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A singer, songwriter and harmonica player in his own right,
over the course of six decades Billy Boy Arnold also played
the role of sideman for numerous blues legends: Bo Diddley,
Otis Rush, Earl Hooker, Howlin’ Wolf, Muddy Waters and
Little Walter amongst them. In blues terms, that’s a pretty
impressive CV

Repress!

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher').

It only seemed natural for the team at ATA Records to scratch their own Library itch and so last year's "The Library Archive Vol. 1" was born. Recorded over a series of sessions in the Alladins cave of vintage recording equipment that is ATA studios, it featured many of the stalwart musicians from the label who can also be found recording with The Sorcerers, Work Money Death and The Lewis Express.

Garnering praise from Library aficionado Shawn Lee("Holy F*$K this sounds great! ATA really smash the classic British Library sound. 10 out of 10") and the Don of British Library Music himsel fAlan Hawkshaw, "The Library Archive Vol. 1" was very well received and so a follow up was inevitable. Recorded during the Autumn of 2020, "The Library Archive Vol. 2" still has the golden age of European Library music squarely in it's sights, but this time the focus is drawn more to the wonky organ work of Italian quartet I Marc 4.

Each track has been lovingly crafted with a keen ear for authenticity and the same eye for detail shown on 'The Library Archive Vol. 1', recorded on the same instruments and equipment and with the same techniques as the music that inspired it.

The Library Archive is a labour of love for the label with more volumes planned.

BIOGRAPHY BY IRVINE WELSH
I discovered the Beta Band, like I discovered a lot of great music, basically through eventually surrendering to the enthused urgings of a mate who was cooler than me. He continually evangelized about the EP's. I was lost to the concert hall and firmly ensconced on the dancefloor by then and highly resistant, but quite taken by the idea that a band would bring out extended plays rather than singles. When I did check them out, I was instantly smitten by their originality and power.

The band, therefore, were pivotal for me in terms of my own musical journey, in that they represented a gateway back into indie guitar music, which I'd basically given up since becoming obsessed with rave and acid house.

The Beta Band were definitely a band for the cool cognoscenti- like my buddy- the ones you make a bit of a tit of yourself trying to convert quite straight boring people to.

The emotions they induced were a kind of throwback to school days when you were very pompous and prescriptive about what you liked, and derisive towards non believers. It's a testimony to the power of the music that they could take me to the raw state of the younger man.

I took it personally that they didn't hit the mainstream commercial base. At least two of the three albums they made deserved quadruple platinum status. Hot Shots II and Heroes to Zeros are permanently lodged very high in my top one hundred albums of all time.

So, the return of the Beta Band has me moving into the same mode of immature, adolescent anticipation. Everyone should have the Beta Band albums and EP's in their collection. It still kind of annoys me - in fact it bugs the shit out of me - that most of them don't.

And that really is something.

Celebrating the 11th anniversary - and over 4 million streams - of CLAAP!'s debut EP "Dimanche", we're releasing it on vinyl for the first time. A limited, hand-numbered edition, featuring new remixes from Justin Strauss and In Flagranti, as well as Mike Simonetti's acid DJ tool.

Strut present the first international release in over 30 years by legendary Afro-jazz group Oneness Of Juju with their new album Made Through Ritual on 11th July 2025.

In 1975, the late DJ / producer and jazz distributor Jimmy Gray and James “Plunky” Branch joined a musical revolution, founding Black Fire Records and releasing the label’s debut album, the classic African Rhythms by Oneness of Juju. This July, Plunky brings this important musical relationship full circle with Made Through Ritual, produced by Plunky’s son Jamiah “Fire” Branch and Jimmy’s son Jamal Gray.

The album takes a novel approach to beat culture. Working from demos created by Jamal using a selection of original jazz samples, Plunky took the tracks, replayed and re-interpreted the arrangements using live musicians. “The album explores the art of deconstruction and reconstruction in music - sampling, sequencing, and live improvisation merge with multi-track recording to craft intricate harmonies and arrangements,” explains Plunky. “The process became a ritualistic expression of creativity and transformation.”

The resulting album is a fascinating listen. Opening with the meditative soul chant ‘Share This Love’ voiced by regular Oneness vocalist Charlayne “Chyp” Green, the album opens out into a series of jazz vignettes including the title track, ‘In Due Time’ and ‘Free Spirit’. The powerful album closer, ‘Children Of The Drum’ celebrates black culture and legacy through the poetry of Roscoe Burnem.

