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BEC 5772110
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2026 repress. Justice's highly-acclaimed debut album from 2007. French-only vinyl version, in deluxe gatefold sleeve. Retreating to their underground post-nuclear shelter/studio, French duo Gaspard Augé and Xavier de Rosnay worked on their first album as if their lives depended on it. The result is a mind-fuck of an album that proves that Justice's unique talent is to be found where least expected. Take for example "Let There Be Light" and its strident, angry electro, driven by a jabbing bassline; "D.A.N.C.E," a pure piece of vicious house sung innocently by a choir of children; "Newjack," a funky parody of the opulent times of the French Touch; "Phantom," taking over where "Waters Of Nazareth" left off to drift towards "Phantom Pt. II" and its head-swirling disco violins; "Valentine," an erotic, melancholic nursery rhyme, like a tribute to Vladimir Cosma and "Tthhee Ppaarrttyy," a pure electro-funk track where the sexy Uffie plays more than ever the cheeky Lolita. Justice have thrown established rules out the window (the notion of good and bad taste, the thin line between underground and pop music, the pigeon hole labeling between rock and electro, etc.) with a fantastic talent for synthesizing and mixing their influences with total candor, be it the cosmic disco of Larry Levan or Vladimir Cosma's panty-wetting romantics, Camel's prog rock or the anxious theme of Goblin for Dario Argento, to the flashy funk of the Brothers Johnson or "ABC" by the Jackson 5. Cross isn't a collection of random dancefloor singles. Cross is for listening at home or in clubs. Cross is a link between pop at its purest and experimental music. Cross brings together hardcore elements and cheese. Cross makes the Goths link arms with the rave kids. A generational manifest, ideally positioned on the side of the dancefloor, Cross, insolent with youth, is a testimony that the French electro scene is healthier than ever.
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COSMR 052LP
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Here's for the real thing! A Late '60s Japanese compilation investigating the so-called "Group Sounds" movement. Includes early recordings by a series of musicians better known as The Genova, The Cougars, Micky Curtis & The Samurais, The Playboy, The Burns, The Genova, Isao Idemitsu, The Spiders, and The Rangers.
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BB 447LP
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LP version. Released in 1974, Zuckerzeit marks a clear turning point in Cluster's work, introducing shorter formats and a more defined rhythmic framework. The increased use of drum machines and structured sequencing sets it apart from the duo's earlier, more diffuse recordings, while maintaining a focus on texture and tone. Developed in close proximity to Michael Rother and under increasingly independent production conditions, the album establishes a more direct and accessible approach without simplifying its underlying ideas. This standard edition makes the album available again on CD and vinyl following the previous limited anniversary release. A key recording in Cluster's catalogue, capturing a pivotal moment of transition and refinement. In 1974, Cluster entered the sugar era. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit ("sugar era") launched a revolution for Cluster. Strictly speaking, Zuckerzeit is not really an album by Cluster. More precisely, the LP contains two mini solo albums by Moebius and Roedelius. Those who were familiar with the stylistic peculiarities of the two musicians could easily relate the solo pieces to either one of them. As Roedelius and Moebius had not yet released any solo works by the time, it was actually not possible to draw up any comparisons yet. Zuckerzeit is light and cheerful, freed from the Germanic gravity and the mystic incense fumes that were so fashionable at the time. Cluster managed to keep both feet on the ground without becoming plain or even sterile. The friendliness of the music is clearly due to the two personalities of Roedelius and Moebius; its down-to-earth character possibly comes from Michael Rother, the album's coproducer. When comparing Zuckerzeit to the works of other electronic combos produced at the same time, it is first of all the shortness of the tracks that seems most striking. The fact that Cluster worked in such a calm and collected way, that they concentrated on their musical ideas instead of losing themselves in long-windedness -- all this taken together gave way to the creation of electronic miniatures that sounded as extraordinary in the 1970s as they still do today.
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7FFTCJQ190
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Includes four-page insert. "TCJQ together with Gary Peacock and Sunny Murray! This is THE sunken treasure. This is music I have only heard about. And yet, here it is. Unbelievable. Intact. Preserved. Beaming of energy and JOY! This is a sensational find. My favorite Danes exploding together with my favorite double bass player all time. Gary Peacock. The engine. The power engine. I can hardly breathe when he plays, and when he starts soloing and creating beautiful duo bass action with his colleague Steffen Andersen in this very first recording of 'Predetermination,' 10 minutes in -- my heart expands, and the world suddenly looks and sounds entirely different. Add Sunny Murray on top of it all? The master of unreal flow and accents. Sunny was a beast to deal with at the time. But what he adds to the music is pure poetry. No other drummer did anything even close to this back in the mid-'60s. To have Steinmetz and Beckerlee playing alongside Peacock and Murray in 1964 is as good as it gets. The absolute point-zero of free jazz, Spiritual Unity, was just released. It changed everything. This is the mother of it all. The birth. You would think Steinmetz and Beckerlee would have had a little anxiety joining the American duo. There is nothing of uncertainty or vague playing here. This is for real. Right-on-take-no-prisoners-do-not-look-back. Added to the A-side of this mythical recording with creative Danes and the rhythm section of Spiritual Unity is a little improvised miniature. 'In the Name of Beauty.' The title very accurately describes what is going on. TCJQ creating pure communal beauty. Steinmetz, Beckerlee and Andersen getting very real! Dig the harmonics of the last note. The B-side´s 'Spontaneity,' 'Action' and 'Collusion' are just wild. Raw. And utterly beautiful. The group is doing real sharing on a level unheard of before. While listening through this music numerous times and trying to write something simultaneously of intellectual or emotional content something happens? I lose the sense of time. The emerging free jazz scene of Denmark of the early '60s, is something spectacular and WILD. Years before the other Scandinavian countries even got a grip of the new jazz, the Danes were doing it already. Fueled by very important guest visits by Cecil Taylor, Sunny Murray and Albert Ayler at both clubs and radio or TV appearances. Those were the times when public service actually noticed new developments in art, music and literature." Mats Gustafsson, April 2026
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WWSLP 115LP
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LP version. Wewantsounds presents the first official reissue of the highly sought-after 1979 classic, Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label in Japan and produced by the legendary Makoto Matsushita -- the visionary behind the cult album First Light -- the album is a premier example of the sophisticated sound that defined the era. Featuring the cream of Japanese musicians, including Yasuaki Shimizu, the record offers a superb mix of AOR, jazz fusion, funk, and bossa nova. Remastered by Colorsound Studio, this deluxe reissue features the original artwork, an OBI strip, and a 4-page booklet with a new introduction by Paul Bowler. The album serves as a vital precursor to Matsushita's own 1981 cult masterpiece First Light. Here, he and Nobuta lead the cream of Japanese session musicians. From the sun-drenched bossa nova rhythms of the Jobim classic "Wave" to a sophisticated rendition of Boz Scaggs' classic "Harbor Lights," finishing with the dreamy rhythms of "Endless Summer," the record is a masterclass in elegant funky arrangements and relaxed harmonies. As music journalist Paul Bowler writes in the liner notes for this release: "Summer-Time Love Song represents a fascinating bridge in Japanese pop history; a moment where the breezy aspirations of the '70s met the meticulous studio perfectionism that would soon take over the world." This deluxe edition features the original artwork, showcasing classic photography by the cult photographer Shinpei Asai -- famed for his iconic work on the Pacific album by Haruomi Hosono, Shigeru Suzuki, and Tatsuro Yamashita. Newly remastered, this reissue finally makes one of the most coveted albums of the 70s Japanese scene accessible to Japanese music fans worldwide.
