Record Store Day 2020 : Full List With No Pricing

This exclusive Record Store Day version is pressed on 7″ picture disc.

Not previously released on vinyl

Acid Mothers Temple & the Melting Paraiso U.F.O.are a Japanese psychedelic rock band, the core of which formed in 1995.The band is led by guitarist Kawabata Makoto and early in their career featured many musicians, but by 2004 the line-up had coalesced with only a few core members and frequent guest vocalists.

The band has released albums frequently on a number of international record labels as well as the Acid Mothers Temple family record label, which was established in 1998 to document the activities of the whole collective.
‘Nam Myo Ho Ren Ge Kyo’ is an album by Acid Mothers Temple & The Melting Paraiso U.F.O., first released on CD only in 2007 by Ace Fu Records and now re-mastered by John Rivers at Woodbine Street Studio especially for vinyl release for RSD 2020.
‘Nam Myo Ho Ren Ge Kyo’ is a phrase which was expounded by a 13th century Japanese Buddhist monk called Nichiren.The chant translates to somewhere between “I devote myself to the Mystic Law of the Lotus Sutra”, or the more traditional “…the Wonderful Dharma of the Lotus Flower Teaching”.

Pressed on vinyl for the first time this Record Store Day, this EP documents a time of profound flux for Anoushka: health issues, heartbreak and domestic upheaval.

Collaborating with almost exclusively female peers, this album features a host of trail-blazing women including twin sister vocal duo Ibeyi, singer and cellist Ayanna Witter-Johnson, renowned Indian singer Shilpa Rao, Brooklyn-based mastering engineer Heba Kadry (Björk, Slowdive) and British audio mastering engineer Mandy Parnell (Aphex Twin, The XX).

BBC Radiophonic Music is the first compilation of music released by the BBC Radiophonic Workshop.It featured music by three of the Workshop’s most prominent composers, John Baker, David Cain, and Delia Derbyshire.The album was originally released by BBC Radio Enterprises in 1968 to coincide with the Workshop’s 10th anniversary, and later re-released in 1971 on the BBC Records label.
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Fourth Dimension is a 1973 BBC Records release featuring recordings created by the BBC Radiophonic Workshop composer Paddy Kingsland.Although it was credited to “The BBC Radiophonic Workshop” it was the work of Kingsland alone, and was the first album of Workshop music to feature only one artist.It features theme tunes used by BBC radio and television.
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The Radiophonic Workshop is a 1975 compilation album by the BBC Radiophonic Workshop, similar in concept to the earlier BBC Radiophonic Music of 1971.The album featured a variety of work demonstrating many of the various techniques the Workshop used.Unlike its predecessor though, it was far more synthesiser orientated.
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Through A Glass Darkly is a 1978 album by Peter Howell and the BBC Radiophonic Workshop.It featured six original instrumental compositions including “Through A Glass Darkly – A Lyrical Adventure”, a 19-minute track which took up the whole of the first side of the record.Much of the music on the album leaned far more towards the prog rock of the 1970s than the previous output by the Radiophonic Workshop.

St.Vincent, who plays guitar, bass and keys in addition to remixing the song, commented:

“I remixed Beck’s new song, ‘Uneventful Days!’ I guess I was listening to a lot of ’70s Herbie and WAR at the time and wondering how much funk was inside me, too.I sent it to Beck and he dug it, but he said ‘it should be 3 bpm faster.’ And what do you know? HE WAS SO RIGHT.It made all the difference in the groove.”

Released November 22, 2019 on Capitol Records, Hyperspace was immediately hailed as yet another creative peak for modern music’s consummate chameleon: The ASSOCIATED PRESS raved “There is not a boring moment on the entire album,” USA TODAY added “nearly 30 years and 14 albums into his career, Beck has rarely been better than he is on Hyperspace,” while David Fricke of ROLLING STONE’s 4-star lead review likened Beck’s voice on “Uneventful Days” to “David Bowie’s Major Tom checking in from distant orbit.”

Modern Leper (Frightened Rabbit)
Modern Love (David Bowie)

All proceeds will be donated to ‘Tiny Changes’, a mental health charity set up in memory of Scott Hutchison.

The 45 rpm vinyl included in the package is a replica of Blaze’s first commercial release on the Houston-based Zephry label circa 1979.

SIDE A

Black Hole Sun
Searching With My Good Eye Closed

Pressed on vinyl for the first time ever, Side A will feature the original version of But I Might Die Tonight written for the film Deep End, which starred Jane Asher and is something of a UK cult classic.