Released on 1LP and 1CD with specially commissioned cover artwork by contemporary Ivorian artist Maxime Manga, Made Through Ritual represents an important new chapter in the Oneness story. The album will be supported by a selection of European tour dates during Autumn and Winter 2025.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

Recorded live in one session at age 18, this album helped launch Tania Maria's career as an acclaimed Brazilian jazz artist, celebrated for her virtuoso combination of piano and vocals. Produced by Romeo Nunes (Meirelles e Os Copa 5, Rio 65 Trio, Elis Regina, Elza Soares), the album features the pioneering Edison Machado, who transformed samba and was instrumental in the development of Bossa Nova through his groundbreaking "samba no prato" (samba on the cymbals) technique. His work helped shape the sounds of Jobim, Getz, and Milton Nascimento. On guitar is the legendary Neco, who played on over 500 albums. Initially self-taught, he later studied under maestros Guerra Peixe and Moacir Santos. He collaborated with icons like Elis Regina and Chico Buarque, and was a member of Os Ipanemas, Os Catedráticos, and Os Gatos. His solo work includes Velvet Bossa Nova (1966), which became an acid jazz favorite. The album features compositions by Caetano Veloso and Marcos Valle,alongside early samba classics.

Blending Brazilian rhythms with elements of samba, bossanova, and jazz fusion,it captures the early development of Tania Maria's signature style. Born in São Luís, Brazil in 1948,Tania Maria began playing piano at age seven. She learned samba, jazz, and chorinho through her father's weekend jam sessions. Leading her own band by age13, she performed across the region while collecting records from influential artists. Though she earned a law degree and started a family,her passion for musicu ltimately won out—she left law to pursue music full-time.

# 1st official vinyl reissue in over 30 years # sourced from tape # 8 page color bboklet with large-format hotos and full liner notes # band members' stories told at last // Universe was a Welsh rock band formed in the late 1960s, marrying progressive and blues musical elements with a powerful sound. Guitarist Steve Finn, bassist John Healen, and drummer Rob Reynolds formed the nucleus of the band, initially playing under the name Deep Blue Centre, then Spoonfull, rehearsing a set that included covers and originals influenced by acts like Cream, John Mayall, and Jimi Hendrix. By 1970, they had become Universe, the name reflecting the expansive ambition of their evolving music. Universe became known for their stellar live performances, playing countless gigs across Wales and well beyond. They shared stages with acts such as Jethro Tull, Yes, and Graham Bond, while also enduring a character-building but arduous tour of Hamburg and Norway. The constant touring polished their sound and inspired original material such as "Twilight Winter" and "A Woman's Shape." In 1971, the band recorded an album and a single, both self-titled, in Norway; these recordings later became prized finds among collectors. Though Universe's time was brief, their music endures as a fascinating chapter of the underground rock scene in Wales. With Steve Finn's ongoing solo work and the reissue of their recordings, Universe holds a unique place in early '70s rock history.

Though they may not have intended to do so, Naptown's trinity, also known as 81355 (pronounced BLESS), rang out as revolutionaries with their 2021 debut record This Time I'll be of Use. When Oreo Jones, Sirius Blvck, and Sedcairn come together, genre evaporates into enthralling poeticism and sonic hypnosis. Their sophomore LP Bad Dogs, releasing July 11th on Joyful Noise Recordings, acts as an expansive continuation of 81355's signature sound: an angelic, gritty, enthralling urban hymnal for the disillusioned mind. The history of 81355 stretches far back into the history of Naptown's creative scene. Jones and Blvck struck a match as one of Indy's most influential hip-hop collectives, Ghost Gun Summer, before they brought on Sedcairn (Moose Adamson) in 2020. Before Adamson infused 81355 with his melodic soundscapes, he produced Grampall Jookabox, an underground indie meets jangle pop project. Though they may be known primarily for their musical notoriety, the members of 81355 are steadfast in their commitment to uplifting their community with collective creative expansion. Sean (Oreo Jones), alongside his partner Jane Sun Kim, produces and curates Chreece, the largest Midwestern Hip-Hop festival hosted in the heart of Naptown. Niq (Sirius Blvck) is pivotal in the empowerment and advancement of Indy Hunger Network, a local non profit that addresses food insecurity across Indianapolis. Moose (Sedcairn) is a key contributor to Joyful Noise, an Indy based independent label cutting records for artists of all genres. For the first time, the project's live band is part of the production, with Sharlene Birdsong on bass guitar, Dimitri Morris on guitar, and Pat Okerson on drums. The Bad Dogs listening experience also seeps into visual realms: a short film titled Sleep Study will be released in tandem. Sleep Study_soundtracked, written, and produced by 81355, who also star in the film alongside friends and fellow artists from the community_features afrofuturistic sci-fi undertones that explore the toxifying implications of algorithmic control, postmodern brain rot, and late-stage capitalism. As the texturally emotive punctum of its cover art (painted by Stockholm based artist Julia de Ruvo) conveys, the heart of Bad Dogs draws its perseverance from the wild reservation dogs pulsing through the rust-hued indigenous lands of New Mexico and beyond. They are untethered in their roaming, sacred in their fierce communal belonging, yet undefined by a physical place. A vital essence mirrored by 81355: boundaryless, primal creative cultivation that defies what some may attempt to categorize as hip hop or progressive rap.