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JMAN 150LP
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LP version. Jazzman's latest Holy Grail reissue is this private press spiritual jazz gem out of California from Rickey Kelly and his vibes and marimba. Features Diane Reeves (vocals) and Adele Sebastian (flute)! "Rickey, I know these are your friends, the guys you went to school with, but if you wanna record an album, you record with musicians who have been playing their whole life; whatever you write, they'll put their whole life into it. You play with your friends; they may not even play in tune." These are the words of Slave guitarist Kevin Johnson, and they were to change the course of young Rickey Kelly's life. It was 1978, and music student Kelly had approached Johnson with a tape of rough demos of some songs he'd written. A San Francisco native, Kelly had recently moved the short distance south to study music at LA City College in East Hollywood. He was a member of E.W. Wainwright Jr.'s African Roots of Jazz, and was spending up to 10 hours a day in practice on both vibes and marimba. He also played with Horace Tapscott, and had his own band made up of fellow students, but it was his ambition to make an album that led to the conversation with Johnson. It was a turning point in his education, and a decision was looming. Some calls were made and the date was set to record at Studio Masters on Beverly Blvd, a studio set up just a few years previous in 1973, owned and operated by Dot Records founder Randy Wood. As the recording session took place, John Wood was listening in. He was impressed. Kelly didn't have the funds to manufacture and release the album himself, so Wood suggested it was pressed up on his in-house studio label, Los Angeles Phonograph Records, and thus the LP My Kind of Music was released early in 1979. The album also saw a subsequent pressing soon afterwards on Dennis Sullivan's New Note label. Kelly remains humble and proud of his debut album to this day. "I was still a beginner" he says, "These masters walked in, smiling, and gave me something worth gold."
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AKU 1053LP
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2026 repress! Deluxe laminated sleeve and high-quality vinyl made in France. Includes: A3 poster, 2x 12'' inserts, 1x 4-panels flyer. Limited edition of 700. Akuphone and The Cambodian Vintage Music Archive present the first-ever retrospective dedicated to So Savoeun -- one of the radiant voices that defined Phnom Penh's golden age of sound in the 1960s and 1970s. In those vibrant years, the city pulsed with music: rock bands, crooners, and traditional ensembles blended East and West, shaping a uniquely Cambodian pop that shimmered with hope and modernity. Amid this flourishing scene, So Savoeun's voice stood out -- silken yet powerful, intimate yet expansive, carrying with it the promise of a new era. This collection brings together rare and long-unheard recordings, including luminous duets with legendary contemporaries Meas Saman, Lek Savath, and Sinn Sisamouth. Each track is more than just a song -- it is a fragment of memory, a preserved echo of nights when Phnom Penh's dance halls and radios overflowed with rhythm and possibility. In her own words, hearing these songs resurface is like opening a long-buried chest of jewels, hidden beneath the dust of history and now gleaming again after half a century. Her voice, once thought lost to time, reemerges like the cicada whose chant reverberates endlessly through the forest -- an eternal call that bridges silence and remembrance. Her music is more than nostalgia; it is testament and rebirth. It continues to resonate, not only with those who lived through that golden era, but with new generations discovering its beauty for the first time. Through this release, the past breathes again -- tender, luminous, and unforgettably alive.
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LMS 1725760
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Deluxe LP version. Coke-bottle green vinyl. Renascent marks the long-awaited return of legendary Manchester outfit The Durutti Column, their first new studio album in over fifteen years, produced by Keir Stewart. Around the guitar work of Vini Reilly, the album plays between sonic atmospherics and structure: warm ambient washes, piano, beats and guest vocal turns by a new generation (Caoilfhionn Rose on "Agonistes" and Lucas Elliot on CD bonus track "All they See is Fire"). Both contemporary and otherworldly, and with a swathe of new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis), Renascent is a timely and vital rebirth for The Durutti Column. Artwork by long-time collaborators 8vo.
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BB 507LP
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LP version. With Sowas von Egal Vol 3, the Hamburg-based Damaged Goods DJ team continues its compilation series on Bureau B, once again turning its attention to the underground scenes of Germany, Austria, and Switzerland in the early 1980s. The selected tracks originate from a period in which, alongside the commercial Neue Deutsche Welle (NDW), a number of innovative and often more abrasive bands and artists operated outside the mainstream. They combined influences from new wave, synthwave, post-punk, and the avant-garde with German lyrics -- and occasionally other languages -- releasing their music in very small editions on indie labels or entirely DIY. As a result, many of these records are now rare and highly sought after. The tracks emerged in a cultural climate strongly shaped by the rupture brought about by punk. Five years after the second installment, the search for hard-to-find artists and rights holders began again. Thanks to the cohesion and supportive network within the scene, it has once more been possible to assemble a carefully curated and lovingly compiled selection. As with the first two volumes, part three follows an approach closely aligned with the DJ repertoire of the Damaged Goods nights. The focus is on captivating, danceable, and catchy tracks. Songs that often reveal their full impact on first listen in a club setting. The aim is to make forgotten or hard-to-access pieces audible and available again. The artwork is once again by Biljana Tomic, drawing on an industrial-apocalyptic sensibility and referencing the iconic facades of Horten department stores, evoking a visual aesthetic of the 1980s. The sound has once again been carefully remastered by Tom Morgenstern. Sowas von Egal Vol 3 seamlessly continues the series and presents itself as a lovingly curated snapshot of a highly productive yet often overlooked phase in German, Austrian, and Swiss pop history. Featuring Guyer's Connection, Starter, Bergtraum, Die Shadocks, Isolierband, Bizarre Leidenschaft, Ziggy & Eno, André Szigethy, Zero Zero, JaJaJa, Ti-Tho, Vorgruppe, X-Beliebig, Trick 17, Die Egozentrischen 2, and Tommi Stumpff.
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FFL 097LP
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Carefully remastered and restored by Gilles Laujol. Graphic design by Stefan Thanneur. Comes in heavyweight 180gr LP. 425gm brown board outer sleeve with four-page portfolio. At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It's Not Up To Us. The following year he came to Paris in the wake of Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: Us, Mother Africa, Exactement, and Funny Funky Rib Crib. Funny Funky Rib Crib is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul. If Lancaster had already made successful albums in the same genre -- notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal -- this one is an homage to James Brown and Sammy Davis, enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), and Joseph Traindl (trombone). Funny Funky Rib Crib's cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of "Just Test," "Dogtown," or "Rib Crib" -- the two versions of which display leader Lancaster's art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, "Work And Pray" and "Loving Kindness" are meditative tracks where listeners can lay back and relax before asking for more.
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AKU 1057LP
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Repressed!Ak'chamel, The Givers of Illness plunged into truly deranged extremes to summon the decayed, otherworldly essence captured on Spiritually Unemployed, embracing unhinged and esoteric methods during the tracking process. Recorded in a makeshift adobe studio amid liminal border-zone ruins. Nocturnal treks along forgotten stretches near the U.S.-Mexico line, through derelict border outposts and sun-bleached vehicle husks, yielded unique recording opportunities: Ak'chamel dragged tape decks like sacrificial talismans, to capture gravel crunch, distant javalina fights, and unintentional EVP-like anomalies. Harvesting the psychic weight of migration, abandonment, and geopolitical limbo. A half-broken oud, double-reed pipes, a battered hurdy-gurdy, and self-built spike fiddles were "tortured" pre-recording; strings detuned to unstable microtonal chaos, reeds soaked in questionable desert-sourced liquids, and instruments were kept outdoors to absorb ambient dew, dust, and wild temperature swings, ensuring every take carried an unpredictable, haunted instability. Vintage cassette decks and reel-to-reel units were powered through erratic, low-voltage setups (literally dying generators) which introduced random voltage drops, speed fluctuations, and ghostly dropouts mid-take -- turning tracking into unpredictable spirit interventions. Fresh analog takes were dubbed onto tapes previously buried in arid soil throughout the hot day, then exhumed and played back while layering new overdubs; creating a palimpsest of temporal erosion where past decay bleeds into present performance. Live performances were blasted through overloaded, malfunctioning analog chains (cranked cassette walkmans, battered spring reverbs filled with gravel, warped echo units), then physically "mauled" by running the tape through sandpaper-wrapped capstans or crushing segments underfoot before resplicing -- resulting in tracks that feel compressed, twisted, and ruptured. Thus the desert claims its due: instruments tortured into prophecy, tapes interred and exhumed in chapels of malfunction. Spiritually Unemployed is the resulting artifact -- a sonic border autopsy where enlightenment arrives not as a sealed doctrine but as an open infested wound.
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CT 085LP
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2026 repress; reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby.