1. Toothache (Chemical Risk Mix)
2. Chemical Risk Dub (Toothache Mix)
3. Nine Acre Dust (Chemical Brothers Remix)
4. Toothache (Instrumental Mix)
5. Patrol (Chemical Brothers Mix)

Over the course of her trailblazing career, Charli XCX has earned critical acclaim for her forward-thinking musical output and refreshing entrepreneurial spirit that has seen her carve her own lane on the global pop circuit. A singer, songwriter, video director, documentary maker, radio host and record label boss – there’s nothing the British 26-year-old can’t turn her hand to.

Charlotte Aitchison, aka Charli XCX, has become one of the hottest creators of her generation and is the multi-award-winning talent behind the multi-platinum and global No.1’s “Fancy” and “I Love It” and UK Top 10 “Boom Clap”.

Charli has accrued two Billboard Music Awards, a YouTube Music Award, two Sesac ‘Songwriter of the Year’ Awards, plus nominations at the Grammys, BRIT Awards and MTV EMAs. Not to mention the studio time she’s commanded with the likes of Blondie, Selena Gomez [Charli co-wrote her U.S. No.1“Same Old Love”], Gwen Stefani, Benny Blanco, David Guetta, Zara Larsson, Khalid and Diplo.

Alongside her music projects, Charli has been a strong fixture within fashion. In May, Charli attended the Met Gala as a special guest of Anna Wintour and Vogue, followed by a performance at Cannes Film Festival for the amfAR Gala. With two albums under her belt – True Romance (2013) and SUCKER (2015) – Charli will release her third studio album Charli September 13th 2019.

Side A
Surrender To Love – A Mix By The Avalanches

Side B
Out Of Control – The Avalanches Surrender To Love Mix

Following the chart success of Cherry Ghost’s debut ‘Thirst For Romance’, Aldred felt disillusioned with touring an album he viewed to be stylistically “schizophrenic.” Whilst proud of the songs on that record, he had visions of something more cohesive, more mood-based – where ideas re-occur, images are fragmented and songs bleed into one another.Similarly, he’d been returning heavily to artists like Sparklehorse and Wilco.After nearly a decade on the dole, once Cherry Ghost brought Aldred financial stability the first thing he did was travel Europe – the album is galvanised by these solo rail journeys through cities like Berlin and Rome.Like Scott Walker’s late 60s work, it’s a romantic vision of a Europe filtered through the lens of an outsider.Atmospherics, too, would be crucial – Aldred had been listening to film soundtracks, and songs here are linked by unmoored instrumental passages.

‘Beneath This Burning Shoreline’ is overwhelmingly in a minor key, and choruses are few – ‘Kissing Strangers’, however, is the album’s only anthemic moment.”That references my days a young gay man” says Aldred, “staggering between bars but yearning for something more.”

The album’s most powerful moment is the haunting ‘My God Betrays’ – “it is” he explains, “a completely bleak portrait.” Inspired by the writings of Albert Camus, the song is an anti-hymn to a malevolent God, a prayer to a Lord who plays to the crowds and turns on the weak.’People Help the People It is Not’.There is, however, some redemption – the chiming ‘Black Fang’ is one of the most successfully realized love songs in Aldred’s back catalogue.A decade on, it remains Aldred’s proudest work – “It’s the one I always go back to, to remind myself what I get out of music.”

The instrumentation – Aldred is joined on keyboards and light percussion by Christian Madden and Grenville Harrop – brings to the fore Aldred’s peerless songwriting, his oak-aged, prematurely wisened baritone.’History’ wrote the Quietus in 2014, ‘will be kind to Aldred’, and this collection proves exactly that – with a bit of time and distance, the songs presented here show a highly singular, highly accomplished songwriter, aspiring to the pop classicism of Glen Campbell or Bill Callahan.

All of human life is here – tracking a drizzly Northern gothic of last bus loneliness, late-night Spars, solitary drinkers, factory floors and Gods that betray.And yet, there’s more than meets the eye.There’s magnetic renderings of his best known songs – ‘4AM’, ‘People Help the People’, the soaring ‘Mathematics’ – but surprises reveal themselves.’All I Want’ and ‘Herd Runners’ candidly examine Aldred’s sexuality, whilst the seldom heard b-side ‘Bad Crowd’ reveals Aldred to be a much funnier songwriter than remembered.

What runs right through Aldred’s work, however, is a yearning – a much tested faith in romance – so no wonder that the album ends on its most optimistic notes, at the darkest point of winter nestled in the West Yorkshire valleys, promising clear skies ever closer.

