffentlichung im Mai 1973 belegten sowohl die LP als
auch ihre Single „Give Me Love (Give Me Peace On Earth)“ gleichzeitig die Spitzenplätze der US-Albumund Single-Charts. Bei der Veröffentlichung beschrieb Rolling Stone es als „Pop-Klassiker“, ein Werk, das„als Glaubensartikel allein dasteht, wunderbar in seiner Ausstrahlung“. Unter der liebevollen Aufsicht von
Dhani und Olivia Harrison wurde Living in the Material World nun für eine atemberaubende Suite von
Veröffentlichungen zum 50. Jubiläum vollständig von den Originalbändern neu abgemischt. Der neue Mix
wurde vom dreifachen GRAMMY®-ausgezeichneten Toningenieur Paul Hicks neu abgemischt und verleiht
dem Album ein klangliches Upgrade, das einen Sound liefert, der heller, satter und dynamischer ist als je
zuvor.

Living in the Material World, George Harrisons hochgelobtes zweites Soloalbum mit Originalmusik nach
der Auflösung der Beatles im Jahr 1970, feierte kürzlich sein 50-jähriges Jubiläum. Mit Texten, die seine
fortwährende Auseinandersetzung mit spirituellen Themen unterstreichen, fand das Album großen Anklang
beim Publikum. Nur 5 Wochen nach seiner Veröffentlichung im Mai 1973 belegten sowohl die LP als
auch ihre Single „Give Me Love (Give Me Peace On Earth)“ gleichzeitig die Spitzenplätze der US-Albumund Single-Charts. Bei der Veröffentlichung beschrieb Rolling Stone es als „Pop-Klassiker“, ein Werk, das„als Glaubensartikel allein dasteht, wunderbar in seiner Ausstrahlung“. Unter der liebevollen Aufsicht von
Dhani und Olivia Harrison wurde Living in the Material World nun für eine atemberaubende Suite von
Veröffentlichungen zum 50. Jubiläum vollständig von den Originalbändern neu abgemischt. Der neue Mix
wurde vom dreifachen GRAMMY®-ausgezeichneten Toningenieur Paul Hicks neu abgemischt und verleiht
dem Album ein klangliches Upgrade, das einen Sound liefert, der heller, satter und dynamischer ist als je
zuvor.

lack Sabbath is, along with Led Zeppelin and Deep Purple, the most important british hard rock band of all time.

With its dark, mystical, obsessive atmosphere, Black Sabbath built an unique sound that has influenced countless bands since its emergence in the late ‘60s to these days. As usual in our series The Many Faces, we will enter the fantastic secret world of Black Sabbath, and we will enjoy their collaborations, side projects and their greatest hits. The Many Faces of Black Sabbath is a fantastic album, especially for those of you who considers yourself fans of hard rock.

Now, it’s part of our Many Faces collection on vinyl format.

"Join the Kyle Shepherd Trio on 'A Song More Sweetly Played' as they explore, collaborate and improvise on the ‘songs we like to play’. The album’s title is a dedication to the celebrated South African artist William Kentridge, with whom Shepherd collaborated on a joint-work “Waiting for Sybil” that has toured world-wide. In addition to ten Shepherd originals, perhaps most unexpected is the inclusion of an exquisite reading of Massive Attack’s ‘Teardrop’ and a deconstructed take of Journey’s ‘Don’t Stop Believing’, a favourite rock anthem that Shepherd describes as a ‘guilty pleasure’.

‘The inclusion of the Massive Attack and Journey tunes – that’s something out of character to me,’
observes Shepherd. The selection rests well within the grand jazz tradition of repurposing popular songs as vehicles for improvisation, thought, and pleasure. ‘It just came down to playing some tunes that we like and we can flow with, so that we can be inspired and express ourselves in a very natural organic way,’ he says. ‘We walked away from the from the studio feeling like – you know, we actually really enjoyed playing this record! I felt less attached to any sort of predetermined concepts except that we would play some music that I wrote that we like – a selection of things that we like to play. It felt like a bit of a tonic – every musician gets a chance to breathe through the music, and the music just flows and moves as organically as we could make it.’

To hear one of South Africa’s foremost pianists play with intention, freedom and enjoyment, in the tradition and beyond it, is above all a gift to the listener, and Matsuli Music is proud to be able to share the Trio’s first album in a decade, A Dance More Sweetly Played.

Kyle Shepherd is one of South Africa’s leading jazz, film and theatre music composers and pianists of his generation, internationally recognised for his distinctive compositional style and performances. He was the Standard Bank Young Artist of the Year for Jazz in 2014 and the UNISA piano competition winner in 2019, and has performed in 28 countries around the world, including 11 concert tours to Japan."

The Kyle Shepherd Trio: Kyle Shepherd (Piano), Shane Cooper (Double Bass) and Jonno Sweetman (Drums).
All Compositions by Kyle Shepherd except “Teardrop” by Massive Attack and “Don’t Stop Believing” by Journey.
Recorded May 2024 at Sunset Studios, Cape Town
Recording Engineer - Jürgen von Wechmar
Mixed by Martin Ruch.
Mastering by Frank Merritt.
Artwork and Design by English Designed and produced with support from the Baxter Theatre, Cape Town.

