Buscar:va

Als Mark Shelton am 27. Juli 2018 im Alter von nur 60 Jahren nach einem Auftritt von Manilla Road beim Headbangers Open Air in Brande-Hörnerkirchen starb, war der Schock in der Heavy-Metal-Underground-Gemeinde groß. Die Band löste sich auf, während 2019 auf dem Keep It True Festival eine Manilla Road-Tribute-Show zu Ehren von Mark gefeiert wurde. Fünf lange Jahre hat es gedauert, bis sich die Ex-Manilla-Road-Mitglieder Bryan Patrick (Gesang), Phil Ross (Bass) und Andreas "Neudi" Neuderth (Schlagzeug) entschlossen haben, eine neue Band zu gründen und das Erbe der Epic-Metal-Meister fortzuführen. Sie werden von Kalli Coldsmith an der Gitarre unterstützt. Der Name der Band ist Sentry und sie unterschrieben direkt nach einem ersten Lebenszeichen - einer Zwei-Track-Promo-EP (mit "Heavensent" und "Black Candles") - bei High Roller Records. Das Ergebnis ist ihr selbstbetiteltes Debütalbum, das aus sechs brandneuen Kompositionen sowie den beiden Songs der Promo-EP besteht (die CD-Ausgabe enthält einen zusätzlichen Bonustrack, "Incarnation Of Evil" von den mächtigen Candlemass). Das Material auf dem Album wurde in Kalli Coldsmiths Studio in der Nähe von Darmstadt sowie in Phils eigenem Studio in Wichita, Kansas, USA, aufgenommen.

Eines ist Sentry sehr wichtig - sie wollen nicht als Kopie von Manilla Road gesehen werden, wie Gitarrist Kalli Coldsmith unmissverständlich klarstellt: "Wir sind einfach eine andere Band mit eigenen, originellen Songs und ohne einen großen Backkatalog. Wir versuchen, für uns selbst zu stehen und unseren eigenen Stil zu finden, an dem man erkennt 'Das ist Sentry!'" Er fährt fort: "Da ich das meiste Material geschrieben habe und nie bei Manilla Road war, gehen die Songs nicht auf die Zeiten von Mark zurück. 'Heavensent' ist ein Song, der unter den Eindrücken der Mark Shelton Tribute Show im Keep It True geschrieben wurde, die für alle beteiligten Musiker und Freunde eine emotionale Achterbahnfahrt war. Dieser Song wurde also sozusagen vom Himmel geschickt. Die meisten anderen Songs waren brandneu, zusammen mit einigen alten Ideen aus meinen Riff-Kellern." Bassist Phil Ross fügt hinzu: "Diese Band würde ohne Mark nicht existieren, also kann man es natürlich in gewisser Weise als Tribut an ihn bezeichnen. Textlich gibt es viele Hommagen, die man als 'für oder an' Mark bezeichnen könnte. Wir glauben, dass ihm diese LP gefallen würde, aber wir versuchen absolut nicht, Musik 'für Mark' oder 'für Manilla-Fans' zu schreiben. Wir machen das, weil wir denken, dass wir innerhalb der Struktur dieser Band etwas Neues schaffen können, das Metal-Fans interessiert, und das schließt Manilla-Fans ein! Ich denke, jedes Mitglied hat auf eine Art und Weise zum neuen Album beigetragen, wie wir es bei anderen Aufnahmen nicht getan haben. Wir sind darauf bedacht, zu respektieren, woher wir kommen und wie wir hierher gekommen sind, aber es ist natürlich und organisch passiert. Wir haben die Band nie gegründet, um Mark 'Tribut' zu zollen."

Als Mark Shelton am 27. Juli 2018 im Alter von nur 60 Jahren nach einem Auftritt von Manilla Road beim Headbangers Open Air in Brande-Hörnerkirchen starb, war der Schock in der Heavy-Metal-Underground-Gemeinde groß. Die Band löste sich auf, während 2019 auf dem Keep It True Festival eine Manilla Road-Tribute-Show zu Ehren von Mark gefeiert wurde. Fünf lange Jahre hat es gedauert, bis sich die Ex-Manilla-Road-Mitglieder Bryan Patrick (Gesang), Phil Ross (Bass) und Andreas "Neudi" Neuderth (Schlagzeug) entschlossen haben, eine neue Band zu gründen und das Erbe der Epic-Metal-Meister fortzuführen. Sie werden von Kalli Coldsmith an der Gitarre unterstützt. Der Name der Band ist Sentry und sie unterschrieben direkt nach einem ersten Lebenszeichen - einer Zwei-Track-Promo-EP (mit "Heavensent" und "Black Candles") - bei High Roller Records. Das Ergebnis ist ihr selbstbetiteltes Debütalbum, das aus sechs brandneuen Kompositionen sowie den beiden Songs der Promo-EP besteht (die CD-Ausgabe enthält einen zusätzlichen Bonustrack, "Incarnation Of Evil" von den mächtigen Candlemass). Das Material auf dem Album wurde in Kalli Coldsmiths Studio in der Nähe von Darmstadt sowie in Phils eigenem Studio in Wichita, Kansas, USA, aufgenommen.