"If you had to pick one album that best represents the pinnacle of the art of dub, you'd cull the candidates down pretty quickly to ten or 12, and it would get very difficult after that. Few would fault you for ending up with this one, though, which stands as perhaps the finest collaboration between two of instrumental reggae's leading lights: producer and melodica player Augustus Pablo and legendary dub pioneer King Tubby. Among other gems, this album offers its title track -- a dub version of Jacob Miller's 'Baby I Love You So'-- which is widely regarded as the finest example of dub ever recorded. But the rest of the album is hardly less impressive. 'Each One Dub', another cut on a Jacob Miller rhythm, possesses the same dark and mystical ambience, if not quite the same emotional energy, as 'King Tubby Meets Rockers Uptown,' and the version of the epochal 'Satta Massaganna' that closes the album is another solid winner. Pablo's trademark 'Far East' sound (characterized by minor keys and prominent melodica lines) is predominant throughout, and is treated with care and grace by King Tubby, who has rarely sounded more inspired in his studio manipulations than he does here. Absolutely essential." --Rick Anderson, All Music
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AKU 1001LP
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2026 repress; LP version. As the first entry in its catalog, French label Akuphone presents a reissue of Lily Chao's Chinese Folk Songs, originally released by Four Seas Records in 1968. This edition includes four previously unheard titles and exclusive liner notes containing Lily Chao's biography and lyric translations. Chao Xiao-Jun aka Lily Chao was born in Taiwan in 1948, while mainland China was rapidly undergoing major changes immediately following the end of the Chinese Civil War. After experiencing hard times in her girlhood, she ventured out into singing quite unwillingly. Indeed, at age 19, Lily Chao was compelled to give up her studies to support her family and start a career as a singer, after passing an audition at the Taipei Cabaret in Taiwan. The cabaret industry was in full swing at the time, offering destinations for popular entertainment, and Lily Chao's efforts to launch her singing career immediately attracted producers' attention. Her appearances at the Taipei Cabaret as part of its shows, which combined music in Mandarin, poetry, drama, magic, and other fine arts, soon earned her a reputation. Despite the immediate success that her numerous stage performances and appearances on the national television channel won her, Lily Chao led a chaotic and painful private life. As she smiled very little and tended to appear distant, the audience dubbed her the "Ice Queen," a nickname that she would keep for the rest of her career. This barely-concealed melancholy can be felt throughout Chinese Folk Songs, as well as in her very particular way of singing, which is both jerky and perfectly fluid. The album stands halfway between Mandarin folk songs and rock singing inspired by The Shadows, all surf guitar and garage sounds recorded with pinpoint precision and enhanced by saxophone and organ touches, while Lily Chao's intoxicating vibratos bring a pinch of soul to the music. An outstanding achievement of timeless pop music from the 1960s.
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LMS 1725862
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LP version. The Durutti Column's Vini Reilly album is available again to everyone. Produced by Stephen Street (The Smiths, Blur, The Cranberries, New Order). Many new champions cite the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis). Includes booklet.
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VAMPI 322LP
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Step into the golden era of soul-jazz with the long-awaited vinyl reissue of Vibrations by Roy Ayers Ubiquity -- a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers' sound at its peak. Originally released in 1976, Vibrations stands as a cornerstone in Ayers' catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide. Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the "Godfather of Neo Soul," Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and Vibrations is one of its purest expressions. The album flows effortlessly between moods: from the jazz-inflected elegance of "Searching" to the irresistible funk pulse of "The Memory," the dancefloor-ready "One Sweet Love to Remember," and the laid-back, atmospheric title track "Vibrations." Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment. Beyond its original impact, Vibrations has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture. After almost two decades out of print, Vampisoul present this much-needed vinyl reissue of an essential album in Roy Ayers' career. Whether you're discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.
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9780993351426
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304 pages. Hardcover. Omniverse - Sun Ra by Hartmut Geerken and Chris Trent. Expanded and revised hardback third edition. Published by Art Yard. Over thirty years after its first publication, Art Yard present the revised third edition of Hartmut Geerken's Omniverse - Sun Ra, a definitive hitch-hiker's guide to the Sun Ra galaxy. This new revised edition features a fully revised discography by Chris Trent, co-author of The Earthly Recordings of Sun Ra. Includes hundreds of images of Sun Ra album covers, posters, handbills and ephemera, including reproductions of rare hand drawn and colored LP sleeves. Bound in French fold cover, metallic foil blocking on blue Faimei cloth hardback. Comprehensive pictorial and annotated discography, including chronological discography and alphabetical record title, composition, personnel and record label indexes. Also features jackets and label indexes and hundreds of photographs of Sun Ra and His Arkestra in New York 1966 and Germany 1979 by Val Wilmer and Hartmut Geerken from Heliopolis Cairo Egypt 1971 an updated discography by Chris Trent, co-author of The Earthly Recordings of Sun Ra. With essays, photo documents by Hartmut Geerken, Val Wilmer, Amiri Baraka, Robert L. Campbell, Chris Cutler, Gabi Geist, Salah Ragab, Sigrid Hauff, and Karl Heinz Kessler.
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WRWTFWW 017LP
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2025 repress. We Release Whatever The Fuck We Want Records present the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film Ghost In The Shell (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers alongside Joe Hisaishi and Ryuichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making Of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world. Ghost In The Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron's Avatar (2009), the Wachowskis's The Matrix (1999), and Steven Spielberg's AI: Artificial Intelligence (2001). For fans of anime, manga, movie soundtracks, science fiction, ambient, folklore, Japan, Akira (1988), artificial intelligence, Midori Takada. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon).
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6FFCND186
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To the best of anyone's knowledge this performance by John Tchicai and Cadentia Nova Danica was the first ever jazz- or improvisation-type concert held at London's hallowed recital room Wigmore Hall. 1968 was a year of Denmark's extensive cultural program in Britain, which included a poorly attended CND concert, not recorded, on 2nd October at Manchester's Free Trade Hall. That this was to be the sole concert by Tchicai -- of New York Contemporary Five, New York Art Quartet, Coltrane's Ascension fame -- was stupefyingly ridiculous so Anthony Barnett set about trying to organize a London concert. He traipsed the capital in search of an available venue without luck until, with no thought of a positive outcome, he entered Wigmore Hall. To his astonishment, with few questions asked, they said yes. Following that, there was the matter of work permits. Barnett visited the relevant office and they too said yes, probably because of the involvement of The Royal Danish Embassy and the Danish Cultural Ministry with the Manchester concert. Danmarks Radio asked the BBC to record the concert on its behalf. The arrangement was that Barnett would receive a small fee and a complete set of the tapes. Afterwards, it turned out that the BBC had edited the tapes down to what it sent to Danmarks Radio, as broadcast and now heard here for the first time since. Sadly, and quite true to form, the BBC had wiped the rest. And it was a struggle for Anthony Barnett to get back the tape that did remain. Possibly it shows how difficult things can be when one acts independently. Featuring Cadentia Nova Danica at the absolute peak of their powers; furious, rich and dense, moving between freeform improvisation and African touchstones before erupting into incandescent free improvisation. Includes an insert with the reproduction of both Wigmore Hall and Manchester's Free Trade Hall original press releases. Liner notes by Anthony Barnett.
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WE 019LP
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2026 repress! The long-overdue revival of Bim Sherman's catalog begins here. These essential recordings are widely available again for the first time in decades, opening a new chapter in the appreciation of one of Jamaica's most distinctive voices and representing a major moment for reggae and dub aficionados around the world. This reissue series not only preserves his legacy but also offers listeners the chance to experience the depth and timeless resonance of Sherman's work in its full glory. Bim Sherman -- born Jarret Lloyd Vincent, in Westmoreland, Jamaica -- holds a unique place in reggae history. Emerging in the mid-'70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations. The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman's artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman's various tracks into spectral presences that drift in and out of the mix. The arrangement and production -- minimal yet profoundly textured -- captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space. Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae's most otherworldly and visionary figures.
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2LP
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VP 2773LP
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"Limited edition double LP set. For the first time together, the complete Torch Of Freedom sessions. The acclaimed follow up to the classic Pick A Dub And Flesh Of My Skin album. Original raw manmba label Jamaican mix, plus Keith's UK remix and re-sequence. Includes bonus dub crying previously only available on rare import 7" single. Features the classic 'Turn The Heater On' as cover by New Order. Extensive sleeve notes by Keith Hudson biographer Vincent Ellis."
