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"Rave-up & turn on! Fueled by a classy high-stepping image and hot instrumental licks born of old R&B and Northwest stalwarts the Kingsmen, Wailers and Sonics, this collection shows their always excellent material ranging from '60s punk to sunshine pop. Includes their debut single!

In many ways they were one of the quintessential Northwest bands. Their credentials were impeccable - leader Don Gallucci was a classically trained pianist who, as a younger teenager, played keyboards for the Kingsmen on "Louie, Louie." Early guitarist Pete Oulette had been in the Raiders and his replacement, Jim Valley, had founded the white hot Seattle band the Viceroys. When Valley got the call to become "Harpo," his slot was filled by Charlie Coe, who had played with the Raiders and Jack Ely and the Courtmen. And the last Goodtime guitarist was Joey Newman, who had made his mark with the Enchanters and Merrilee Rush and the Turnabouts.

Their only hit single, "I Could Be So Good to You," a Jack Nitzsche song, was their only national hit (#56) in spring 1967. Their Nitzsche-produced Epic album So Good was a curious amalgam of Overman originals and British Invasion covers.

Their earlier sound is much more raw – "You Were Just a Child" could have been a national hit. The dynamics and bridge in this are killer, as is the pulverizing fuzz bass. "I'm Real" may be the punkiest Don and the Goodtimes got; Note the cool reference to LA disc jockey "The Real" Don Steele. Other cuts like like "Make It" are as Northwest as they come. Rough and raunchy, this hot instrumental was the B side of their first single."

2024 Repress

AADJA's debut on trip.

Introducing Dionne Warwick 'Now Playing' on Milky Clear Vinyl - This record showcases her iconic songs such as "Walk On By," "I Say a Little Prayer,” and “Do You Know The Way To San Jose.” These classics resonate with audiences across generations and serve as powerful reminders of her talent.

In 2024, Vredehammer, the mighty force from the deepest North returns. Vredehammer explore the depths of darkness and despair, painting a chilling sonic landscape that captures the essence of true black metal. Vredehammers upcoming album "God Slayer" is poised to deliver nothing short of blackening excellence, Vredehammer continues to push the boundaries of extreme metal, seamlessly blending elements of blackened death metal, thrash, and melodic death metal to create a sound that is both relentless and captivating. With one of Scandinavia's finest BM drummers, Nils 'Dominator' Fjellström, on drums, combined with the unparalleled musical songwriting and guitar skills of Per Valla, this album is not to be missed. Vredehammer about the album: "With the Godslayer album I wanted to take a step back regarding tempo, not focusing so much on fast songs. There is definitely some fast stuff in there, but my main objective was to create memorable songs and guitar riffs with a lot of punch and power to them. This time Vredehammer had the pleasure of having Nils "Dominator" Fjellström doing drums for the album. Having played with Nils on other occasions, I was excited to see how he would perform when the music didn't just consist of fast black metal stuff, which is known to be his specialty. He definitely rose to the occasion and contributed with some great ideas for the drums."

2024 Restock

Electronic Works for Choreography, Soundtrack, and Art Installation 1976-1996

Marden Pond’s “Evaporations” (1976-96) is an archival project showcasing the composers experimental music approaches that utilize synthesizers, electronics, and computer. These rare or unreleased tracks and demos were initially purposed for art installation, dance and theater , music exploration, and ambient listening experiences. Marden was artistically right beside his contemporaries of the Land Artist Movement of the Southwest during the 70’s, as he created soundscapes inspired by the vast and bizarre features of Utah. Some of the other work presented on this record was to inspire physical movement by use of unorthodox arrangements and percussive rhythms, juxtaposed with fleeting synth phrases and environmental textures.

Besides the two tracks included from Marden’s hyper rare 1980 private press LP “Castle Valley Impressions”, this collection of music is being presented on vinyl for the first time.

7A Records are proud to present Davy Jones’ “Incredible!”. A deluxe reissue of Jones' “lost” ‘80s album, remastered and expanded with bonus tracks. The limited edition gatefold Vinyl release is limited to 1,000 copies. Pressed on 180g transparent blue vinyl, it features extensive liner notes from Monkees historian Mark Kleiner and rare and previously unseen pictures by photographer Henry Diltz.

Fuelled by MTV’s re-runs of the original Monkees TV series, “Incredible!” was recorded at the height of mid-‘80s Monkees comeback-euphoria. Given the flurry of activity happening on multiple fronts for the Monkees throughout 1986, especially the grueling demands of their touring schedule, the fact that Davy Jones managed to record a full album amid the chaos is somewhat staggering. “Incredible!” features several songs that could well have reached the Billboard charts, had things played out differently. However, Jones decided to hang on to the album and it ended up being self-released on cassette on his own mail order label. The minimalistic promotion and treatment of the original release belie the considerable studio and artist firepower behind these recordings. This deluxe repackaging allows this chapter in Jones’ fascinating journey to finally more fulsomely shine.