Eines ist Sentry sehr wichtig - sie wollen nicht als Kopie von Manilla Road gesehen werden, wie Gitarrist Kalli Coldsmith unmissverständlich klarstellt: "Wir sind einfach eine andere Band mit eigenen, originellen Songs und ohne einen großen Backkatalog. Wir versuchen, für uns selbst zu stehen und unseren eigenen Stil zu finden, an dem man erkennt 'Das ist Sentry!'" Er fährt fort: "Da ich das meiste Material geschrieben habe und nie bei Manilla Road war, gehen die Songs nicht auf die Zeiten von Mark zurück. 'Heavensent' ist ein Song, der unter den Eindrücken der Mark Shelton Tribute Show im Keep It True geschrieben wurde, die für alle beteiligten Musiker und Freunde eine emotionale Achterbahnfahrt war. Dieser Song wurde also sozusagen vom Himmel geschickt. Die meisten anderen Songs waren brandneu, zusammen mit einigen alten Ideen aus meinen Riff-Kellern." Bassist Phil Ross fügt hinzu: "Diese Band würde ohne Mark nicht existieren, also kann man es natürlich in gewisser Weise als Tribut an ihn bezeichnen. Textlich gibt es viele Hommagen, die man als 'für oder an' Mark bezeichnen könnte. Wir glauben, dass ihm diese LP gefallen würde, aber wir versuchen absolut nicht, Musik 'für Mark' oder 'für Manilla-Fans' zu schreiben. Wir machen das, weil wir denken, dass wir innerhalb der Struktur dieser Band etwas Neues schaffen können, das Metal-Fans interessiert, und das schließt Manilla-Fans ein! Ich denke, jedes Mitglied hat auf eine Art und Weise zum neuen Album beigetragen, wie wir es bei anderen Aufnahmen nicht getan haben. Wir sind darauf bedacht, zu respektieren, woher wir kommen und wie wir hierher gekommen sind, aber es ist natürlich und organisch passiert. Wir haben die Band nie gegründet, um Mark 'Tribut' zu zollen."

Donovan’s Original
A Gift From a Flower to a Garden made for a few firsts: the first double LP of Donovan’s
career, one of the first box sets in pop and, most importantly for Donovan himself; the first
pop album for the children of tomorrow.

He resolved to make A Gift From a Flower to a Garden an album of two halves. The first,
Wear Your Love Like Heaven, was intended for his own generation as they started to think
about the kind of world they wanted to leave behind. The second, For Little Ones, was for
the children they had or would have in the years to come. The result was a kaleidoscopic
folk-jazz suite on the power of love, imbued with all the romance and mystery of an Arthur
Rackham illustration for an ancient English fairy tale. The songs, remarkably adventurous
given Donovan was a globally famous singer at his commercial height, combined the
influences he had amassed so far.

There is something about A Gift From a Flower to a Garden that could never be repeated,
though. It is such an innocent evocation of the childlike imagination, so redolent of its time,
yet set apart from it too. All these years later, the peaceful qualities of this pioneering,
enchanting, deeply unusual album feel more valuable than ever.

The state51 Box Set
With authenticity core to the project, The state51 Conspiracy engaged one of the UK’s
leading experts in box set design, Daniel Mason at Something Else, to painstakingly recreate
the box, records and accompanying ephemera. The first challenge was to find the deep blue
leatherette paper the original box set was covered in; a problem since it was no longer in
production. “I knew people who had stacks of it, gathering dust on top shelves, so I bought it
up wherever I could find it,” says Mason. Then came the reproduction of 12 loose leaf lyric
sheets on fine art watercolour paper, each of them featuring a watermark and a fairytale-like
illustration by Donovan’s artist friends Sheena McCall and Mick Taylor. Where, though, to
find the same paper stock? “I found out that it was made at a paper mill in North Wales
called Abbey Mills. Unfortunately the mill dissolved in the early 70s and very little of the
paper remained. However enough paper remained to allow us to produce the numbered
certificate also signed by Donovan that sits within the box.”

Then to the iconic cover image. Donovan and Jimi Hendrix’s personal photographer Karl
Ferris, used infra-red film to achieve the psychedelic effect on the cover, but the original
negatives couldn’t be found. Mason then used digital technology to ramp up the colour levels
on a reproduction from an original copy of the album while allowing it to remain a little bit
faded, as it would be after half a century. The same labour of love and care has gone into
producing all elements of the box; from the rebuilding of the famous front cover font to the
hand-numbered and signed certificate; letterpress printed on the original paper stock of the
1968 UK release lyric sheets.