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CD
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NOMORE 010CD
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Last copies, reduced price of this 2001 release. Soul Folks is a live date from 1998, a celebration of Frank Lowe's lyrical side. The group explodes with raw beauty and emotion. There is a sweet soul that enraptures you upon listening as the music swings -- hard. Featuring Bertha Hope (piano), Jack Walrath (trumpet), Steve Neil (bass) and Ralph Peterson (drums).
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2LP
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FAITBACK 001LP
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2026 repress. Faitiche presents a long-lost vinyl album. Since 2003, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks, "Moiré (Guitar & Horns)" and "Poren", B-sides from Tendency EP (2000).
"Don't be misled by the title, though for there isn't a finger-snapping rhythm bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm." --Alternative Press
"The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people's arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas." --ATM
"Jelinek's sound evolved out of his dislike for (and inability to play) keyboards." --RPM
"Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub techno framework. . . . Jelinek might as well have sampled a horn player's hissing intake of breath - it would have been 'jazz' enough for his purposes." --The Wire
"It's a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm." --Pitchfork
"All you need to know is that these onomatopoeic non-specific songs . . . are warm, paradisiacal creations." --NME
"Listen carefully and you'll hear textures slowly unfolding and mutating. Presuming you've not fallen asleep of course." --iDJ
"At times, it's all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness" --DJ
"Loop-Finding-Jazz-Records is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along." --Boomkat
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LP
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DIS 012LP
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2026 repress on crystal red transparent vinyl. Pressed with a fluorescent orange (Pantone 805) cover. "Twelve songs by Minor Threat. Tracks 1-8 are from the first Minor Threat 7". Tracks 9-12 are from the 'In My Eyes' 7". Recorded and mixed at Inner Ear Studios in Arlington, VA. Tracks 1-10 recorded in April of 1981 and mixed by Don Zientara and MT. Tracks 11-14 recorded in August 1981 and mixed by Don and MT. Originally released June 1, 1984."
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LP
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GB 1541OBILP
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LP version. Japanese edition. Originally released in 2018. Hot on the heels of Impulse's unearthed Coltrane number one hit album comes another beauty from Jazz's "Holy Trinity." This is a previously unreleased, precious lost treasure from Monk's most critically acclaimed line-up; Charlie Rouse on saxophone, John Ore on double bass, and Frankie Dunlop on drums. The music was recorded live in Copenhagen in 1963 at the peak of Monk's career. A year later he was to feature on the cover of TIME magazine, one of only for four jazz artists ever to do so. The performance, a mixture of Monk originals and interpretations of standards, showcases Monk at his prime: full of avant-garde flair and wit, but always with a swinging feel that explains his title as the "High Priest of Bebop." The original tapes, saved from a skip and blessed with the approval of the Monk estate, have been faithfully restored, mastered and cut using Gearbox's legendary all-analogue process.
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LP
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GUESS 275LP
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LP version. The story of The 2nd Coming begins in the late 1960s, when psychedelic music was sweeping across America. While California became the epicenter, a parallel scene was quietly exploding in Florida -- fueled by young musicians inspired by the British Invasion and artists like Hendrix and Cream, yet searching for a heavier, more original sound. In Sarasota and Bradenton, a tight-knit group of players gathered around a small venue called Club Toro. Among them were Larry Reinhardt, Reese Wynans, Richard "Hombre" Price, Berry Oakley, and Dickey Betts -- musicians who would soon help shape what the world would later call Southern rock. What started as cover bands quickly evolved into something louder and more experimental. Out of this scene came two interconnected bands: The Load and The Second Coming (featuring Dickey Betts and Berry Oakley). By 1968, both groups had relocated to Jacksonville, Florida, sharing houses, stages, and an emerging musical vision. Their live shows -- especially at legendary local spots like the Forrest Inn -- became marathon jam sessions, drawing crowds of up to 2,000 people and attracting players like Duane Allman, Butch Trucks, and Jaimoe. These collaborations would ultimately lead to the formation of The Allman Brothers Band, while the remaining members continued forging their own path -- raw, heavy, and deeply rooted in blues, psychedelia, and improvisation. In April 1969, a new, revamped line-up of the Second Coming -- rechristened as The 2nd Coming -- and featuring Larry Reinhardt (guitar), Reese Wynans (organ), Richard "Hombre" Price (bass) plus two drummers (Monty Young and John Meeks), entered Sound Laboratory in Jacksonville to record what would become the Evaluations album. But when the band couldn't pay the $6,000 studio bill, the album was shelved. A failed trip to New York to secure a deal sealed its fate, and the band soon dissolved. The master tapes were left behind -- lost and forgotten for decades. The legend might have ended there -- until the late 1990s, when the original master tape was rediscovered in a storage archive. Purchased by the former band members, the recordings were finally back in their rightful hands. After years of remaining unheard, the project has now been fully restored and released in collaboration with Guerssen Records, bringing this powerful, long-lost recording to light for the very first time. Sourced from the original masters, featuring artwork in silver foil by artist Fez Moreno. Includes insert with liner notes by original member Richard 'Hombre' Price. Includes download card.
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CD
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NOMORE 011CD
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Last copies, reduced price of this 2001 release. Frank Lowe and Billy Bang pay tribute to the late Denis "Jazz" Charles with studio date One For Jazz. The three musicians worked together extensively in their '70s group The Jazz Doctors. Bang and Lowe pay tribute to their old friend by playing some serious music. Nobody plays like Bang or Lowe; they need the heavy rhythm section of Ed Schuller on bass and Abby Rader on drums to balance them out. People are still talking about their debut at the Vision Festival in NY.
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LP
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GUESS 262LP
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Pioneering compilation/concept album from 1968 featuring key psychedelic bands from San Francisco. A real fest of fuzzed-out psychedelia , garage and folk-rock. Conceived by legendary (and controversial) producer Matthew Katz, Fifth Pipe Dream Volume I is a groundbreaking psychedelic album from 1968 that blurs the line between compilation and concept record. Featuring a rotating cast of Katz's San Francisco Sound artists, it encapsulates the creativity and experimental spirit of the Bay Area at its lysergic peak. Rather than a traditional various-artists compilation, Fifth Pipe Dream was designed as a unified listening experience -- multiple bands contributing to a single, flowing psychedelic journey. At a time when this format was virtually unheard of, Katz assembled a genre-defying release that still feels ahead of its time. The album brings together key underground acts from the late '60s psychedelic scene from San Francisco. The album moves seamlessly across styles while maintaining a cohesive, trippy atmosphere. Released in November 1968 under Katz's San Francisco Sound imprint, the album reflects both the creative explosion -- and the business controversies -- of the era. Katz famously controlled band names and recordings, leading to miscredited tracks and ongoing legal disputes with artists like Moby Grape and Jefferson Airplane. Despite (or because of) this, Fifth Pipe Dream stands as a fascinating snapshot of a scene in flux -- where artistic ambition, experimentation, and industry tensions collided. Though no follow-up volume ever appeared, Fifth Pipe Dream remains a cult cornerstone of the original San Francisco psychedelic era. Carefully remastered sound. Original artwork in gatefold sleeve. Four-panel color insert with detailed liner notes and photos/memorabilia. Featuring It's A Beautiful Day, San Francisco Sound House Band, Tripsichord Music Box, West Coast Natural Gas, and Black Swan.
