Very first solo outing from guitarist & songwriter Crispin Gray, founder of Daisy Chainsaw, Queen Adreena, Dizzy Q Viper, Dogbones, Starsha Le under the banner of Alien Airforce. Limited pressing of
400 copies on Ochre vinyl. Taken from the forthcoming album ‘Give Pigeons The Right Of Way‘, out this
spring on Easy Action. B side is unreleased track “Human All Too Human“.
REPRESS!!
4 new dub plates from the Lee Perry Upsetter cannon.
All are previously and all exclusive to Pressure Sounds!
Side one is taken up with two mouth watering cuts of 'Keep on moving' both cuts are bass heavy, echo drenched sound system friendly mixes.
The second cut was mixed at King Tubby's studio and features all the dynamics associated with his style... Sparse sounds over clattering drums.
With the passing of time, Tubby's mixes are actually better than ever.
The two cuts on the flip are further explorations of 'Mr Music' and 'Police and Thieves'. Stern stuff that takes it to the edge.
More genius from Mr. Perry!!!
We will have a limited amount of the 200 only silk screen printed sleeves!
For decades, any sound system worth their salt headed to the dub cutters to get a piece of the “Late Night Blues” riddim. Acetate after acetate of the riddim rumbled through speakers from Brixton to the Bronx, making it a certified sound system classic. Now, Pressure Sounds comes with four exclusive cuts of the Late Night Blues rhythm. The first 2 cuts combine Diggory Kenrick’s always-in-demand flute with the legendary Matic Horns on Side A. The flipside takes the riddim into deep, dubbed-out territory with two dangerous cuts, one laden with dreamy chimes, the other snatches of vocal.
A welcome addition to the Late Night cult!
Repress in soon, note new price. ORIGINALLY RELEASED IN 1982. Back in 1981, NEGATIVE APPROACH (along with The Meatmen and the Necros) were one of the dominant forces in the Detroit underground. The ravages of the Motor City made it a perfect breeding ground for this cacophony, later termed "hardcore." Hordes of punks packed the legendary Freezer Theatre to hear John Brannon's jagged, gruff vocals, the McCulloch brothers' (Rob and Graham) guitar/bass gnash, and OP Moore's pounding fury. The band's minimalist (read: 30 second songs) and aggressive brand of punk has inspired countless hardcore bands around the globe. SIDE A Can’t Tell No One * Sick of Talk * Pressure * Why Be Something That You’re Not * Nothing.. SIDE B Fair Warning * Ready To Fight * Lead Song * What Ever I Do * Negative Approach
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.
Killer roots on both sides, perfect companion to his "Sings Songs..." album !
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Double sided heavyweight roots 10" from the late Gladdy Anderson. Made around the same time as his killer "Sings Songs For Today and Tomorrow" LP (now back in stock, click here!), here again are two killer tracks with Gladdy's sweet vocals over hard riddims from his band the Roots Radics. The A-side made the rounds as a dubplate first, then the vocal and dub ended up on different albums, while the B-side saw release as a single and an album track in extended format.
Following his 2021 debut on the reverse label with Retreat Ites EP and a spot on the Molten Mirrors compilation, Jurango is back on Livity Sound with another four tracks of low-slung soundsystem pressure.
On An Amorphous Mass EP Jurango presents a particularly focused sound which draws on halftime D&B, dancehall and broken techno all filtered through the meditative pulse of low tempo club music. The measured pace of the tracks doesn’t detract from their weight, whether it manifests in the heavy roll of murky opener ‘Big Saver’, ‘Inner Seam’s mutant dembow rhythm or the heady breakbeat chops of the title track. The stripped-back subs and fractured percussion of ‘Muni Ce Boa’ close the record in potent yet understated style, proving minimal music doesn’t have to compromise on impact for the dance.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.
Part of The Optic Sevens 5.0 Reissue Series.
Limited to 500 copies worldwide. Pressed on Blue Vinyl. Includes poster.
Brand New Remastered Versions.
The June Brides debut single originally released in 1984 on The Pink Label.
Both tracks are from fresh transfers from the master tapes which were then remastered by Jason Mitchell at LOUD Mastering in Taunton in early 2021.
The June Brides are true innovators, hailing from the first wave of British indie, with fans that include Manic Street Preachers (who covered their song “The Instrumental” as a tribute) , Morrissey and Belle and Sebastian’s Stuart Murdoch.