To cap it all off the original mono master tapes were waiting safely in the EMI Donovan
Archive and transferred from tape to digital by Abbey Road Studios where new lacquers
were cut, ensuring Donovan's favoured mono version of the album would be presented both
physically (and digitally for the very first time) in striking audiophile quality. The final touch to

LUCKYME® startet 2024 mit der Debüt-EP des Pariser Produzenten Sunareht. Dieser stammt aus der Szene um Teki Latex und dessen Label Sound Pellegrino und betreibt zusammen mit den Zeitgenossen Le Dom, To Van Kao, De Grandi und Birol den Paradoxe Club, ein Label, das sich für zukunftsweisende französische Dance Music einsetzt. Die Youth EP ist genau das – sechs prickelnde Club-Cuts, die den bekannten French Touch-Sound aufgreifen, ihn auf die Spitze treiben und in die ferne Zukunft schleudern. Samples werden in flatternde Sequenzen zerhackt und mit dem glitzernden, basslastigen Sounddesign von Post-Dubstep und Hyperpop vereint.

Der Opener 'Promises' des regelmäßigen Kollaborateurs und Aphex Twin-Lieblings Le Dom ist ein zertifizierter Partystarter und perfekter Einstieg in die Technicolor-Welt von Sunareht. Der rotierende Hook duckt und schlängelt sich durch wunderschön gestaltete Drums in einer beunruhigenden, zerquetschten Landschaft – als ob der Track seine eigene Bandbreite nicht bewältigen könnte. An anderer Stelle quetscht der Titeltrack 'Youth' jeden Tropfen bis zur Unkenntlichkeit aus einem stotternden Pop-Sample heraus; während 'Break Bandits' für helle Euphorie sorgt, indem es Synths von Etienne de Crécy mit Vocals im Overmono-Style mischt.

Kyoto-based dance music label NC4K's new dub series features dangerous edits by label boss Stones Taro.

The A-side is a dark 2-step with crazy vocal samples. This must be a floor banger with his typical varied bass sounds and high quality beats.

The B-side is a breakbeat edit of a disco anthem with a dark spice. The minor bassline will set the mood on the floor.
Supported from Mr. Ho of Klasse Wrecks.

LYSISTRATA hat die Kurve zu ihrer dritten Platte mit einer unglaublichen Geschmeidigkeit gemeistert. Das Indie-Rock-Trio aus Saintes, Frankreich markiert den Übergang zum Erwachsenenalter, indem sie ihren Pop-Aspekt sublimiert. "Veil" - produziert von dem New Yorker Ben Greenberg (Metz, Algiers, Beach Fossils, DIIV usw.) - ist ein Album, das geschaffen wurde, um zu tanzen, zu singen und seine Gefühle bis zur Hingabe auszuleben. Ein verbindendes Album, das weit über den ersten Kreis der Fans dieser so ehrlichen Band hinaus richtig und stark berühren wird.

Limited orange vinyl. We've all heard the axiom, "if you ignore it, maybe it'll go away." That goes double for a lot of people who wish to apply that saying to rap music. But when it comes to the West Coast "gangsta rapper" genre made popular by the likes of NWA, Eazy E, Ice-T and his Rhyme Syndicate cohort, King Tee, the truth is hard to ignore. King Tee aligns producer DJ Pooh on this Bass EP consisting of tracks recorded in 1987. They're joined by The Compton Posse that includes the late Mixmaster Spade and J-Ro from Tha Alkaholiks. This EP sharpens the skillful word play King Tee made famous on his debut album Act A Fool. From song to song, this EP has a superior sheen, a tightness and cohesiveness between rhyme and music. Born in Los Angeles and now a resident of the infamous West Coast rap capital, Compton, California, King Tee truly is a product of the streets. He openly admits to running with gangs in his youth, causing his mother endless embarrassment and frustration. So much so that, in a desperate attempt to turn his life around, she turned King Tee into the authorities when she discovered him stealing from her. Once out of jail, King Tee ran of to Houston, Texas. Trouble is that he was underage atthe time, so his mother again had King Tee locked up in a juvenile camp. When King Tee finally realized why his mother did what she did, he decided to turn his life around by dedicating himself to music. He listened obsessively to the radio and chose to become a DJ. When King Tee was released from juvenile camp he secured a mixing gig at KSU and then KYOK in Houston. Between station gigs he handled the mix at various venues and clubs. After gaining the necessary experience behind the tables, King Tee moved back to Los Angeles and hooked up with Ice-T. In rapid succession, King Tee met Du Pooh who enlisted him into his rap group (after King Tee bugged Pooh for months), then Pooh introduced Tee to DJ Unknown with whom he made several 12" records for the Techno Hop labelwhich is now released on this EP for the first time since then. Ice-T's influence brought Rhyme Syndicate Management's Jorge Hinojosa into the picture. King Tee eventually signed with Hinojosa who then secured a contract with Capitol Records for King Tee. The result was 1988's Act A Fool.