Dalvanius and the Fascinations’ “Voodoo Lady” from 1977 which originally was swept aside as a b-side takes over one side.A perfect slice of south pacific disco to set any dance floor alight.
Whilst on the flip, Golden Harvests’ AOR vocal gem “I Need Your Love” from 1978 will immediately get stuck in your head wherever you might go.

Over the past eighteen months’ Warm’s Ali Tillett and Micky Browne have been discussing records and sharing insights into each other’s record collections.Off the back of this RE:WARM is born as an outlet to showcase music from both their collections that they felt deserved to be revisited and shared with the world as a lot of it had previously been overlooked or worse still, undiscovered.

Both having collected records for twenty years or more, their influences and ever-growing collections range from Folk, Jazz, Soul, AOR, Disco, Funk, House, Balearic and much more in between.So over the months and years to come expect every musical stone to be unturned on their quest to reintroduce friends, Peers and contemporaries to some of their favourite over looked gems, all lovingly repackaged and presented with stunning new art work and original photos.

For their inaugural release to launch the RE:WARM label on record store day 2020 they have gone all the way to the Southern Hemisphere for a New Zealand double header.

First up on the A side is Dalvanius & The Fascinations phenomenal track, Voodoo Lady.On first release this track started life as the B-side of the lead track “Checkmate on Love” but later moved to the A side with a slightly longer Disco Version.This version is more recently starting to appear in collectors want lists and on auction sites around the world.

On the flip is Golden Harvest with their AOR-Disco anthem, I Need Your Love.One of those tracks for premium dancefloor moments of joy and hands in the air excitement.This one started life on the independent N.Z label Impact in 1977 and later in 1978 got the Warner Bros treatment for Neighbouring Australia and was later to be included on their only album Golden Harvest – Golden Harvest.

CHANGESNOWBOWIE is a nine-track mostly acoustic session which was recorded in 1996 in New York during rehearsals for Bowie’s 50th birthday concert at Madison Square Garden.The BBC broadcast the session the following year, on Bowie’s 50th birthday on January 8, 1997 by Mary Anne Hobbs

CHANGESNOWBOWIE is a nine-track mostly acoustic session which was recorded in 1996 in New York during rehearsals for Bowie’s 50th birthday concert at Madison Square Garden.The BBC broadcast the session the following year, on Bowie’s 50th birthday on January 8, 1997 by Mary Anne Hobbs

A lot of the songs were recorded right after they were written, and I like that roughness. “Turn Back to Love”” was written after the Nazi rally here in Charlottesville, when staying home and facing that extreme ugliness felt very important. “In Front of Your Loved Ones” was recorded in Whitehorse, Yukon, while I was in the early chapters of a pregnancy that didn’t work out. “Feather Over”” was from a BBC session that had a crazy-satisfying instrumentation of me, guitar, a male voice, and a bari clarinet. I had an app that would jokingly, almost creepily, tell me what size my in-utero baby was compared to certain vegetables. That stuff made it into “Heavy Love.” And “Wings on a Wallflower” again cycles back to that middle-of-the-night panic brain, and the experience of living with and raising people who tend toward introversion.

Pink 12″” “

The coloured vinyl LPs are presented in a gatefold sleeve with illustrated inner bags and full episode billings, cast and credits.

Produced by Vini Reilly and Stephen Street (The Smiths, Morrissey, Blur), the original working title of the Vini Reilly album was The Durutti Column Sampler.The sleeve itself samples Bob Dylan circa Highway 61 Revisited, showcasing an iconic portrait by Mark Warner.Indeed much about the album flirts with mainstream culture, being a deliberate attempt to position Reilly as a ‘pop’ artist following his chart-topping collaboration with Morrissey on Viva Hate.This collaboration is further explored on the bonus 7″ single, which features rare outtake I Know Very Well How I Got My Note Wrong and exquisite homage For Steven Patrick.

Bonus tracks on this 2020 double-disc remaster include several never before issued on vinyl, including William B and Red Square from the extended CD version of Vini Reilly, plus all four tracks from pristine performance CD WOMAD Live.Recorded at the WOMAD Festival in Cornwall in August 1988, the core Durutti duo of Vini Reilly and Bruce Mitchell are here augmented by Andy Connell on keys and Chinese opera singer Liu Sola.

Still known for his 1968 masterpiece “”Ask the Unicorn”” (remastered / reissued by Tin Angel in 2015), Askew has been crafting a sort of art crooner pop for decades — vivid imagistic lyrics supported by wild melodies and his increasingly warm voice.Askew’s two most recent studio albums are also on Tin Angel and feature Sharon van Etten, Marc Ribot and Mary Lattimore.