They have always been regarded as pioneers, and one of the most beloved of the bands that formed the original UK independent music scene, which has since been tagged as C86.
‘Wear Your Natural, Baby’ was a good seller when issued on Kent Harris’ Romark label in the late 60s – judging by the, at least, three pressings of it. Understandably so, as it is a captivating rhythm for a then very current political and fashionable message. Towana was in fact Ty Karim, singing under her young daughter’s name. On this flip, Ty recorded as herself on a cover of the CB Overton’s hit ‘If I Can’t Stop You’. However, Kent Harris decided to not go with this recording at the time and re-cut it with new lyrics as ‘Keep On Doin’ Whatcha’ Doin’’ as a duet with George Griffin issued in 1980 on Sheridan House. That record has become a modern soul classic over time and this alternate solo version, with the different lyrics, by Ty is sure to excite lovers of that genre.
1975 was a banner year for superstar Alice Cooper with the release of the groundbreaking concept album Welcome To My Nightmare. This album showcases Cooper's theatricality, storytelling prowess, and ability to create an immersive world of horror and fantasy.
From the opening notes of the title track, "Welcome to My Nightmare," listeners are transported into a dark and twisted dreamscape. Cooper's signature blend of rock, glam, and theatricality shines throughout the album. His gritty yet melodic vocals, combined with a richly layered musical backdrop, create an atmosphere of eerie enchantment. The album's production incorporates haunting orchestral arrangements, catchy hooks, and powerful guitar riffs, crafting a sonically diverse and captivating listening experience.
Teaming up again with his longtime producer Bob Ezrin, the duo assembled some of the greatest music to go along with the David Winter-produced TV special, and in doing so, created some of his best known songs like the huge hit single "Only Women Bleed." This Top 5 single carried Welcome To My Nightmare into multiple platinum territory and forever etched the word superstar to the name of Alice Cooper.
All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.
Several unique features set the debut studio album by folk rock supergroup Crosby, Stills & Nash, released in 1969 by Atlantic Records, apart. It's the only album by the band before adding Neil Young to their lineup. The album spawned two Top 40 singles, "Marrakesh Express" and "Suite: Judy Blue Eyes," which peaked respectively at No. 28 during the week of August 23, 1969, and at No. 21 during the week of December 6, 1969, on the U.S. Billboard Hot 100. The album itself peaked at No. 6 on the U.S. Billboard Top Pop Albums chart. It has been certified four times platinum by the RIAA for sales in excess of 4 million copies.
Instantly lifting the group to stardom, along with the Byrds' Sweetheart of the Rodeo and the Band's Music from Big Pink, the previous year, the album is cited by music reviewers for initiating sweeping changes in popular music. In 2021 the album held the rank of No. 161 on Rolling Stone's 500 Greatest Albums of All Time list.
Crosby, Stills & Nash was "the perfect blend of David Crosby's social conscience, Stephen Stills's virtuoso musicianship and Graham Nash's ability to craft the perfect pop melody for radio," writes Rolling Stone, in its review.
The band was brought together after Crosby was fired from The Byrds, Stills's band, Buffalo Springfield had broken up (a band which also featured later member, Neil Young) and Nash's departure from The Hollies. The three decided to form a band after an informal jam led them to discover how well their voices harmonized. Released in May 1969, the band would perform nine of the album's 10 songs at Woodstock, which was the second time they ever did, in August of the same year.
The album features some of CSN's most well known and iconic songs; "Suite: Judy Blue Eyes," "Marrakesh Express," "Guinnevere," "Wooden Ships," "Helplessly Hoping" and "Long Time Gone." This album saw a shift in sound to what was popular at the time — blues based rock, opting for a more folk rock, and sometimes jazz-based sound. It would lay the foundations for the California Sound that would be popularised out of Laurel Canyon in the ‘70s. Artists such as The Eagles, Jackson Browne and Fleetwood Mac would take inspiration from the sound of this record.
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 vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.
If I Could Only Remember My Name was the debut solo record from David Crosby. Recorded in 1970 after the passing of his girlfriend Christine and released in February of 1971, the album explores themes including loss and disorientation. The album features a who's who of contributors from the San Francisco Bay area including Paul Kantner and Grace Slick of Jefferson Airplane, Jerry Garcia of the Grateful Dead, and Santana, and his cohort from Los Angeles including Graham Nash, Neil Young, and Joni Mitchell.