Lonnie Liston Smith hat sich als Sideman mit legendären Bandleadern wie Art Blakey, Pharoah Sanders und Miles Davis einen Namen gemacht. Er erschien zum ersten Mal auf einer Flying Dutchman-LP, als er Piano auf dem Leon Thomas-Album 'Spirits Known And Unknown' spielte, das 1969 veröffentlicht wurde. 'Live!' wurde im Mai 1977 im Smuckers Cabaret Club in Brooklyn aufgenommen und beinhaltet neben einem schnellen Streifzug durch 'Expansions' über 'Visions Of A New World' aus der gleichnamigen LP von 1975. Das atmosphärische 'Prelude' klingt nach einem Vorläufer von Vangelis' Soundtrack für den bahnbrechenden Science-Fiction-Film 'Blade Runner'. Es war Smiths letztes Album für Flying Dutchman und ein perfekter Abschied. 'Live!' ist seit Jahrzehnten auf Vinyl vergriffen und erscheint nun als wertiges 180Gr. LP-Re-Release!

dog-rose is an exploration of musical articulation and vocalization. Its themes can be felt gnawing at the surface of the world: people's clumsy everyday intimacies, the neverending pursuit of self-knowledge, God. Of foremost interest was the unreliability of memory as a tool through which we experience life, yielding an attempt to dismantle it into its minute elements.

"I arrived at a combination of diary entries in the form of field recordings, various, mostly acoustic, instruments through which I invoke different modes of memory // its associative functions, and my own voice, more an agent of introspection than any conventional vocal. The lyrics were originally written as pop-songs, but committed to the form of contemporary music they appear as field recordings made to be sung. They are field-songs."

"To me, musicmaking is a dialogue with sounds where I seek to understand their character and how to handle them. This is a performative process and admittedly also a projection – what I am actually discussing is myself. The recording took place at a remote cabin in the forests of Tribeč. Most of my work is created in isolation, regardless of the social distancing and lockdowns of the outside world."

Tomas Pristiak is a member of Tante Elze, Pain Palace (FKA Weltschmerzen), and dog-rose is his first solo album and the 11th release by contemplative label Weltschmerzen.

Blending sounds of early 70s Funk & Soul, Latin-Jazz, and Afrobeat, Mestizo Beat kicks the year off with a heavy dose of new material. First up is “She’s A Rose b/w Lotsapapa,” their next 45, offering two sides of masterful instrumental soul music written & produced by The Magaña Brothers out of their hillside studio, Spc 166 in Topanga, CA. Side A’s “She’s A Rose” takes us back to the golden years of the Blaxploitation film genre and the soundtracks we have grown to love. This song was inspired by the compositional and orchestral arrangements from the greats, such as Curtis Mayfield’s “Superbad,” Johnnie Pate’s “Shaft in Africa,” and Bobby Womack’s “Across 110 Street.” Featuring Tim Felten of Surefire Soul Ensemble on keys, with horns written and arranged by Jesse Audelo, Mestizo Beat takes the listener on an evolving journey, exploring the mood and cinematic elements of flute, saxophone, and wha’d-out guitar, topped off with a funky drum and percussion break. On the flip, “Lotsapapa” rounds out the B-Side, blending the musical styles of Latin and Nigerian disco-funk into a track that’s perfect for the dancefloor and those late nights out. Written about Bernard “Lotsapapa” Crowe, a notorious drug dealer who survived an attempted murder by Charles Manson, this side is sure to get the body moving with the afro-disco rhythms and chant vocals, dubbed out around a tightly arranged horn section written and arranged by Jesse Audelo and Jason Cressey. “Lotsapapa” features guests Steve Haney from Jungle Fire on Percussion and Cressey of the True Loves on trombone.

With each side highlighting the various talents of the ensemble, Mestizo Beat always stays true to their sound and recording techniques. Both tracks are mixed by Sergio Rios at Killion Sound and are featured on the forthcoming LP, Jaraguá, coming mid-2024.

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. The series concludes with Drug Story - Rare and unreleased material from Joe Bataan and his Ghetto Records vaults, including an entire side of Bataan’s neverbefore-issued Latin Funk that spans the gamut from Salsa to Soul. Drug Story was inspired by true events and ranks highest among Bataan’s finest achievements as the poet laureate of El Barrio. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

Deluxe edition on 180 gram dracula red vinyl with printed inner sleeve of Snelle's latest
album. Incl 2 bonus tracks! Will be released on the day his sold-out NL tour starts.

Deluxe edition on 180 gram dracula red vinyl with printed inner sleeve of Snelle's latest
album. Incl 2 bonus tracks! Will be released on the day his sold-out NL tour starts.

Deluxe edition on 180 gram dracula red vinyl with printed inner sleeve of Snelle's latest album. Incl 2 bonus tracks! Will be released on the day his sold-out NL tour starts.

Termination is an album inspired by the halting problem in computer theory, i.e. whether the program will finish running or continue to run forever. The halting problem is undecidable, meaning that no general algorithm exists that solves it. This is true also for human life, as it goes up and down and one can’t program it, because simply you cannot predict the future, and even if we could there are so many variables that can easily f*ck up any sort of forecast. Modern Stars is an Italian neo psych rock band which showcases a unique musical style characterized as instinctive, flickering, fuzzy, aerial, groovy, bizarre, distorted, harmonious, and dissonant. Influenced by bands like Spacemen 3, Primal Scream, Suicide, and lesser known musicians. Termination is Modern Stars' fourth studio album, following Silver Needles (2020), PsychIndustrial (2021) and Space Trips for the Masses (2022).

And the second one !! it's more fun to complete !!! Breakcore killerz for a Fukdup superb prod !!