Come On Come On isn’t just Mary Chapin Carpenter’s most popular album, with sales of 3 million copies. It’s also a contemporary country landmark. No less than seven of its songs became country hits: “I Feel Lucky,” “I Take My Chances,” “Not Too Much to Ask,” “The Hard Way,” “He Thinks He’ll Keep Her,” and two inspired covers, of Dire Straits’ “The Bug” and Lucinda Williams’ “Passionate Kisses.” More importantly, though, this 1992 release pointed the way towards what country music would become in the 21st century with its savvy seasoning of pop and soft-rock sounds into a more personal style of country songwriting from a female point of view. If you’re thinking that sounds familiar, you’re not wrong; Come On Come On’s prodigious commercial prowess isn’t the only thing this record has in common with the early work of Taylor Swift. But, it also crossed over into the rock realm in a way that, arguably, Swift’s records have not; the flourishing Americana and alt-country audiences of the early ‘90s ate this album up, and guest stars like Rosanne Cash, The Indigo Girls, and Shawn Colvin just upped its street cred. Somehow, this classic record has never (come on!) made it to vinyl; we’re making up for a whole lot of lost time with a grape vinyl pressing housed inside a color inner sleeve with lyrics. Essential!

'Pepper Tree Hill' is, spiritually, our 'Abbey Road' both in album and studio name. It is the place where we feel the most creative, safe to try any crazy idea, and write songs that are both personal and extensions of our creative being. 'Pepper Tree Hill' the album explores our love of the sounds and songs of the Sixties, but in a total Boxmasters way. Legendary trumpeter and Grammy Award winner Herb Alpert is featured on the title track.

The legendary jazz bassist Isao Suzuki, revered worldwide for his extraordinary talent, recorded this vibrant session in 1981 alongside his longtime collaborator Tsuyoshi Yamamoto. Now, this rare gem returns on analog vinyl!
Infused throughout with the infectious rhythms of Brazilian music, the album captures a festive spirit brought to life by an all-star lineup including Takayuki Kato, Ichiro Doi, and Donald Bailey.

Zum ersten Mal seit seiner ursprünglichen Veröffentlichung im Jahr 1988 erscheint Chris Reas allererste Compilation „New Light Through Old Windows“ wieder auf Vinyl. Das Album wurde remastert, auf recycelte Doppel-LP und CD gepresst und wird am 11. Juli 2025 neu aufgelegt.

The original Madlib instrumentals to Georgia Anne Muldrow’s critically acclaimed album; “Seeds” which was released in 2012 on SomeOthaShip Connect. Heralded as one of her most captivating and immediate front-to-back statements of purpose, a deeply spiritual collection of songs. It was the first time in her career where she handed over all production duties to someone other than herself, that someone being the legendary Madlib.
The beats on “Seeds” are naturally heavy, funky, soulful, abrupt yet hypnotic. All the characteristics of Madlib’s signature sound we know and love.

On the B Side of the vinyl is a collection of Georgia Anne Muldrow instrumentals from across 3 Dudley Perkins albums, “Young Spirit”, “Self Study”, and “Holy Smokes.” Beats with synths reminiscent of J Dilla’s electronic era but with enough G-Funk influence to melt your Raiders hat. Bass lines that could get The Click back together. Georgia Anne Muldrow is a master of her craft on the beats and the microphone. This record is a testament to that. Rediscover “Seeds”, the magical powers of Madlib, and why beat tapes will never go out of style.