• Remastered With 6 Bonus Tracks
• Rare & Previously Unseen Photos
• Extensive Liner Notes
• Limited to 1,000 copies

The collaboration between renowned drummer Jim White and acclaimed guitarist Marisa Anderson is a natural union of two of the most intuitive players and listeners working in music. Jim White is known for his groundbreaking trio, Dirty Three, as well as duo, Xylouris White. His list of collaborations is vast and include artists such as Nick Cave, Bill Callahan, Cat Power, Marnie Stern and Warren Ellis. Jim just released his debut solo album, All Hits: Memories. Marisa Anderson, known primarily for her solo work, in demand collaborator who has worked with Tashi Dorji, Sharon Van Etten, Yasmine Williams and Michael Hurley. She has released records with William Tyler and Tara Jane O"neal. White and Anderson are each highly sought after collaborators in no small part because of their mastery, versatility and highly expressive playing. Their sophomore album, Swallowtail, finds the duo completely attuned to each other, fluidly moving as wind and water. They avoid preconceived movements, instead focusing on their musical conversation. As Anderson puts it: "The ideas aren"t the music, they are the pathway into the musical possibilities." Their skillful interplay creates an effervescence throughout the album. The ebb and flow to the duo"s motions bring a sense of serenity and ease to spontaneous transitions, each swell and retraction sounding as free as it does inevitable. White and Anderson"s preternatural alchemy as a duo allows each fleeting gesture to feel featherlight and stirring while maintaining an inquisitive spirit. Their music is an enchanting and illuminating.

The collaboration between renowned drummer Jim White and acclaimed guitarist Marisa Anderson is a natural union of two of the most intuitive players and listeners working in music. Jim White is known for his groundbreaking trio, Dirty Three, as well as duo, Xylouris White. His list of collaborations is vast and include artists such as Nick Cave, Bill Callahan, Cat Power, Marnie Stern and Warren Ellis. Jim just released his debut solo album, All Hits: Memories. Marisa Anderson, known primarily for her solo work, in demand collaborator who has worked with Tashi Dorji, Sharon Van Etten, Yasmine Williams and Michael Hurley. She has released records with William Tyler and Tara Jane O"neal. White and Anderson are each highly sought after collaborators in no small part because of their mastery, versatility and highly expressive playing. Their sophomore album, Swallowtail, finds the duo completely attuned to each other, fluidly moving as wind and water. They avoid preconceived movements, instead focusing on their musical conversation. As Anderson puts it: "The ideas aren"t the music, they are the pathway into the musical possibilities." Their skillful interplay creates an effervescence throughout the album. The ebb and flow to the duo"s motions bring a sense of serenity and ease to spontaneous transitions, each swell and retraction sounding as free as it does inevitable. White and Anderson"s preternatural alchemy as a duo allows each fleeting gesture to feel featherlight and stirring while maintaining an inquisitive spirit. Their music is an enchanting and illuminating.

Limitierte Jubiläumsauflage der 2014er Xiu Xiu-LP "Unclouded Sky" auf weiss-silberfarbigem Vinyl. Das von Shahzad Ismaily in Sigur Rós' Studio auf Island produzierte Album enthält neun mit einer 1953er Silvertone-Gitarre aufgenommenen Interpretationen amerikanischer und karibischer Spirituals, die ursprünglich zwischen 1850-1920 komponiert wurden, und zusätzlich mit Field Recordings versehen sind, die Xiu Xiu-Frontmann Jamie Stewart im Dschungel von Guyana machte.

A psychedelic storm rages over The Netherlands, and its name is Heath. Their upcoming debut album “Isaak’s Marble” marks the beginning of a long story and opens the door to the world of Heath, where anything is possible.

Odd time signatures, blazing harmonica, and driving guitars accompanied by narrative vocals create an enchanting journey. Heath is known for their energetic live shows, which together with carefully drawn out eclectic songs seamlessly blend into an atmosphere that is both hypnotic and liberating.

Heath is also playing Roadburn 2024 Roadburn Festival Artistic Director Walter Hoeijmakers: “It’s rare that we book a band for Roadburn before they even release their debut album, but we believe Heath are a rare band. You may not know them yet (or maybe you do, and that’s cool too), but we were lucky enough to get an early listen to ‘Isaak’s Marble,’ which will be released by Suburban Records on 10 May, and we knew immediately they needed to be on our stage this year. In Heath, we hear instrumental breadth and organic vocal melodies combine in ways that draw from classic influences like The Allman Brothers, Grateful Dead, or even the Red Devils, but they are not a throwback at all. They are a proper and vital new band, and their energy bleeds into every dynamic second of ‘Isaak’s Marble.’ We cannot wait to introduce them to the Roadburn audience, and we know they’ll be talked about afterward as a highlight for those who were there.”

As mood changers go, this track is up there with the best. Last year whilst DJing with miche at Shapes festival in the snow-capped mountains of Switzerland, a breathtaking yet ominous Alpine sky suddenly became a picture postcard moment. The clouds parted and a double rainbow formed, as miche dropped Studio Rio's bossa nova remake of Bill Withers’ all-time classic 'Lovely Day'. From there, the dancefloor shifted gears and morphed into full-swing feel-good vibes, in a beautiful, spontaneous moment nobody could have planned for.