Superb album of a kind... Breakcore killerz for a Fukdup superb prod !!

The king is dead, long live the king, as they say - except in this case the late king is DJ Bone's legendary Subject Detroit label, which has now been shuttered after 25 years, and the newly anointed king is his new outlet Further, taken from his Amsterdam parties of the same name. It kicks off with a pair of new EPs on the same day and this is the first from Yeti Mind Tricks. 'We Ain't Like Them' is a hammering Motor City techno cut for the peak time which Bone remixes into a more stripped-back but no less edgy and potent cut. On the flip are 'Bimini Road' and 'Vandelay,' both of which bring stylish techno drenched in machine soul.

Jesse James returns to the Soul Junction roster with a new 45 that features his own unique interpretation of a classic song that is backed with one of the more popular songs from his 1990 “Looking Back” album now brought to you for the first time as a 45 release.

Beginning with the A-side, “Everybody’s Talking At Me” which is Jesse’s unique cover of the folk rock singer Fred Neil’s penned song “Everybody’s Talkin’”. Which although recorded by Neil originally, was made internationally famous by Harry Nilsson when used as part of the theme score for the acclaimed United Artists 1969 film “Midnight Cowboy”. The song has been much covered in the style of a ballad but Jesse’s version recorded under the production skills of close friend Willie Hoskins (Wilhos Productions and Boola Boola Records) is a great up-tempo piano driven version of the song. “Everybody’s Talking At Me” is yet another find from the unissued tapes from the self- financed sessions that Jesse recorded at the Searra Sound Studios in Berkley C.A during 1971 that also has brought us SJ543 “(The Girl In) Clinton Park” and SJ544 “If A Man Ever Loved A Woman (Baby I Love You)”.

While the b-side, features the much, admired modern soul favourite “You’re More Than A Friend Of Mine” which first gained a release on the 1990 ‘Looking Back’ album (Gunsmoke Records). “You’re More Than A Friend Of Mine” was up to that point a previously unissued mid 70’s recording produced by the late song writer /producer Ron Carson. Carson the original owner of the San Francisco Soul Clock Records label remains highly respected for his work with the hit group, ‘The Whispers’ (both on Soul Clock and some of their later Janus recordings). Carson had produced and co-wrote Jesse’s 1975, 20th Century Records release “If You Want A Love Affair/I Never Meant To Love Her” now regarded worldwide as Jesse’s signature song. Carson had a follow up release in the can, which never came to fruition due to Jesse and 20th Century parting company for the second time. Carson by then had moved on and was heavily involved in the production of the Janus distributed blackploitation album “Black Fist” for Happy Fox records. “Black Fist” was a various artists compilation which also featured the Jesse James composition “The Same Thing Happens (Part1 & 2)”. The shelved, proposed 20th Century follow up release would have been “Your More Than A Friend of Mine/I Don’t Want It To End” recorded during 1976. Carson had pitched the idea of a song in a similar vein to the Jackson Sisters 1973 Prophesy Records release “(Why Can’t We Be) More Than Friends” to the songs original songwriting team William Peele Jr and Warren Sams. They duly obliged, coming up with the aforementioned “Your More Than A Friend Of Mine”. Warren Sams along with his half-sister Christine Adams Tripp and their friend Rachel Sanders were none other than the respected vocal trio “Water & Power” who recorded the acclaimed 1975 album of the same name for Fantasy Records and a solitary 45 “Mr Weatherman/If You Don’t Want Me”.

Based in Paris, 59 Bel Records Defends a Deep and Minimal Techno Aesthetic. This Release Gather Six European Artists, From France, Germany (Berlin) and Serbia Around a Canvas Composed of Groove, Dub and Xp Deep Techno. Based in Paris, 59 Bel Records Defends a Deep and Minimal Techno Aesthetic. This Release Gather Six European Artists, From France, Germany (Berlin) and Serbia Around a Canvas Composed of Groove, Dub and Xp Deep Techno. Based in Paris, 59 Bel Records Defends a Deep and Minimal Techno Aesthetic. This Release Gather Six European Artists, From France, Germany (Berlin) and Serbia Around a Canvas Composed of Groove, Dub and Xp Deep Techno....

From Karma Recordings comes their fifteenth EP. For this outing we thought we’d bring back the immense remixing talent of Billy ‘Daniel’ Bunter and Sanxion. With over thirty years in the game who can argue with this. They have taken the original Acid jungle version and turne dit into a bouncy four to the floor club smash. Dan has been playing this out for a good while now and it’s been rinsing dancefloors and festival fields throughout summer 2023. Keep the vinyl on and it glides into the original more jungle Acid vibe from the Karma Krew. Who are they ? Nobody knows !! Flip the vinyl over and we once again have a superb track from the man like DJ Terrace. Every time he sends me a track I’m a little surprised again at what he can do and he certainly is a Karma favourite. The nit smashes Dubious with a track that is half jungle, half modern day dnb which makes you want to bass face all over the place. Another slammin’ 4 tracker from our stable !

Record label boss, producer / DJ, and revered collector Marc Davis returns to his Chi-Talo series with the much-anticipated second volume. A concept of a split EP, taking one ultra-rare Chicago gem and the other a scarce Italian disco record and re-interpreting them for the modern dancefloor aesthetic.