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LP
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1FFJT176
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Limited 2026 repress. Alga Marghen/Formalibera present the first of a series of released documenting the work of Danish composer and multi-instrumentalist John Tchicai. This new LP features two previously unpublished recordings, "Beautiful United Harmony Happening" with Don Cherry and "Education Of An Amphibian" with Sahib Shihab. Tchicai returned to his native Denmark in July 1966 after spending a remarkable four years in New York City. In that short span, he helped redefine and expand the relationship between soloing, collective improvisation, and composition in small free jazz ensembles such as the New York Art Quartet, the New York Contemporary Five, and on albums such as New York Eye and Ear Control with Albert Ayler and John Coltrane's Ascension. It certainly counts as one of the most fertile periods in any artist's career. Yet when he returned to Europe, Tchicai turned his attention primarily (although not exclusively) to large ensemble music. The breakthroughs made in New York were not lost, but transferred to a large group context, opening up further avenues of exploration. "The Education of an Amphibian" by the John Tchicai Octet represents a first try at "Komponist Udøver Ensemble," or "Composing Improvisers Orchestra," an approach that further blurred boundaries between improvisation and composition. Recorded in October 1966, the piece presents Tchicai as composer and guiding presence; an organizer of sounds; and an explorer of a widening musical vocabulary drawn from contemporary classical and African influences. "Beautiful United Harmony Happening" is something different -- an opportunity to embrace new modes of interdisciplinary performance. From the beginning of his return to Denmark, Tchicai sought out not only musicians, but artists in all artforms and began to organize happenings. Although rarely noted, ideas linked to Fluxus, performance art, and happenings were a large influence of Tchicai's thinking at this time. All these related movements sought to blur or erase boundaries between media and set up juxtapositions between styles and artforms that disrupted received ideas of "high" and "low" art. Participation by non-artists introduced elements that challenged ideas about virtuosity and legitimate expression. Random elements were embraced, and non-Western music and concepts were welcome. This performance, heard here in an excerpt from the full two-hour performance, is very much in this vein. It is one of the last performances involving members of Cadentia Nova Danica, but they are only one component (and hardly the focus) of an ensemble that included a five-member chorus of disciples of the Swami Narayanananda (Tchicai lived at the yogi's ashram and had organized the choir himself), the Diane Black Dance Theatre, and trumpeter Don Cherry. Includes insert.
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Book
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9798218849962
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200 pages. "Eternal Rhythm: Conversations & Travelations with Don Cherry and Graeme Ewens offers an intimate, free-flowing portrait of a legendary improviser and musical visionary. Drawn from priceless cassette-taped interviews gathered since 1979, the book is woven together by writer Graeme Ewens -- a confidant, travel companion, and close friend of Don Cherry. Through Ewens' vivid storytelling and Cherry's own reflections, Eternal Rhythm traces a life lived in constant motion -- artistically, spiritually, and geographically. The result is an unfiltered insight into the evolution and working life of a musician globally recognized as one of the most unique, innovative voices to emerge from the '60s free-jazz movement. It's a rich exploration of creativity without borders, capturing the essence of Cherry's expansive global musical journey. Printed in black and white and color.
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CD
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BB 507CD
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With Sowas von Egal Vol 3, the Hamburg-based Damaged Goods DJ team continues its compilation series on Bureau B, once again turning its attention to the underground scenes of Germany, Austria, and Switzerland in the early 1980s. The selected tracks originate from a period in which, alongside the commercial Neue Deutsche Welle (NDW), a number of innovative and often more abrasive bands and artists operated outside the mainstream. They combined influences from new wave, synthwave, post-punk, and the avant-garde with German lyrics -- and occasionally other languages -- releasing their music in very small editions on indie labels or entirely DIY. As a result, many of these records are now rare and highly sought after. The tracks emerged in a cultural climate strongly shaped by the rupture brought about by punk. Five years after the second installment, the search for hard-to-find artists and rights holders began again. Thanks to the cohesion and supportive network within the scene, it has once more been possible to assemble a carefully curated and lovingly compiled selection. As with the first two volumes, part three follows an approach closely aligned with the DJ repertoire of the Damaged Goods nights. The focus is on captivating, danceable, and catchy tracks. Songs that often reveal their full impact on first listen in a club setting. The aim is to make forgotten or hard-to-access pieces audible and available again. The artwork is once again by Biljana Tomic, drawing on an industrial-apocalyptic sensibility and referencing the iconic facades of Horten department stores, evoking a visual aesthetic of the 1980s. The sound has once again been carefully remastered by Tom Morgenstern. Sowas von Egal Vol 3 seamlessly continues the series and presents itself as a lovingly curated snapshot of a highly productive yet often overlooked phase in German, Austrian, and Swiss pop history. Featuring Guyer's Connection, Starter, Bergtraum, Die Shadocks, Isolierband, Bizarre Leidenschaft, Ziggy & Eno, André Szigethy, Zero Zero, JaJaJa, Ti-Tho, Vorgruppe, X-Beliebig, Trick 17, Die Egozentrischen 2, and Tommi Stumpff.
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2LP
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VAMPI 298LP
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2026 repress. A selection of 28 Colombian cumbia bangers for the dance floor from the deep vaults of Codiscos and associated labels Costeño, Zeida and Famoso, all of them originally released between 1962 and 1983. Cumbia Cumbia Cumbia!!! combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. The historical origins of cumbia in Colombia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. The main record companies in Colombia such as Discos Fuentes, Discos Tropical, Sonolux, Zeida-Codiscos, Silver, Ondina, Discos Atlantic, Vergara and Curro were created between Barranquilla, MedellĂn, Cartagena and Bogotá from 1936 to 1954. All of them, without exception, recorded Colombian tropical music that over the years was given different names such as porro, gaita, fandango, paseaito, merecumbĂ©, mapalĂ©, bullerengue or, of course, cumbia. After digging deep into the overwhelming archive of Discos Fuentes in the previous volume, this second instalment in the series Cumbia Cumbia Cumbia!!! comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Codiscos and associated labels Costeño, Zeida and Famoso, all of them originally released between 1962 and 1983. Legally established on July 1, 1950, Zeida (later Codiscos) was one of the companies that consolidated MedellĂn as the epicenter of the Colombian recording industry in the central decade of the last century. Cumbia Cumbia Cumbia!!! combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Featuring Los Hermanos Martelo, Los Trotamundos, Antonio LeĂłn Y Su Conjunto, AntolĂn Y Su Combo Orense, Francisco Zapata, Crescencio Salcedo, Sonidos De Gamero, Los Teen Agers, Miguel Villalba Y Su Conjunto, Calixto Ochoa, Alfredo GutiĂ©rrez Y Los Caporales Del Magdalena, El Michi Y Su Combo Bravo, Los Graduados, Gabriel Mesa, Adolfo Pacheco Y Su Conjunto, El Conjunto Miramar, El Combo Cienaguero, La Sonora Universitaria, Orquesta De Marcial Marchena, Rita Fernández, Jaime Llano González, Los Arko, Aniceto Molina Y Su Conjunto, Los Bobby Soxers, Catalino Y Su Combo Negro, La Cumbia Moderna De Soledad, Alejandro Bernal, and Grupo La Droga.
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2LP
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FFL 096LP
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Carefully remastered and restored by Gilles Laujol. Graphic design by Stefan Thanneur. Heavyweight 180gr double LP. 425gm brown board gatefold outer sleeve with four-page portfolio. At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It's Not Up To Us. The following year he came to Paris in the wake of Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. The recording of Exactement required two sessions in the studio: February 1st and May 18th 1974 -- in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent "Mother Africa." Two names appear on the cover of Exactement: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On "Sweet Evil Miss Kisianga," his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow. It is Lancaster's horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities. Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note -- ends up by playing exactement the note he had to play.