“”The songs are intensely personal…but also somehow universal in their humble portrayal of the human condition.”” – Ben Graham, The Quietus

The tour was with Neilson own psych folk darlings, Trembling Bells.The groups soon began to mingle.By the end, everybody sang back up on the Sikh dharma quoted in Heron’s ‘A Very Cellular Song.’ And early on Ed Askew’s set included Neilson on drums and Mike Hastings of the Bells on guitar in addition Askew’s keyboardist Jay Pluck.

Prior to what would be an iconic show at Cafe Oto in London, this group went to Flesh and Bone Studio in Hackney to record a session live to track with Owen Pratt.They were joined by friend and collaborator, violinist Jordan Hunt (The Irrespressibles, Theo Adams Company).
This EP is that live to track afternoon session.The songs, all of them from the tour set list, cover the range of Askew’s career.

The title track from his 1968 masterpiece is there; and also ‘Little Eyes’ which is a title track as well from the “”sister album”” to Ask the Unicorn which was recorded the same year but remained unreleased until 2007 (DeStijl).

‘Coast to Coast’ and ‘Little Clouds’ are brand new songs — “”All the times I’ve tried / to love some guy / to love some guy.””

‘Starlight in Brooklyn’ was written the night Askew got home from his very first tour in 2012.And ‘Roadio Rose’ remains Askew’s most played and one of his most amazing songs.””Askew also has a painter’s talent for imagery and symbolism; the black rider breaking silver chains amid the tumbling piano chords on ‘Roadio Rose.'”” — Ben Graham, The Quietus

White 12″” Vinyl
“

70TH Anniversary of this unique recording taken from Scarborough born Edith Sitwell series of poems and on the 100th anniversary of the original transcripts…
Released with the original rare Jim Flora artwork, this beautiful package includes 26 page lyric booklet…

Sitwell was like the Wahol of her day, publishing a mountain of essays and poems covering every aspect of the arts…
The Scarborough-born poet-eccentric extraordinaire who had once publicly declared that her immense wisdom had been born of a long, unrequited love affair with the Russian painter, Pavel Ychelitchew – unrequited on the account of his homosexuality…

Sitwell fan Morrissey, heavily featured Edith as his tour mascot on his Kill Uncle tour and used her image as his stage backdrop and on his T-shirts…

and like Morrissey, Sitwell also had a knack of putting her foot in it, pontificating at one of her world famous Bayswater Tea parties, I have been bought up on Rhythm as other children were bought up on Glaxo! And another, when a coachload of noisy children were arriving, “it almost makes one wish for another King Herod!”

The edition of this new album, unfortunately abandoned at the time, fills this void, accompanied by an explanatory booklet with photos and documents.

This limited edition Record Store Day package will take you on as many twists and turns as the music itself – expect the unexpected.Expect something super special, expect vinyl colours colliding, expect sleeve notes to end all sleeve notes – expect nothing you’ve seen or heard before.”

“Field Music’s most bounteous harvest yet.” —- Mojo
“A work of incredible beauty and complexity.” —- The Sunday Times
“The brothers Brewis reconvene to make a modern gem.” —– Uncut
“A superbly off kilter record from Sunderland’s Sparks” —- Q

Remastered and reissued on limited edition heavyweight red vinyl in original gatefold sleeve format.Includes bonus tracks, special notes by the album’s producer and a record sleeve poster.

CD version also available.

– Deluxe Stoughton tip-on jacket,
– Booklet featuring a treasure trove of previously unseen images, and notes by Fred Neil’s son, Christopher Lasher.

Mastertone Studios, NYC,1965…Amidst mounting friction with producer Paul Rothchild, Fred Neil walks out of the unfinished sessions for what was to be his debut album, “Bleecker & MacDougal”.Fearing Fred wouldn’t return to the studio, his friend and guitar player, Peter Childs, invited him over to his apartment at 38 MacDougal.According to Childs, “the best chance to get him back wouldn’t be to try to persuade him verbally, but to get him over to the apartment for a bit of music-making”.Luckily for us, Fred accepted the invitation.What ensued was an afternoon of pure Fred Neil, playing and singing the way he always preferred, not on stage or in a recording studio, but in an informal setting amongst friends, captured on Ampex reel to reel, and stored for over fifty years!