Mr Bongo now proudly presents a reissue of this brilliant, bossa-channelling Bill Withers reinterpretation from Studio Rio’s 2014 release ‘The Brazil Connection’. Masterminded by the German Grammy award-winning Berman Brothers, the project was born out of their deep love of Brazilian music. “Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known artists. What would these classic songs sound like had they been recorded in the studios of Rio de Janeiro in the first place, with the best Brazilian musicians and arrangers?” the brothers reflect.

Capturing the life force of Brazil, the beating heart that is its music, they set out to find the musicians who would fit best with their concept. Landing in Rio in 2013 a series of coincidences led to them being introduced to their idols Marcos Valle and Roberto Menescal, who both agreed to come on board. The Berman Brothers also wanted to find some of the musicians who recorded with one of Brazil’s most influential composers Tom Jobim. “Fifty years after Jobim made the music that really defines bossa nova, we found that many of his sidemen were still active, including Paulo Braga of Jobim’s famed rhythm section. It was magic; everything just fell into place.”

There's no question that the original of ‘Lovely Day’ is up there as one of the most feel-good, spirit-lifting anthems of all time. Here the brothers, with the help of a whole host of Brazil’s finest musicians, rework Bill’s soul-fuelled groove into a bossa nova slice of sunshine. With the blessing of Bill and Sony, they were given access to the original multitracks so they could incorporate Bill’s vocals perfectly into the new arrangement.

Joy-injected horns and bouncing double bass blend with the smile-inducing samba flavour of Pretinho da Serrinha’s cavaquinho playing. Tying it all together Torcuato Marinao who worked with the likes of Gal Costa, Gilberto Gil and Caetano Veloso, completes the line-up as arranger of the songs.

The perfect end-of-the-night track, mood lifter or soul warmer, remakes don’t get much better than this.

Warehouse Find!

pezzner is back with this, his third ep for freerange, following on from the almost here and other lover releases that kicked off his solo alter ego. he is now in demand for his remix skills with upcoming remixes including mike monday and mark farina for om, lusine for ghostly international and josh wink for shaboom. It's easy to hear why he is being heralded as the man to rival dave taylor's earlier house productions with his totally unique sound and floor friendly arrangements which guarantee peaktime plays from dj's across the board - justin martin remix

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band's story, Sonic Youth's `Walls Have Ears' appeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité on par with elements of side B of `Master Dik' to come later. With a bit of complexity to the situation of the release itself. But that's a different story. Deleted as quickly as it appeared then, it's now issued for the first time officially under the band's auspices. In this 2LP set brimming with primitive classics like "The Burning Spear", "I Love Her All The Time", "Death Valley 69" and "I'm Insane" (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board. The first two sides of `Walls' are massive, cavernous, with newly-drafted drummer Steve Shelley in tow taking on past tunes and unveiling "Expressway To Yr Skull" in glorious form. They tear it up especially on one trash-fi excerpt of "Blood On Brighton Beach" (actually "Making the Nature Scene") from a legendary outdoor gig November 8th where Moore, Gordon and Ranaldo's guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame. The record's second slab spotlights an April 1985 pre-Shelley gig supporting Nick Cave at London's Hammersmith Palais and was one of the final appearances live of Bob Bert, again featuring some molten takes on "Brother James", "Kill Yr Idols", "Flower" (Iisted as "The Word (E.V.O.L.)"), "Ghost Bitch" and others. The emergence of the Jesus and Mary Chain in the world gave Brit scribes a lazy and easy parallel, addressed here with a wink with the inclusion of "Speed JAMC", another offstage tape interlude playfully scrolling through one of that band's songs at fast-forward. This document remains an essential representation of some lean and mean years of the quartet's throttling march out into the world in the mid eighties. Coloured vinyl, one red, one yellow LP.

Razor-sharp production of the highest order from two of the masters of the early 80™s Rio de Janeiro boogie sound, Robson Jorge and Lincoln Olivetti. Both were highly acclaimed music producers of the time, starting around the mid-70™s. Over the course of his career Olivetti worked with artists including Rita Lee, Erasmo Carlos, Don Beto, Marcos Valle, Tim Maia, Gilberto Gil, Gal Costa, Sandra Sa, Painel de Controle and many more. The album takes in mid-tempo, AOR, boogie and even latin all way through the tempo™s to ultra-quick Prince style disco-funk workouts. Includes several standout tracks  ˜Aleluia™ and ™Ginga™ being our two favourites. Synths, horns, claps, drum machines, guitars, keys and vocal harmonies combine effortlessly.

Available for the first time from Cargo. This album, Ward’s eighth solo affair, finds the artist picking up the tempo and volume a bit from his previous release, 2012’s A Wasteland Companion. Where that record introspectively looked in from the outside, More Rain finds Ward on the inside, gazing out. Imagined initially as a DIY doo-wop album that would feature Ward experimenting with layering his own voice, it soon branched out in different directions, a move that he credits largely to his collaborators here who include R.E.M.’s Peter Buck, Neko Case, k.d. lang, The Secret Sisters, and Joey Spampinato of NRBQ. The result is a collection of upbeat, sonically ambitious yet canonically familiar songs that both propel Ward’s reach and satisfy longtime fans.