With the first volume, released on Marc’s own Black Pegasus label, now trading hands for considerable amounts of money, round two sees him impart another double dose of digging sorcery for this Mr Bongo 12”.

Marc began his illustrious career in the Windy City in the ‘80s and was one of the first out of Chicago to be recognised for his eclectic approach to DJing. Presenting a global sound palette that took in choice cuts from Brazil, Africa, jazz fusion, house, soul and disco, whilst mixing it together Chicago style. Decades of knowledge and experience that is now distilled down into the Chi-Talo series.

The Italo selection came via a tip from Marc's Swedish friend, Julian Wareing. Hearing the track led Marc down the rabbit hole to secure a copy of this Italo-Disco, album cut oddity by the New Sound Quartet from 1979. The original of 'Bass Construction', measures in at four and a half minutes and is already a feverish funk groover. But Marc saw an opportunity to extend and re-edit the track, keeping in the vein of the original but giving it space to breathe. Tweaking out every last ounce of goodness, Marc locks you into a hypnotic groove for maximum dancefloor deliverance.

The Chicago side is as rare, as the rarest of hens-teeth, only ever existing as a one-off acetate by the band The Saucer Planes. One of the members of the group was the sadly passed-away older brother of Marc’s DJ mentor, Jahmal Anderson. From the very first listen, Marc knew he’d been hooked up with an undiscovered boogie gem. A long-lost track that the world needed to hear. But the project has remained dormant until now, not least due to the fact that the original recording of this low-fi vocal boogie groove is housed on an ever-deteriorating solo acetate. Rescued, restored and given a brand-new lease of life, Marc has turned the track into a low-slung, psychedelic instrumental boogie bounce. Raw, rough and mesmerising, it’s a refreshed relic that is a testament to Chicago’s club sound and swagger.

Whichever side you draw for, this is guaranteed to move bodies as much as it wins over hearts.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! Iconic musician and singer Ray Charles' classic 1957 album! Includes the hits "Hallelujah I Love Her So," "Ain't That Love" and "I Got a Woman" 180-gram 45 RPM double LP Mastered directly from the original master tape by Bernie Grundman Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing Hybrid Mono SACD Mastered directly from the original master tape by Bernie Grundman Ray Charles' self-titled 1957 album was one of the first handful of LPs issued by Atlantic (and was later retitled Hallelujah I Love Her So). As AllMusic reviewer Bruce Elder notes, the album is weighted about three to one in favor of Charles' own compositions, with the hits "Hallelujah I Love Her So" and the pounding, soaring "Ain't That Love," which opens the LP, its raison d'etre. Charles does just as well with his interpretations of others' work, most notably the ominous, gospel-focused rendition of "Sinner's Prayer" (which offers a virtuoso piano performance, and comes courtesy of the pen of Charles' former mentor Lowell Fulson) and Henry Glover's wrenching ballad "Drown in My Own Tears," which is topped out on each verse by a gorgeous chorus. "Funny (But I Still Love You)" offers a guitar break played in such an understated fashion that it almost doesn't seem so much a part of R&B as it was usually being offered in 1957 as it does a part of Charles' early career output. The second side of the LP is even better, opening with the title track, a number that is almost too ubiquitous in its various cover versions — the original has a mix of urgency and playfulness that's absolutely bracing, and the album carries this mood forward with "Mess Around," an Ahmet Ertegun-authored piano- and sax-driven romp with Charles at his most ebullient as a singer. "This Little Girl of Mine" offers him in a surprisingly light, almost acrobatic vocal mode, while "Greenbacks" is a knowing, clever cautionary narrative that is almost a throwback to 1940s-style R&B. "Don't You Know" is as salacious a piece of R&B as one was likely to hear in 1957, and "I Got a Woman" closes the record out on a pounding, driving note. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

All-Analogue Vinyl LP for the First Time in Almost 50 Years!
Mastered by Bernie Grundman from a 1-to-1 Flat Transfer of the Original Analogue Master Tapes!

Pressed on RTI's HQ-180 for the First Time Ever!

Deluxe "reversed" tip-on jacket that faithfully reproduces the original with highest-grade materials
Exclusive full-colour insert with new historical and production notes by Charles L. Granata and photos from the Sony Music Archives



This next all-analogue, HQ-180 gram LP is an impeccably performed and stunningly recorded late-period gem from The Titan of modern violinists. The Lark revisits works that helped define Heifetz in various points of his illustrious career and which highlight his crisp attacks, imaginative phrasings, and mellifluous sustained notes.