The album has attained a cult status throughout the last 50 years, hailed for its spooky, psychedelic, and truly unique sounds.
AllMusic gave the album 4.5 stars, with reviewer Stanton Swihart writing: "With his ringing, velvety voice — the epitome of hippie crooning — and inspired songwriting, he turns If I Could Only Remember My Name into a one-shot wonder of dreamy but ominous California ambience."
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 vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.
Released in 1960, Giant Steps was a watershed album for John Coltrane, solidifying the saxophone legend's reputation as one of the most influential and innovative musicians in jazz history, as well as delivering jazz to an increasingly mainstream audience, while garnering significant critical acclaim.
Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one.
Coltrane (tenor sax) is flanked here by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers — who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated — replicating the alternate non-Bill Evans lineup featured on "Freddie the Freeloader" on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos.
All seven pieces issued on the original Giant Steps are Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos — enabling the solo to become infinitely more compelling. This would culminate in a frenetic performance style using melodic phrasing that noted jazz journalist Ira Gitler accurately dubbed "sheets of sound."
The Giant Steps chord progression consists of a distinctive set of chords that create key centers a major third apart. Jazz musicians ever since have used it as a practice piece, its difficult chord changes presenting a "kind of ultimate harmonic challenge", and serving as a gateway into modern jazz improvisation. Several pieces on this album went on to become jazz standards, most prominently "Naima" and "Giant Steps."
The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" calling it "Trane's first genuinely iconic record." In 2003, the album was ranked No. 102 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, 103 in a 2012 revised list, and 232 in a 2020 revised list.
Undeniable music perfection deserves definitive sound and top-notch packaging. This reissue was mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.
Overall, Giant Steps is not only a critical triumph but also a defining moment in John Coltrane's career. Its innovative compositions, masterful performances, and profound influence on jazz make it an essential entry in Coltrane's discography and a timeless masterpiece in the history of the genre.
The WYLDE TRYFLES from Bordeaux sound wild and out of control, playing their modern take on ultra-fuzzed female-fronted 60s garage-punk, full of snotty garage vocals, screams, back from the grave vibes and hypnotic dangerous dancing beat! So, what do they serve on their third Soundflat Records-release 'Outta Tyme'? It's a brand-new killer 60's-garage-mayhem-punk-LP with 10 astounding tunes in the tradition of US-garage and British R&B/Freakbeat with an amazing vintage studio sound. You can expect the obvious classic fuzzy 60's garage-punk influence by the likes of LITTLE PHIL AND THE NIGHT SHADOWS, THE FIVE CANADIAN, THE OMENS, THE MUSIC MACHINE and THE YARDBIRDS; at the same time a great portion of 80's garage-revival-legends inspiration like THE PANDORAS or THE CYNICS, and of course the WYLDE TRYFLES' unique approach to their signature sound. You get nine smashing melodic TRYFLES-originals like the breathtaking 'Don't Leave Me This Way' or the catchy 'Don't Press Your Luck', plus one wylde coverversion of THE SAVOY's 'Can It Be', which seems to be tailormade for the band and will keep you dancing all night long. This LP is definitely among the top 60's garage revival records. 'Outta Tyme' is a fantastic new album by French garagepunkers THE WYLDE TRYFLES - don't miss out on this wylde nugget! Ready, steady, go and get it!
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
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
Soul Jazz Records’ new 10th anniversary edition of their long-out-of-print Punk 45: There Is No Such Thing As Society. This is a one-off limited-edition heavyweight specialedition cyan coloured vinyl pressing + download code. The album charts the rise of underground punk and post-punk in the UK from 1977-81. This album is fully remastered and relicensed and includes five new tracks from 23 Skidoo, Notsensibles, Pretty Boy Floyd, The Astronauts and The Impossible Dreamers.
The album is a collection of seminal, classic, obscure and rare punk and post-punk singles from the likes of The Mekons, Johnny Moped, The Killjoys, The Rings and many more which all chart the rise of independent music and Do It Yourself culture that exploded in the wake of punk and during the years of Britain under Margaret Thatcher. The album comes complete with text, biographies on each of the bands, exclusive photos and original record artwork and is newly available as a limited-edition super-loud, super-heavy double gatefold-sleeve vinyl edition complete with full sleeve-notes plus download.