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' departure in 2022, this reunified version of Pelican allowed the band to tap back into the spirit of their formative era and build something distinctly new with Flickering Resonance. While longtime Pelican fans will recognize the album as an update to the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it at first," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, we're more willing to acknowledge all the suits we're wearing."On Flickering Resonance, Pelican doesn't attempt to reinvent itself as much as emphasize the elements that were so often overlooked. Though Pelican's thick sonic backbone remains intact, the songs on Flickering Resonance show a more humanistic side of the band. Tracks like "Evergreen" and "Indelible" tease Pelican's doom-metal roots, but these songs feel equally, ebullient and truthful, playing like Texas Is The Reason songs transmuted into a post-rock landscape. Recorded with longtime musical compatriot Sanford Parker, who recorded their first EP, Pelican begins this new chapter of their career with an album that's neither full reinvention nor back-to-roots revivalism. After so much time apart, and with so much life having been lived between the original Pelican lineup's last recording sessions together, the band approached it with renewed vigor and a more communal spirit."There was more room for openness and critique with the understanding that we're all trying to craft the best song possible and that every suggestion is valid until it's proven invalid," says Shelley de Brauw. That process allowed everyone to embrace the material with a shared vision. "We didn't move forward unless we all wanted to move forward, and that felt like real community building," says Schroeder-Lebec of this unified approach. "I went from seeing it as my art and my craft to our craft that we were shaping together."In doing so, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes. Songs like "Cascading Crescent" and "Indelible" don't languish in what's been lost, these tracks see the band embracing what remains in their hands instead of lamenting what's slipped through their fingers. It's a concept that's mirrored in the artwork of Christian Degn that graces the cover of Flickering Resonance. It's a piece built off the concept of flame meditation, and how the smallest flames can often bring about the biggest transformations. A song like "Flickering Stillness" exemplifies this feeling through its sonic expanse, putting the band's sonic density and hyper-focused clarity on display, but with an emphasis on the profound human connections that have kept Pelican going all these years. "When Laurent left and we were able to carry it through, there became a real sense of gratitude for the fact we still have this artistic outlet and a community of people who want to be a part of it" That feeling of deep, grounded appreciation isn't just one that's within the band members, it's expressed in every track on Flickering Resonance. Because at the very core of Pelican, are four individuals who have grown both separately and together, and always will.Like a distant light faintly glowing in the darkest night, Flickering Resonance is a reminder of all that has passed us by, but also all that is still to come.

Long overdue repress of 'Acid Guru Pond', the incredible collaboration between Bardo Pond, Japanese psych-experimentalists Acid Mother's Temple and cosmic kosmische legends Guru Guru. The fruits of an incredible collaboration, Acid Mothers Temple wrap their psych rock wizardry and cosmic space noise around Isobel Sollenberger's ethereal vocals and majestic flute playing, the collective brings out the best in one another, feasting on innovation and distortion while not losing the swirling lock groove. Classic rock riffs merge and morph into the surrounding world music influences to cook up an enchanting and meditative brew. The naming of each song after a colour only further reinforces the vibe heavy proceedings. Classic black vinyl

Legendary indie travellers Half Japanese return with their new album Adventure. The prolific outsider combo, helmed by the ever-optimistic Jad Fair, delivers a heartwarming set of upbeat sonnets celebrating the power of love, affection, and maturity. More than 50 years since Jad and his brother David emerged from their lo-fi bedroom in Uniontown, Maryland, USA, Adventure takes the latest incarnation of the band down new and more refined avenues. Recorded in London at Vacant TV and produced by Jason Willett and Jad, Adventure presents a more pristine and polished canvas for Jad to expand upon. The addition of Euan Hinshelwood to the sonic palette, with saxophone, harmonica, and piano, creates a smoother backdrop for the band's less lubricated sound. Lemonade Sunset is an ode to the world of wonder, a spacious overture built with melancholy in mind but relishing the positivity of life. By contrast, Step On Up revolves around a glorious rising piano motif that hints at Steely Dan if they were high on energy drinks and spinach rather than their usual tipple. It's a light-hearted evocation of the good times. Magnificent is a homage to living in the present tense, powered by the bittersweet saxophone, with a glorious piano-led sub-melody offsetting Jad's positivity: "magnificently magnificent," no less. Elsewhere, ringing percussion and sharp arrangements provide Jad with a sturdy and far reaching soundtrack to lament over. Adventure sees Half Japanese covering new ground, with Jad's considered soliloquies set in a sumptuous setting. The lineup for Half Japanese on Adventure includes Jason Willett (bass, keyboards), Gilles-Vincent Rieder (drums, percussion), John Sluggett (guitar, piano, bass), Mick Hobbs (guitar), Euan Hinshelwood (guitar, saxophone, piano, harmonica), and Jad Fair (vocals, percussion). Sadly, longstanding member Mick Hobbs passed away last year. "Absurdly underrated art-rockers" - Record Collector. * "Fair's ability to bang out music behind him is matched perhaps only by Mark E Smith" - The Wire.

Thanks to acclaimed live shows and radio appearances in both Norway and Germany, Heigh Chief has been steadily winning over a growing fan base with their high energy performances of songs from their first two albums. One Night Live solidifies their reputation as a formidable live band with incredible chops and songwriting skills. Their talent has earned them notable achievements, including winning the Notodden Blues Cup in 2013 and placing second in the Norwegian finals of the "Battle of the Bands." These successes helped them secure spots at the International Blues Challenge (IBC) in Memphis for two consecutive years, 2015 and 2016. The four-piece band brings serious talent to the stage - featuring none other than Norway"s top Hammond organ virtuoso, Lars Christian Narum. One Night Live is the band"s first live recording, and it doesn"t disappoint. Recorded in Norderstedt, Germany while the band was on tour in 2019, it"s an impressive testament to the band"s talents.