The apartment recordings at 38 MacDougal were beautifully detailed in Peter Lee Neff’s 2018 Fred Neil biography, “That’s The Bag I’m In”.Fred and Peter play songs that would later wind up on Bleecker & MacDougal (“Travellin’ Shoes”, “Country Boy”, “Gone Again”, “Candy Man”, “Little Bit Of Rain”), a definitive “Sweet Cocaine”, and two PD songs that don’t appear on any other Fred Neil album; the traditional folk song, “Once I Had A Sweetheart”, and the African-American spiritual, “Blind Man Standing By The Road And Crying”.The latter is our personal favorite, and despite the biography mentioning the song cutting off before it ends, Delmore’s tape magically

America then recorded ‘Horse with No Name’ at the same studio.

Released for the first time on collectible 10″ vinyl with a CD version and comprehensive sleeve notes.

02_Elizabeth Street 5.41

The track featured in the cult documentary ‘A Short Film About Chilling’, and has been included on dozens of compilations since release, including Paul Oakenfold’s seminal Goa mix.

Fast forward to now.DJ Paul Woolford, a long-time fan of the track, steps into the studio and produces a 13 minute epic re-rub under his Special Request moniker, a widescreen soundscape for the dancefloor and the mind.”I had one of the best sessions in the studio ever”, he commented.The track is now set for release on deluxe 12″ clear vinyl via new label Chemical Alley, exclusively for Record Store Day 2020.

The Grid went on to tour the globe, and had a run of 10 UK chart singles, including the million selling ‘Swamp Thing’.They are currently in the studio working on brand new material, as well as a retrospective ‘Best Of’ album, including all their single releases, key remixes and deeper cuts.

The Grid are Dave Ball (Soft Cell) and musician and producer Richard Norris, also known for his work as Beyond The Wizard’s Sleeve.

Early in 2016 Ali Chant texted me, asking if I still wanted to record some stuff at his studio – as property developers were about to knock it down.Another creative space bulldozed away for capital gain.Politically it was a shit year.The noise building for the Brexit referendum that would fuck with the future of the young was in full swing.Bowie died, and on the morning of the first recordings I had the worst migraine.I left the building and threw up in the street.I wanted to commit to the lyrics and sing live so I think I was stressed about getting them ready to sing.

I had a batch of songs I wanted to record but I didn’t have a record label or any plans of what to do with them.
I gathered incredible musicians from my square mile in Cardiff in the van and drove to Bristol.Kliph on drums, Steve on bass and Osian on piano.
I sang and played guitar – We recorded live takes for 3 days then I sat on the songs for almost 2 years.Eventually handing them to composer Stephen McNeff to work on orchestral arrangements.

I called the album that was mixed by Samur Kouja; Babelsberg – and I’m very happy with it.

This album meanwhile is an exploration of how it came to be – and the songs in their raw state.A companion piece rather than the definitive article.
Most tracks are similar to the final work except for Selfies in The Sunset which is pre-duet and much longer.

At some point it would be great to release the amazing orchestral elements too.Maybe both records could be played at once.In the meantime please enjoy the fruits of Kliph Scurlock’s mixes and demo digging for (Don’t) Welcome The Plague As A Blessing.

I’m very grateful to Lisa Jen and Mirain Haf from the band 9 Bach for singing the background vocals.Kliph for overseeing this project, Rough Trade for their enthusiasm and thanks to the designers; thanks Uno Moralez for agreeing to have his incredible Babelsberg sleeve illustration carved up, and ace designer Mark James for this final article. Further thanks to Ali, Steve, Osian and also to Robin Turner for lending his ear at the time.

1. Frontier Man
2. The Club
3. Oh Dear!
4. Limited Edition Heart
5. Take That Call
6. Drones in the City
7. Negative Vibes
8. Same Old Song
9. Architecture of Amneisa
10. Selfies in the Sunset

Originally released in 1993, Vampire was not unique at that time in its 4 track recording methodology, but it was perhaps the first to garner major media attention.Many minds were blown, and a few were baffled enough to return the album to the store, believing the crude sound meant their copy was defective.

Vampire occupies a unique place in the GBV discography.The album is a snapshot of a brief time in the band’s history, a turning point after having broken up the previous year.It does not include any older or last minute material.Although sonically consistent, the songs exhibit tremendous variety, skirting several genres and many moods.The lineup is just a trio: Robert Pollard and brother Jimmy with Tobin Sprout.Although it could be described as one of GBV’s “difficult” LPs, it has several songs that could’ve been standouts on Bee Thousand or Alien Lanes.It was their first album that was not self-released.It is an innocent album, unaware of its audience, and fearless to the core as only true outsiders can be.As such, Vampire on Titus is an essential piece for even the more casual fan of the band.It’s also just a damn good album that’s held up to repeated listens for a quarter century.