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LP
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BB 490LP
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LP version. Recorded in June 1978 during a sweltering Paris summer, Ose's Adonia captures a rare alignment of intellect, imagination and emerging technology. At just 26, Hervé Picart was living three parallel lives: scholar of rhetoric and ancient languages, journalist for the French music press (notably Best), and guitarist /bassist in progressive garage bands. Drawn increasingly away from British prog toward keyboards and synthesizers, he began envisioning a more spatial music situated somewhere between Pink Floyd, Tangerine Dream, and Kraftwerk. That triangulation would define Adonia. Ose itself was conceived as a variable-geometry project devoted to concept albums, with narrative and composition as guiding forces. Picart imagined a platform that could accommodate shifting collaborators and literary or interplanetary themes. For Adonia, the collaboration formed close to home. Through his journalism he had befriended Richard Pinhas of Heldon, a fellow academic and near neighbor in Paris' Latin Quarter. Their shared philosophical and musical affinities created a natural bond. Picart invited Pinhas not simply as a guest but as a key creative partner, overseeing electronic arrangements and contributing guitar and synthesizer work. Heldon drummer François Auger completed the trio, valued for his remarkable ability to play tightly against sequencers without losing fluidity. Arriving with detailed demo tapes, Picart had mapped much of the material in advance, yet the studio remained a site of invention. Sessions took place at night in Barclay's large studio on Avenue Hoche, by day home to a grand orchestra, prompting moments of astonishment when classical musicians encountered the trio's imposing array of synthesizers, including the Moog 55 modular system. Recorded in a week and mixed in three days: a focused, pre-digital intensity emblematic of the era. Conceptually, Adonia fuses ancient myth and speculative fiction. Over time, the album attained cult status, its sonic freshness undimmed. Standing at the crossroads of Berlin School electronics, progressive rock and early synth-pop, Adonia refracts these currents through a distinctly French sensibility and Pinhas' singular presence. Nearly half a century on, its fusion of myth and modernity remains vivid, a testament to a fertile moment whose echoes continue to resonate.
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LP
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BB 502LP
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LP version. When Conal was released in 1981 on the Norwegian independent label Uniton Records with an initial run of 4,000 LPs, Schnitzler had already long been known beyond the borders of the Federal Republic of Germany and was now appreciated worldwide as a media artist and musician. In addition to the many cassette and LP editions he released himself, international labels were now increasingly releasing his music. In the same year as Conal, for example, the album Control was released on the American label DYS, followed in 1986 by Concert in the USA and Consequenz 2 in Spain. Schnitzler worked tirelessly and his total work of art, including his music, was becoming increasingly multifaceted. Conal is a good example of this development.
"The two tracks, each around 21 minutes long ('N1' and 'N2'), are not cast from the same mold, but consist of several parts blended together, which are not noted as such in the credits. This sequence creates the character of a narrative divided into several chapters, which, however, does not offer the listener a concrete plot. Schnitzler was not a storyteller. When he divides long pieces into clearly distinguishable sections, as he does here in Conal, it is in order to create a kind of panoramic view of his current work phase in condensed form. The complexity of the individual sections and the extraordinarily skillful and technically flawless crossfades and layering suggest that Conal was once again produced in Peter Baumann's studio. Although the good relationship between the two musicians never led to a musical collaboration, Baumann repeatedly made his extremely well-equipped Paragon Studio available to Schnitzler. It is also conceivable that Baumann and his brilliant sound engineer Will Roper provided useful technical suggestions for the realization of Schnitzler's music. Conal is one of those albums that, when it was released in the early 1980s, astonished Schnitzler listeners in a positive way: Schnitzler had once again dared to take an artistic step forward. It is hard to comprehend that this restless, uncompromising artist released one high-caliber album after another in relatively quick succession. For he was not only a musician, but also a media artist, performer and author of art theory texts. Fortunately, Conal is one of the treasures from his catalogue of works, and I have already asked elsewhere: How many other treasures are waiting to be rediscovered. The grand mosaic that is Schnitzler still has gaps, even when the contours are clearly visible." --Asmus Tietchens, 2025
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2LP
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MR 508LP
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This album is a collaborative project born from the creativity, cooperation, and boldness of three completely different artists who decided to combine their talents to shape this remarkable work. Ignacio Scola is a Spanish record producer who, in the early 1990s, released albums with a number of artists, including well-known names such as Juan Luis Guerra, Willy DeVille, and Manu Dibango. Rita Marley was a Jamaican singer who had been a member of the Soulettes -- something like a Jamaican version of The Supremes -- in the mid-1960s. While still very young, she married Bob Marley and lived through a turbulent relationship, overshadowed by her famous husband. After Bob's death, she decided to resume her artistic career and released several noteworthy reggae albums, which were later rediscovered by Scola and issued in Spain through his record label. He subsequently became her producer and organized several concerts for her, bringing her a certain level of recognition and helping her songs reach major radio playlists. When Scola presented Marley with a song he had composed, "Miracle Baby," dedicated to his newborn son, she agreed to record it immediately. The original recording was completed with arrangements by Spanish cult artist Gregorio Paniagua, and the result was so striking that they decided to record more songs following a similar approach. Scola would show Paniagua the song sketches, and they would later meet in Paniagua's studio to embellish them with instrumental arrangements, as well as contribute their own ideas -- creating a kind of artistic ping-pong completed by Rita Marley's voice, who traveled from Jamaica to Madrid to take part in the recording sessions. The result is an album of sophisticated and experimental pop, in line with other works by Gregorio Paniagua, in which Marley showcases her extraordinary vocal talent, rooted in soul and Jamaican music, built around Scola's concept. Companies such as Luaka Bop and Disney showed strong interest in the album, which was ultimately released in 1995 on Scola's own label, Tabata. Munster presents here, for the first time on vinyl, Spectacles for Tribuffalos -- never before reissued -- along with the remixes by Spanish ambient producer Suso Sáiz, influenced by trip-hop, dub, and more, previously unavailable on vinyl. Includes an insert with liner notes.
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LP
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GUESS 288LP
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One of the most sought-after albums from the US Xian rock scene, originally released in 1971. Hard psychedelic rock with male/female vocals and loud fuzz-wah guitar, imagine a mix between the Stooges and Jefferson Airplane. Sourced from the original master tapes. Original artwork in hard cardboard sleeve. Includes insert with liner notes and photos.
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LP
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WWSLP 116LP
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LP version. Wewantsounds continues its extensive reissue program of Meiko Kaji's early discography, originally released by Teichiku Records in Japan between 1972 and 1974. The Quentin Tarantino muse -- famous for her starring roles in Lady Snowblood and Stray Cat Rock -- was also a gifted singer. Otoko Onna Kokoro No Aika is another collection of superb cinematic songs featuring Kaji's signature mix of Japanese pop and groove, backed by lush, atmospheric orchestrations. This includes her rendition of "Tokyo Nagare Mono," the theme song for Seijun Suzuki's cult 1966 film Tokyo Drifter. This reissue features the original artwork, an OBI strip, and a four-page insert with new liner notes by Hashim Kotaro Bharoocha, who interviewed Meiko Kaji for the occasion. Japanese actress Meiko Kaji has become a worldwide cult icon, partly thanks to Quentin Tarantino, who heavily based his Kill Bill films on the 1973 revenge classic Lady Snowblood. While her previous albums often featured a few key theme songs from her films, Otoko Onna Kokoro No Aika is a classy offering of Showa kayōkyoku (pop) and enka, the "Japanese blues." Kaji approached the record with an actress's sensibility, treating each cover as a dramatic role. The tracklist is anchored by two highlights: the funk-infused arrangement of "Ginza No Cho" (Ginza Butterfly) and Kaji's iconic rendition of "Tokyo Nagare Mono" (Tokyo Drifter). While the latter was famously the theme for Seijun Suzuki's 1966 cult yakuza film of the same name, Kaji's version brings a modern, 1970s feel to the melody. Throughout the record, traditional themes are infused with contemporary grooves, blending lush orchestrations with funky basslines to create a hypnotic, cinematic atmosphere that is uniquely her own. Reissued in its full glory for the first time and remastered by Teichiku in Tokyo, Otoko Onna Kokoro No Aika is a welcome new addition to the Wewantsounds Meiko Kaji reissue campaign, which is sure to please all of her fans worldwide.
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CD
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WRJ 001CD
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2024 repress. We Release Jazz (WRWTFWW Records' new sister-label) presents its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery, originally released in 1976. Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous, and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence, and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have. The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (WRJ 002CD/LTD-LP) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing two live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come. Sourced from the original masters. CD comes in digipack.