Vick Lavender is back with another quality vinyl release on his Sophisticado label. First up is the title track "Afro Go", an Afro jazz influenced piece that's sure to inspire dancers & deep house music lovers world wide. Next up is "Ambrosia", an atmospheric yet deep house cut. The B side features a previously release collaboration with house music icon Robert Owens: "Tonight". Bringing this EP to a close is the slow burner "Acis outpost", with iconic Chicago acid house overtones, but then Vick & company (Justin Dillard) turns the acid concept on it's head and it becomes their vision totally

Speedcore 220 to 300 BPM banger, a real pityless moments for a pure psychedelic rock'n'fuck dobble pleasure !
Clear sound and monstrous drops !

In a world of division, BEÃTFÓØT’s delayed second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political ‘TOO CUTE’ has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined.
“It's more urgent than ever for us to share this now, even though the album has been ready for a while,” says producer Naor. “BEÃTFÓØT are against any war, and believe that people should talk and not use violence - never,” he adds vehemently. “We feel the pain of Palestinians and Israeli loss of life, and are devastated by it. We hope the war will be finished soon and that peace and prosperity will come soon for both sides.”
While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year - explicitly against the current government in Israel - such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form ‘TOO CUTE’.
“We're really trying to highlight that there are people here working tirelessly for a brighter future for our ill kids and our neighbour’s kids,” adds Naor, who is also co-founder of techno duo Red Axes. Having had to flee the country with his family, it’s through music that Naor and Bronicki have found hope.
In light of such conflict, the multi-layered yet sonically-bonkers record also enables escapism, which is needed more now than ever. Following their self-titled 2021 debut (released on DJ Tennis’ label Life and Death), ‘TOO CUTE’ is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between.
Things blast off at breakneck speed with the chaotic title track’s hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang’s ‘The Magic Touch’. Somehow, we’re just three minutes into the record.
The tongue-in-cheek ‘HEART OF LEAD (TAKE IT OFF)’ still bangs despite its silliness, like if Kero Kero Bonito got in the studio with will.i.am. Later, ‘LEO’S SONG (THE SOCIAL MEDIA GUY)’s wittily satirical one-liners - “I just wanna get high with AI” - come thick and fast amid a barrage of glitches and guitars. ‘SUKC MY DIKC !!!’, meanwhile, pairs flute with pulsing hardstyle beats.
While their first record’s experimental explosion captured the pure carnage and energy of the BEÃTFÓØT universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting.

Much of ‘TOO CUTE’ was written while the duo toured Europe for the first time, with rough sketches of tracks created in the moment during their incendiary live shows, and then recorded in planes and cars.
If their first record was a case of testing the vibes, album two is more assured and confident within their sonic world. “In the first album, we stepped into the club, metaphorically, and started making eye contact with everyone to figure out the energy,” Bronicki says. “But, this time round, I already had an idea of the story that I wanted to tell to these random people.”
And what is that story? “Radical silliness, or radical fun – that’s the essence of BEÃTFÓØT,” Naor confirms. “What we really want to do is goof around and have fun, and that brings out something very profound and honest,” he explains. A sense of nostalgic freedom is also at the album’s core, thanks to the removal of adult predetermined social constructs that decide how people should behave or look. “There’s a very honest and positive energy in holding onto your childlike wonder and trying to explore that with others,” Bronicki suggests, adding that “the adult world can be so wrong and angering”.
She feels this relates to both the album’s lyrics and the artistic state of mind that the duo always work to: “the goal is to feed a really thought-out and profound idea, but through a playful spoon,” she says. With this in mind, the recurring theme of ‘TOO CUTE’ stems from the duo’s “radical and lived experience of existing in a place that holds a lot of guilt and fear – because death is so imminent and prevalent in a very confronting way”. This is clearly represented on ‘FOOTYLICIOU$’, on which Bronicki screams “someone’s gonna die tonight!” before emphatically shouting “NOT ME!”
The album title is BEÃTFÓØT’s response to that: “We want to be a celebration of life, and that applies to all lives, of all backgrounds, including animals… that’s our guiding light,” Bronicki says.
“We create in the context of living in a country where the current government’s anti-democratic measures are limiting who is included in the celebration of life. Because different people are always being pushed out and excluded: whether it’s queers, Palestinians or people from different religions.”
BEÃTFÓØT - who have found a home among the LGBTQIA+ community - are fighting back against oppression. “We want everybody to come to the party and celebrate life together,” says Naor, setting out his and Bronicki’s mission… “and our goal is to widen that party as wide as it can go.”




c MANIAC ft. Princess Rani

e WHERE HAVE I BEEN ALL MY LIFE ft. Bugle Boy



c MANIAC ft. Princess Rani

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]



[c] MANIAC [ft. Princess Rani]

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]

Auf dieser limitierten Vinyl präsentiert Lang Lang Saint-Saëns’ Karneval der Tiere. Die humorvollen Verse,
die der amerikanische Dichter Ogden Nash (1902-1971) zu jedem Satz der Orchestersuite schrieb, werden
von Jimmy Fallon auf Englisch rezitiert, dem Komiker und Moderator der Tonight Show. Eingespielt
wurde der Karneval der Tiere, die »Große zoologische Fantasie« für zwei Klaviere und Orchester, in einer
Starbesetzung mit dem Gewandhausorchester und Andris Nelsons und das Projekt bot zudem eine schöne
Gelegenheit, mit seiner Frau, der Pianistin Gina Alice, zusammenzuarbeiten. »Viele von uns kennen den
berühmten Karneval der Tiere noch aus ihrer Kindheit. Hinter all dem Spaß stecken viele kluge Einfälle.«,
sagt der Pianist.