13 year old Ian Prowse couldn’t have had a better education than the one encoded in the music of his era.It was the greatest explosion of conviction music the UK had ever seen.

Fast-forward to 2020, Britain and the world, more than ever, needs music to remind us that democracy doesn’t start and stop at a vote.That debate, awareness and freedom of thought is needed to make sure our political leaders are held accountable.Music can remind us our assorted histories doesn’t always have to define a future injustice.

The People Not The Crown is a 4-track, 10″ EP of protest.Taking two songs from his days leading Pele (cult 90s band) ‘Raid The Palace’ and ‘The Sport Of Kings’, one song from the acclaimed Here I Lie album ‘All The Royal Houses’ and a brand new track called ‘You Don’t Own Me’ A song specially written and exclusively for Record Store Day.

We have no idea what the future holds for any of us, but we do know – now is not the time to sit back and wait to see what happens.With the power of music we believe now is the time for change.

For Record Store Day 2020, Far Out Recordings presents a special ‘poisoned vinyl’ edition of Ivan ‘Mamão’ Conti’s critically acclaimed Poison Fruit album.The 180g splattered colour LP is accompanied by an exclusive bonus 7″ with a previously unreleased track from the original Poison Fruit sessions ‘Katmandu, and ‘Ninho’, a track never before released on vinyl.

From an artist in their seventies, you probably wouldn’t expect to hear an album like this.But Brazilian drumming legend Ivan ‘Mamão’ Conti has been experimenting and innovating for the last half a century.As one third of cult Rio jazz-funk trio Azymuth, Mamão was at the root of the group’s ‘samba doido’ (crazy samba) philosophy, which warped the traditional samba compass with jazz influences and space age electronics.Even with his lesser known jovem guarda group The Youngsters, Mamão was experimenting with tapes and delays to create unique, ahead-of-its-time sounds, way back in the sixties.More recently Mamão recorded an album with hip-hop royalty Madlib under the shared moniker ‘Jackson Conti’.

With his first album in over twenty years, and the first to be released on vinyl since his 1984 classic The Human Factor, Mamão shares his zany carioca character across eleven tracks of rootsy electronic samba and tripped out jazz, beats and dance music.Featuring Alex Malheiros and Kiko Continentino on a number of tracks, the Azymuth lifeblood runs deep, but venturing into the modern discotheque (as Mamão would call it), Poison Fruit also experiments with sounds more commonly associated with house and techno, with the help of London based producer Daniel Maunick (aka Dokta Venom) and Mamão’s son Thiago Maranhão.

Not previously released on vinyl

Originally recorded in Seattle, in 2000 and released on CD only later the same year ‘The Sundowner Sessions’ is a recording featuring John Massoni (electronics) and Sonic Boom (custom human voice synthesizer).

“[Sonic} can make something out of almost anything.He’d just pick out a tape of mine (I have a bunch of tapes with sound and drone experiments), and work something into a piece.His focus and ability not to be undermined by the limits surrounding him is really amazing to watch.We worked well into the night – thus ‘The Sundowner Sessions’ were born.” – John Massoni.

Never before released on vinyl but now re-mastered by John Rivers at Woodbine Street Studio especially for vinyl release for RSD 2020.

BMG

Produced by Steve Lillywhite (producer of U2/ Rolling Stones) and featuring Johnny Marr of The Smiths on guitar, this collection pulls together 12 ‘lost’ tracks for fans into a new compilation showcasing Kirsty’s unique vocals, including the Morrissey/Marr penned “You Just Haven’t earned It Yet Baby” from the soundtrack of the John Hughes movie “She’s Having A Baby”.Pressed on 180g Heavyweight Clear vinyl.

Pressed on heavyweight vinyl in original gatefold sleeve format.

CD version also available.

Elsewhere​/​Flawless​ are two on-the-fly ideas, born in the brain of ​Laneous​ and brought to life in the studio with Melbourne’s engineer-extraordinaire, ​Nick Herrera ​(Hiatus Kaiyote, 30/70, Nai Palm).Co-producing the track with ​Laneous​, they took a similar approach to that of their ​Sunny Side Up (​Brownswood Recordings​) contribution, ​Nice To See You.​ A process ​Laneous​ is fond of, he brought renowned Australian drummer ​Alon Ilsar​ in to lay down the backbone of the tracks, with intention to build on that and see where their two studio days took them.A process not for the faint hearted, ​Herrera​ often took the lead, drawing the ideas out of ​Laneous​ and capturing the magic that ensued.