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LP
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GUESS 289LP
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Blastin' underground hard-rock from Canada, 1972, ultra-raw guitars and vocals. Ellison were a Montréal-based hard-rock/heavy-blues band emerging from Québec's late '60s psychedelic scene. With just one album to their name, they left behind a powerful legacy and a rapidly growing cult following. The band's origins trace back to 1967, when bassist Richard Arcand and vocalist Vincent Marandola played together in Johnny Peace. In 1969, guitarist Christian Vaeillant and drummer Robert Cager joined forces with them, forming Ellison. Closely tied to l'Association des Orchestres -- a collective led by Jean-Claude Brosseau dedicated to Québec's underground movement -- Ellison quickly became part of a rising wave of hard-rock and psychedelic blues acts redefining the local scene. By 1971, Ellison were building momentum through relentless live performances across college campuses and schools, earning a strong following. In 1972, the band entered the studio with the Supreme label to record their first and only album. Released that same year, the record captured the raw intensity and spirit of their live shows. On March 31, 1973, Ellison performed what would become their last known show in Montréal. Shortly after, they disappeared without a trace from the live circuit, leaving behind a single album and a lasting reputation within Québec's underground. Featuring original artwork in hard cardboard sleeve. Newly sourced/remastered sound. Includes insert with liner notes and photos.
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LP
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GUESS 277LP
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Writing On The Wall were a legendary Scottish underground psych/prog band whose explosive live reputation rivaled the early UK heavyweights of the late '60s/early '70s. From Edinburgh soul rebels to theatrical psychedelic warriors, they were signed to the Middle Earth label, releasing their sole album, The Power Of The Picts, in 1969. Sadly, despite critical praise, major live popularity and opportunities to break internationally, the band's career became trapped in management disputes, failed label deals and bad luck, leaving much of their finest material unreleased for decades. This compilation gathers some of that material: their killer non-LP "Lucifer Corpus / Child On A Crossing" 45; early psych stuff including the rare Jury acetate; the 7-minute Mellotron-fueled "Buffalo" and rare TV broadcast recordings. Comes in hard cardboard period sleeve. Includes insert with track-by track annotations by original member Jimmy Hush and rare photos.
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2LP+CD
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BEC 5161064
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2025 repress, with CD format included. Justice, the French duo formed by Gaspard Augé and Xavier de Rosnay -- the band of a whole generation. When the two friends were still bright students in graphic design, in 2003 they made Justice a place to experiment a hybrid genre between music and image, which blends pop and electronic borders, and showcases the talents of two fascinating, passionate pop culture craftsmen, bored with hierarchy. They met Pedro Winter, who had just founded his label Ed Banger Records -- he immediately signs them after listening to "We Are Your Friends," which, with its joyful and vitamin-enriched electro beats combined with exhilarating voices, became the hymn of a whole generation and one of the most important tracks of the year 2000, celebrating a reconciliation of pop music and the dancefloor. It was awarded an MTV Video Award in 2007, bringing about the famous live TV appearance with Kanye West outraged that his million-dollar clip was outclassed by a home-made bomb. (Once the misunderstanding was cleared up, Justice, Ed Banger and So_Me became a constant source of inspiration for Kanye and his superstar rapper colleagues. Kanye even employed So-Me as director for the video for his hit song "Good Life"), Jay Z will use "D.A.N.C.E" for his next album. From now on, the duo's ascent was constant and then lightning struck: remixes for N.E.R.D., Britney Spears, Franz Ferdinand, U2, Daft Punk, Lenny Kravitz and an EP in 2006 (Waters Of Nazareth) defining the "Justice sound," this famous ultra-powerful compression of pop and baroque melodies, both dark and threatening; lightning and animative; and above all, the famous Justice image, the cross from which an earlier version figures on the first EP. 2007 was the explosion that would turn the duo into the emblem of a whole generation: their first album, anticipated like the Messiah, swept everything away as an epic soundtrack and was more than a magnificent synthesis of our time. 800,000 sales worldwide and 4 years later, the album is considered a mainstay of the 2000s -- one of the few who bridged the gap from the Pitchfork world to MTV without losing its credibility. Housed in a mindfuckingly deluxe gatefold sleeve.
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2LP
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UMA 191LP
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Between 1999 and 2000, Merzbow entered a new artistic phase, embracing digital production and refining his sonic language. He moved away from the tape collages and improvised circuitry of his earlier years. In their place arose monumental sound structures, dense and meticulously sculpted. Harsh noise, tribal rhythms, and corrosive textures merged into a single, overwhelming sonic body. Yoshinotsune emerged during this especially fertile period and stands as one of Masami Akita's most evocative works. The album weaves together historical, mythological, and personal references, drawing inspiration from the figure of Minamoto no Yoshitsune. From the outset, bird calls, radio interference, and electronic signals create an enigmatic atmosphere. The result is an unsettling soundscape suspended between nature and technology. Throughout the album, the sound continually transforms, alternating between ominous beats, unearthly moans, and ritualistic pulses. These elements evoke tribal rhythms filtered through circuitry and digital distortion. The music drives forward with relentless force while maintaining a constant tension between motion and stillness. Rather than simply overwhelming, it invites the listener to become immersed in its intricate details. This new double-vinyl edition, mastered by Lasse Marhaug and limited to just 199 copies, greatly expands the original experience. The three tracks from the CD are spread across four sides, with the addition of two previously unreleased pieces. This format highlights the depth of the low end, the nuances of the digital processing, and even the acoustic guitar passages. As a result, the work gains a broader, more tactile, and more detailed physical presence. What makes Yoshinotsune so compelling is its perfect balance between technical precision and creative instinct. Though meticulously constructed, its structures retain a raw and immediate vitality. Akita's hand can always be felt, shaping the sound with intensity and sensitivity. This reissue fully restores the grandeur of one of Merzbow's richest and most immersive recordings, now expanded with two bonus tracks.
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LP
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RM 4273LP
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A note from David Grubbs: "Somewhere in the Wind is the third record that Loren Connors and I have made together. Of the three, it's the first that consists exclusively of electric guitar duos and it's the first that was recorded live. To me it feels very much like a live record; this music happened in crowded rooms in Brooklyn on two dates in 2025 and there's an urgency to connect with others and a pleasure in doing so that can be heard on both of these tracks. On the first of our duo records (Arborvitae, 2003) I primarily play piano, and on the second (Evening Air, 2024) we switch off on piano and guitar. Both of those albums bespeak the privacy of the recording studio, where time is suspended and one can explore the quietest of sounds. By contrast, Somewhere in the Wind is the noisiest, most raucous and most free of our duo records. It's the sound of us taking it to the stage. I became a fan of Loren's playing from the moment that I first heard it, after happening upon a beat-up copy of In Pittsburgh circa 1992 in a used bin in the Dr. Wax record store in Chicago where my then-bandmate Bundy K. Brown worked. Everyone has taken a chance on a record because it looked interesting and wouldn't set you back too much. In that regard In Pittsburgh was the find of a lifetime. I had just switched from playing in a postpunk power trio (Bastro) to making mostly drummerless respect-your-neighbors music (Gastr del Sol), and Loren's pacing and touch and his lovely, unaffected compositions had me from the first listen. Not long after that, Jim O'Rourke and I reissued In Pittsburgh on our Dexter's Cigar label, and I fondly remember first meeting Loren in New York's Grand Central Station -- so glamorous for this country mouse -- and taking the train upstate with him where he shared a bill with Gastr del Sol. During soundcheck, Jim, Loren, and I played together for a bit and Loren's approach to the instrument was something that one could instantly sink into, the kind of situation where there are no mistakes. I still feel that when we play together."
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LP
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SOR 009LP
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Money Maker is a rare 1978 release by the great Jamaican organ wizard Jackie Mittoo. A must have instrumental reggae classic which blends a series of killer-riddims originally laid down at Studio One and Mittoo's highly infectious gritty funk organ work.