The repertoire is intriguing, combining two iconic pieces (Tomaso Antonio Vitali's Chaconne in g minor for Violin and Continuo, written in the Baroque period; and Gabriel Fauré's Violin Sonata No. 1 in A Major, Op. 13, written in the late-Romantic period) with Mario Castelnuovo-Tedesco's The Lark: Poem for Violin and Piano (a 20th-century modern tone poem). Although nearly two-hundred years separate their composition, these pieces complement each other beautifully: a testament to the discerning judgment of Heifetz and producer John (Jack) Pfeiffer, who helped create his albums.*

The LP was cut by Bernie Grundman from a straight 1-to-1 copy of the original session masters, meticulously created by Andreas Meyer at Swan Studios NYC. No digital processing of any kind was used. The original reverse-tip-on-style jacket and a brand new 4-page insert split the difference between the authentic, nostalgic feel of a mint original and a reissue's value proposition you've come to expect from Impex Records.

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Ballads is an album that will never go out of style and never be unwelcome on any jazz lover's turntable.

You're about to experience Ballads at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition you'll also receive a !2" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall.

The intense passionate Coltrane interpretation of standards such as "All Or Nothing At All," "What's New," "It's Easy To Remember" and the Sinatra classic "Nancy (With The Laughing Face)" are the essence of Ballads. When asked why attempt such an undertaking, Coltrane replied "Variety."

While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s.

Recorded December 21, 1961 and September 18 & November 13, 1962 at Rudy Van Gelder Studios.

"It's impossible to sleepwalk through tracks like "You Don't Know What Love Is" and "I Wish I Knew" and impart them with even a fraction of the emotional heft that the Quartet achieves. This is the type of jazz album in which the music just washes over the listener with it's restrained grace and beauty, and while it may not have the adventurousness that some listeners think Trane should have had each and every time he recorded, I'd say it shows off a side of him that only makes us appreciate his more bold and daring albums even more." — The Jazz Record

Solos, Sessions & Encores is an album by Stevie Ray Vaughan, released in 2023. Solos, Sessions & Encores includes a.o. the following tracks: “The Sky Is Crying(live)(srv With Albert King, B.B. King And”, “Don't Stop By The Creek, Son (johnny Copeland With Srv)”, “Albert's Shuffle (live) (srv With Albert Collins)”, “Change It (live) (srv With Jimmy Vaughan)” and more. The album is a Coloured Vinyl, High Quality, Insert rock 2-LP.

Warehouse Find!

Azymuth drummer Ivan 'Mamao' Conti's forthcoming self-titled solo project, remixed by West London broken beat pioneer IG Culture for a scorching club monster, alongside three future-funk remixes from 22a records family Tenderlonious, Reginald Omas Mamode IV and Jeen Bassa.

Ivan 'Mamao' Conti is one of the greatest drummers on earth. A true rhythmic innovator, he is Brazil's answer to Tony Allen, Steve Gadd, and Bernard Purdie (no small claim considering the country's famed samba connection). Known by most as one third of Azymuth, his career spans far beyond with over half a century's worth for recordings with the likes of Milton Nascimento, Eumir Deodato, Marcos Valle, Hyldon, Gal Costa and Jorge Ben. More recently Mamao recorded an album with hip-hop royalty Madlib under the shared moniker 'Jackson Conti'.

Now aged seventy, Mamao's work ethic is as strong as ever. In anticipation of a new Ivan Conti solo album set for release in 2017, Far Out Recordings have commissioned a series of remixes to be spread across two separate 12's. The first is a strictly London affair, with a fiery broken-boogie club monster from West London pioneer IG Culture, joined by the signature future-funk of 22a Records family Tenderlonious, Reginald Omas Mamode IV and Jeen Bassa. The second 12' will host remixes from Max Graef, Glenn Astro and Contours.

Warehouse Find!

A true studio visionary and son of Incognito's Jean-Paul 'Bluey' Maunick, Daniel Maunick virtually grew up behind the mixing desk and worked his way through the scenes of drum n' bass, acid-jazz, disco, samba, deep house and beyond. As Far Out's in-house producer his work is a key component in the consistency and transience of the label's sound, with key albums include Azymuth's Fênix, Marcos Valle's Estatica, Sabrina Malheiros' Dreaming and Far Out Monster Disco Orchestra. His latest credit on the catalogue is the next chapter of his Dokta Venom alias, Moodswings.Each track brings you a visceral dancefloor experience both sonically and structurally. Opener 'See the Sun' evokes an elevated, cloudy ether, with each kick drum another step up to the sky. Title track 'Mood Swings' deploys components of broken beat, garage, house, IDM and boogie, but shrouds them into a hazy deepness, like a dream through Maunick's musical memories. Whilst keeping the same intensity, 'I Owe u Something' ups the tempo and swings the mood. Propulsive percussion blurs the acoustic with the electric, glowing synths and anguished vocals formulate this eruptive full-floor belter that lodges somewhere in between early Pepe Bradock and Azymuth.With a solo album from Azymuth drummer Ivan 'Mamao' Conti, a collaboration between Sean Khan and Hermeto Pascoal, along with a long awaited new record from Sabrina Malheiros, 2017 is set to be an exceptional year for Maunick and Mood Swings is an inspired prelude of things to come.

Warehouse Find!

Repress.

Studio One's music in the 1970's took the label to new heights. The new style of Disco Mix brought many areas of Reggae together ­ Roots, Lovers, Disco and Dub all came together in extended form, re-versioning classic hits, experimenting with new studio technology, over-dubbing, syn-drums and more producing what many fans describe as the most creative and innovative phase in the history of the legendary Studio One Records.