The two tracks are as different as they are similar, both a collision of inspiration and improvisation – a space where ​Laneous​ truly shines.Writing, producing and playing all instruments bar drums, Elsewhere​ takes it back to the simplicity and excellence of an easy listening pop track that moonlights as a groove-heavy, soul/fusion jam.​ Flawless​, a club banger in its purest form, steps the energy up a notch, driven by a pounding 808 kick with hints of Neptunes era Kelis and Amp Fiddler-esque influence, bubbling beneath the surface.His ability to switch between genres and styles so fluidly and naturally is on full display here, providing a shiny glimpse into the brain of one of Australia’s most versatile musicians.

Although a highly respected and influential artist and musician in his community – with a career spanning over 10+ years leading cult bands ​Laneous & The Family Yah​, ​Kafka​, ​Kooii​ & ​Vulture St Tape Gang ​- 2019​ ​marked a change of pace for ​Laneous​ with the release of his highly anticipated record Monstera Deliciosa​, produced by ​Paul Bender ​of ​Hiatus Kaiyote​.The album caught the attention of radio hosts and DJ’s across the globe and at home, leading to a ​Victorian Music Award​ nomination for Soul Album Of The Year​ and more recently, nominated for ​Album of The Year​ at ​Gilles Peterson’s 2020 Worldwide Awards​.With a 2020 UK/EU summer tour on the horizon, along with a second album in the works, it’s hard not to feel as though ​Laneous​ is just warming up.

They’re also confirmed to play Jack Saunders’ Hopscotch club night – who’s a big fan of the band regularly featuring them on his BBC Radio 1 Introducing Show.

Included in NME’s 100 acts and The Sun’s 10 acts to watch out for next year – 2020 is all about Larkins.

Limited edition – only 1000 pressed worldwide.
No download code.Standard vinyl.

1.Hit and Run
2.Flood
3.Make You Better
4.Pieces

Holloway first began her career singing gospel music, then in the early 70s, she met her future producer, manager (and husband) Floyd Smith which kick-started her impressive recording career.Shortly after Holloway signed with the Atlanta-based soul music label ‘Aware’ where she recorded two albums: Loleatta (1973) and Cry to Me (1975).

Later, in the mid 70s she signed with top Philadelphia arranger and producer Norman Harris’ Gold Mind/Salsoul Records, where she recorded many more top charting hit singles and launched her career as a disco act.From then on (and until this day) Holloway’s songs (which became DJ favorites) were heavily remixed and sampled on a multitude of tracks from renowned acts such as Whitney Houston, Bobby Byrd, Raekwon, Flo Rida, Pitbull, Ice Cube…and MANY others.

Loleatta Holloway passed away at the age of 64 on March 21, 2011 leading to a wave of tributes and condolences from across the globe (Holloway also had a huge following in Europe and Japan).

Her second album (Cry to Me from 1975), which we are presenting you today, is a total classic…both the album (and the title track) peaked in the R&B and Billboard Hot Soul Singles charts.Cry To Me was produced by Floyd Smith and it features tracks penned by some of the most talented songwriters of the time…Sam Dees (Gladys Knight, Bo Diddley, Aretha Franklin) wrote five of the tracks on the album and his arrangements provide the perfect backdrop for Loleatta’s emotive, dramatic and powerful vocals.Curtis Mayfield also contributes the magnificent ‘Just Be True’ track and Jo Armstead (Ray Charles, Syl Johnson, Tina Turner) wrote the beautiful ‘Casanova’ song.

This record is a soul masterpiece extraordinaire…fantastic piano plays accompanied by chiming guitars, swirling strings, a powerful rhythm section and gospel tinged backing vocals.Loleatta’s vocals are devastatingly sad, as she sings about her relationship breaking up and the pain and sadness it’s caused her.She just sings her heart out… it’s almost impossible to listen to the album without getting caught up in the emotion.Loleatta roars defiantly, using all of her strength to deliver this classic slice of Southern Soul music.

Originally released in 1975, Tidal Waves Music now proudly presents the first official reissue of Loleatta’s classic Cry to Me album.Remastered from the original master tapes by Ginn Music Group-Aware Records and if features the original album cover designed by Ruby Mazur (Pharoah Sanders, Sun Ra, John Lee Hooker).This reissue comes as a deluxe 180g vinyl edition (strictly limited to 1000 copies) with obi strip…released exclusively for Record Store Day 2020 and available in participating stores on April 18.