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LP
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WWSLP 117LP
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Wewantsounds continues its Middle East reissue series with Assa'd Khoury's 1978 rarity, Electronic Touches Belly Dance. Reissued for the first time in nearly 50 years in partnership with Byblos Records founder Mozart Chahine, the album features Oriental classics reimagined through Khoury's pioneering electronic keyboards. This definitive edition includes original artwork, remastered audio, a new introduction by Ahmed Khalil (Dikraphone), and an exclusive interview with Chahine, the album's producer, conducted by Mario Choueiry (IMA). Long a highly coveted find for DJs and vinyl collectors worldwide, Assa'd Khoury's 1978 album Electronic Touches Belly Dance has earned its cult status as one of the most sought-after instrumental LPs from the region. This release marks the very first reissue of the album, which has remained virtually impossible to find since its original pressing. Khoury (1953-2020), a Syrian virtuoso pianist, violinist, and leader of the Spring Band, bridged Levantine tradition with the cosmic, psychedelic textures of the late 1970s. As Dikraphone's Ahmed Khalil notes in his introduction, the music serves as "a sensory portal to a bygone Damascus, where a psychedelic Farfisa and mesmerizing rhythms create a unique groove" that remains remarkably fresh today. The album's history is tied to the legacy of the venerable Lebanese Chahine family. Mozart Chahine, son of the inventor of the quarter-tone keyboard, founded the Byblos label to champion music from the region. In an exclusive interview conducted by Mario Choueiry (IMA), he recalls encountering Khoury at his Damascus music store and recording the entire album in a single day. "The musicians were seasoned, much like jazzmen," Chahine reminisces, noting that the session captured a rare, immediate energy between the ensemble members. The musical journey spans the Arab world, offering electronic reinterpretations of Arabic standards and paying respect to Egyptian master Sayed Darwish. A cult classic that will surely please all Arabic groove lovers.
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LP
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WE 010LP
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2026 repress. Keith Hudson, who temporarily worked as a dentist in the ghettos of Kingston, emigrated to New York City in 1976 and died there prematurely in 1984. He is best known for his work as a producer for artists such as U-Roy, Big Youth, Ken Boothe, and Horace Andy and within short order Hudson brought his all-round talent to full fruition. In 1974, he produced two ground-breaking albums. Pick A Dub was one of the first official dub albums ever, and is still considered to be one of the greatest moments of Jamaican music. In addition, the unique Flesh Of My Skin, Blood Of My Blood became the first concept album in reggae history. Thematically dedicated entirely to black history, this masterpiece captivates with an atmosphere that is as dark as it is deeply spiritual, charged by Hudson's eccentric vocals. In 1981, he created the dub masterpiece Playing It Cool, Playing It Right which he produced with the help of Wackie's founder and mastermind Lloyd 'Bullywackie' Barnes. It remained the only collaboration between the two producers. Hudson decided to release it on his own label Joint International as he has done on his previous releases. The album continues Hudson's psycho-acoustic journey into the abyss of existence and has the power to overwhelm the listener with the beauty of artistic self-empowerment. "Too Much Formula" sings Hudson, whose voice occasionally recalls Sly Stone, "Darkest Night" answers an echoing background chorus found elsewhere on the track "California." Hudson's production techniques are fascinating on this album. There is often a kind of flashing-whip sound on the snare, which adds dynamics to the whole album. Rarely has a dub record sounded so electrifying, with radical spatial sound spreading out in all directions and rarely has it been as crystal clear, with warm bass and echophonic treatments as contained within these 30 minutes of music. 43 years after its first release and 20 years after its last re-release on the German-British label Basic Replay (Basic Channel/Honest Jon's), Playing It Cool, Playing It Right is now finally available again via Week-End Records, with a newly revised master and a rare interview with Lloyd 'Bullywackie' Barnes, talking about the making of this amazing album.
"It feels fresh and sounds amazing." --Lloyd Barnes Wackie's
"Legendary, strange, compelling music." --Mark Ainley, Honest Jon's
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LP
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SOR 008LP
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Every N*gger is a Star is the legendary soundtrack to the cult 1973 Jamaican film! Composed and arranged by popular Jamaican singer and bassist Boris Gardiner, this music still sounds as the perfect blend between reggae and Blaxploitation oriented soul-funk groove. Needless to remember that in 2015 the title track was sampled for the opening track of Kendrik Lamar's iconic album To Pimp For A Butterfly -- in other words an essential release for all the ghetto-sounds freaks out there!
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LP
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IMPREC 125LP
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When Eleh's debut Floating Frequencies/Intuitive Synthesis I was originally released it was praised as a powerful piece of new electronic minimalism. Twenty years later the artist's legacy has grown while Eleh continues to hypnotize new listeners with time stopping music. Critics, fans and neurologists have praised the music of Eleh as aiding attention and focus while seeming to slow time. Eleh's slow change drones are a state of flow hypnotizing listeners into meditative focus. From the original packaging: "Pure Sound. Pure Volume. Pure Analog. Dedicated To La Monte Young." Eleh began in 1999 as an exploration of analog synthesis, emphasizing low frequency difference tones and other resonant acoustic phenomena. Eleh highlights the physical presence of sound as it has been inspired by the physical world. There is also something "cathedral-like" and cosmos-inducing in the sound constructed by Eleh. This audiophile quality presentation of Eleh's debut album was mastered by Tom Eaton at Sounds And Substance and manufactured at Optimal in Germany for the lowest possible noise floor and the highest analog resolution. Packaged using a 5th color metallic shimmer ink on solid black board stock.
"Nuances of sound turn symphonic." --New York Times
"Eleh's sounds move by stealth and are sculpted from the world rather than from ego. Eleh is not a personality; Eleh is an idea about sound. Eleh forces you to contemplate the cosmos and your place in it." --Gramophone
"Eleh demonstrates how a single amplified gesture delivered just so can reveal the inner workings of an entire cosmos." --Tony Herrington/Wire
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CD
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BB 447CD
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Released in 1974, Zuckerzeit marks a clear turning point in Cluster's work, introducing shorter formats and a more defined rhythmic framework. The increased use of drum machines and structured sequencing sets it apart from the duo's earlier, more diffuse recordings, while maintaining a focus on texture and tone. Developed in close proximity to Michael Rother and under increasingly independent production conditions, the album establishes a more direct and accessible approach without simplifying its underlying ideas. This standard edition makes the album available again on CD and vinyl following the previous limited anniversary release. A key recording in Cluster's catalogue, capturing a pivotal moment of transition and refinement. In 1974, Cluster entered the sugar era. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit ("sugar era") launched a revolution for Cluster. Strictly speaking, Zuckerzeit is not really an album by Cluster. More precisely, the LP contains two mini solo albums by Moebius and Roedelius. Those who were familiar with the stylistic peculiarities of the two musicians could easily relate the solo pieces to either one of them. As Roedelius and Moebius had not yet released any solo works by the time, it was actually not possible to draw up any comparisons yet. Zuckerzeit is light and cheerful, freed from the Germanic gravity and the mystic incense fumes that were so fashionable at the time. Cluster managed to keep both feet on the ground without becoming plain or even sterile. The friendliness of the music is clearly due to the two personalities of Roedelius and Moebius; its down-to-earth character possibly comes from Michael Rother, the album's coproducer. When comparing Zuckerzeit to the works of other electronic combos produced at the same time, it is first of all the shortness of the tracks that seems most striking. The fact that Cluster worked in such a calm and collected way, that they concentrated on their musical ideas instead of losing themselves in long-windedness -- all this taken together gave way to the creation of electronic miniatures that sounded as extraordinary in the 1970s as they still do today.
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LP
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FARO 190LP
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2026 repress. LP version. Far Out Recordings present a reissue of Azymuth's Outubro, originally released in 1980. Following on from their seminal album Light As A Feather (1979), Outubro ("October") began Azymuth's run of prolific output for Milestone Records throughout the decade. Typifying the consummate craftsmanship of the three members's performances - each with such distinct personality and together so perfectly balanced - their perfectionist attitude to sound is maintained across the production on the album, beautifully coloring the expressionist fusion of samba rhythm, jazz progression, funk attitude and psychedelic electronics. The album hosts a wonderful mix of tempos and styles, from Alex Malheiros's earth-shaking slap-bass on "Dear Limmertz", which was to become a hit on London's underground disco and jazz-dance club scenes alike, to the late maestro Jose Roberto Bertrami's genial melodic Rhodes excursions on the vocoder laden, samba-jazz masterpiece "Un Amigo", while Ivan "Mamao" Conti's signature swing on "Maracana" exemplifies the root of Azymuth's "samba doidoi" ("crazy samba") philosophy. The two cover versions on the album consist of the title track, which was originally penned by Milton Nascimento, and Chick Corea's "500 Miles High", both of which magically re-imagine the originals and further demonstrate the immense virtuosity of this cult recording. This reissue was mixed and mastered from the original tapes.
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