This Studio One Disco Mix album includes many sought after classic tunes only ever released in very small quantities (on Studio One's very first 12" records as well as it's infamous Music Lab 10"s out of New York) and consequently many of these track s have been unavailable since their day of release. Studio One Disco Mix features many of the classic Studio One artists such as Alton Ellis, Sugar Minott, Jackie Mittoo and Willie Williams (with his classic re-versioning of his own "Armigideon Time") alongside less well artists such as Doreen Schaeffer, Judah Eskender Tafari and George Dudley and many more.

Anyone who takes their old-skool hip-hop seriously knows Main Source were the real deal, and their 1991 album Breaking Atoms remains one of the greatest albums in the genre. While there was an eventual follow-up in 1994, hip-hop folklore has often spoken of their shelved 1992 LP The Science.

Bar the odd bootleg single or demo here and there, the album has never been heard but now a major missing piece in the story of early 90s rap is being put back into its rightful place, as P-Vine present the first ever release of The Science, cut from the group's own master tapes and guaranteed to be a new favourite for anyone who values the golden age of beats and rhymes.

Established in 1948 by César Roldán, Discomoda is one of the earliest record labels of Venezuela and the oldest family operated label in the country. Home to one of the most complete folkloric and popular music catalogues of Venezuela, the label also invested heavily in Afro-Caribbean and tropical rhythms that became popular in the 60s and 70s.

In the 1960s and before the Salsa era truly kicked off, Venezuela had a significant dance orchestra and big band movement. Unlike local record competitors dedicated to selling foreign productions, Discomoda achieved its leading position by recording the most important national bands, including Los Megatones de Lucho, Orquesta Sonoramica and Super Combo Los Tropicales; all featured in this compilation.

Later on, surrounding the festivities for the 400th anniversary of Caracas in 1967, the word "Salsa", which had been recently coined by famed radio host Phidias Danilo Escalona, was formalized to identify an Afro-Caribbean musical style with growing popularity in Venezuela and beyond. By then, the country was among the top 20 music markets in the world, with the local label Discomoda leading the way, responsible for one out of every five records sold in the country.

With the prolonged celebrations approaching due to the 400 years of the city, Discomoda and other labels began to capitalize on this new musical style by betting on both established and new local bands, such as Nelson y sus Estrellas, Los Kenya, Principe y su Sexteto and Los Satélites. As a result, this would kick off what could be considered a golden era of Salsa in Venezuela and which lasted until the mid-70s.

As we approach the 80s and with the emergence of new musical styles and bigger multi-national record labels funded by larger pockets, a lot of the previously popular bands begin to disband or choose to leave the country. Nonetheless, a few artists, like Rodrigo Mendoza, La Renovación and Grupo Yakambu, were still pushing out quality music.

We are thrilled and honored to celebrate one of Venezuela's and, equally, Latin America's most significant record labels, and to share a slice of their enduring influence in advancing Venezuelan-made Salsa music.

Soul Jazz Records’ 200% Dynamite! set the benchmark for reggae meets funk compilations that has never been bettered. Out of print for over 15 years this new 2023 edition with new tracks and is being released in a one-off limited-edition heavyweight special-edition coloured vinyl pressing + download code exclusively for Record Store Day 2023.
Jam-packed with reggae tunes that crossed-over to become dancefloor hits such as Tenor Saw’s sound boy anthem ‘Ring the Alarm,’ K.C. White’s classic cut of the seminal ‘No, No, No’ and Augustus Pablo’s ‘Rockers Rock’, 200% Dynamite explores the links between reggae, jazz, funk and soul.
Carrying on perfectly from 100% Dynamite, this second compilation continues to trace the history of Jamaican reggae and the influence of American styles such as funk and jazz had on this music.
Featured here are serious funk and rocksteady tunes from the likes of The Skatalites and Johnny Osbourne through to Jamaican jazz from masters such as Tommy McCook and Byron Lee, as well as some serious dub from the likes of Augustus Pablo, King Tubby and Jackie Mittoo.
New bonus tracks on this new 2023 edition include seminal dancehall party cuts Sister Nancy’s ‘One Two’ and Chaka Demus and Pliers’ ‘Murder She Wrote’, alongside classic soul to reggae covers including cuts of Marlena Shaw’s ‘Women of the Ghetto’ and Odyssey’s ‘Don’t Tell Me Tell Her’.






‘Once again, Soul Jazz goes digging through the reggae vaults and produces another sterling compilation. If you’re looking for a primer on the music of the island, you could do worse than buying every one of the records in this superb compilation series.’ All Music
‘In Soul Jazz’s outstanding Dynamite! series 200% is the head-turner. The label has its finger on the pulse of the now just as surely as it does on that of the past.’ Pitchfork
‘Soul Jazz Records ‘Dynamite’ series has quickly become a
rewarding guide to reggae’s most infectious back pages. Every home
needs some Dynamite.’ Irish Times
‘Soul Jazz Records’ long-running series
of highly-regarded reggae albums.’
Rough Trade