Arguably Arthur Russell’s best known, if not finest works, this new 2 x 12” edition includes all the original versions plus the Masters At Work remixes as well as a previously unheard instrumental & accapellas! “

The band will be releasing their debue album on 13th March 2020 via Modern Sky whitch will include the singles Hawaii, Little Things and 21.

Sometimes life can be laborious.Sometimes it’s hard to think and hard to be, but I honestly believe the cure for mundanity and sadness of everyday life is love.We drew influence from our musical mothers and fathers and tried to create something exciting.

The Magic Numbers

Two families.

The Stodart’s & The Gannon’s.

We wanted to create music that was timeless.

We wanted to create a band that you could believe in.

We wanted to break your heart whilst lifting your spirit.

We wanted to make a classic debut album.

In 2004 The Magic Numbers were playing live almost every other night around London, making friends that soon grew into a following that spread the word the old school way, by word of mouth.People telling people about this new group comprising of two sets of brothers and sisters, who were singing a kind of country-soul-pop music with three part harmonies.From the outside things seemed to be happening very quickly, but I’d been writing songs and playing empty venues with our drummer Sean for 10 years before this momentum started building, and for us it really was always just a matter of time…but it sure took it’s sweet time.Honestly though, it was only when our sisters Michele & Angela brought their magic to the band did anyone start taking notice, as then we discovered a sound.There was an energy between us that was somewhat frenetic, it was powerful, we knew we had something special and unique and because of that it also made us very cautious and protective.

Fifteen years ago it felt like we were on top of the world, capable of anything, full of promise, full of innocence but also full of anxiety, still recovering from loss and having nothing.We literally had nothing but each other and this music.So many dreams of ours started coming true, from selling out shows and hearing people sing along to our songs in the crowd, to being given the opportunity to go into the studio by Heavenly.The biggest dream was to make a record.Jeff Barrett & Martin Kelly’s belief in the band and myself as a songwriter at that time really gave us that extra confidence and boost that I think every artist needs whether they’d like to admit it or not.So there we were, about to make this record.

Going into the studio can be a very daunting experience for a band, especially when the only real experience you’ve ever had was some home recording with a 4 track.We chose to work with Craig Silvey because we loved him straight away as a person and felt like he understood what we wanted to achieve.He was amazing at putting us at ease and not having us react

to that red light fever that sometimes creeps up on you.He wanted to stay true to what he’d seen us do live and just try and enhance that sonically as best as he could.

We had a shared vision of not wanting there to be too many overdubs on the record, as the core elements between the four of us when we played live was already telling the story in the way we had arranged the songs.It’s funny now to think that we ended up playing these huge festivals with literally a guitar tuner between us as we didn’t want anything else to colour the sound of our guitars being plugged straight into our amplifiers.

It’s always the songs for me that make a great record and we had the songs.

My sister Michele & I sat at our mum and dad’s and said “Right let’s write a song in D major” and I started pulsing on that opening chord and Michele’s bass line took us on a journey like they always do, that melodic hooky driving thing that she does is key to what makes this music.We had so much fun writing ‘Mornings Eleven’ that I feel the spirit of that moment was captured in the song.We never really said it out loud to each other at the time but we both knew we were trying to write our very own ‘Good Vibrations’ We’d have never thought that it would be the opening song on our debut album.

Some of the songs on this album just appeared fully formed.’This Love’ in particular was written pretty soon after I had learnt of our grandmother’s death in New York, I was heartbroken that I wasn’t there for her in those last days especially as she had raised me as a little boy.I can clearly remember playing that opening triplet guitar figure and the words and melody just came pouring out like they were always there, the same thing with

‘Which Way To Happy’ I remember the feeling of playing catch up to what was coming out.Over the years I’ve learnt that it’s a very rare thing, songs appearing fully formed like that, it still surprises me when they do arrive like a memory of some kind.’Love’s A Game’ felt like it had always existed, in fact for a very long time I would ask people “But does it remind you of anything?” I don’t remember writing ‘Forever Lost’ at all.I remember playing it to the band and us rehearsing it, having fun with the arrangement but no recollection of writing it.

So many songs came from such sad places, the end of a long term relationship, death in the family, feeling so lost and vulnerable, this yearning for something else, to be someone else but I guess unknowingly we disguised it with harmonies and hooks.

‘Love Me Like You’ was definitely one of those, no one spoke of the meaning of the song when I first played it, we all just dived straight in and started having fun with hooks and skips in the rhythm.It was the baby of the bunch, as it was only written a few months before we began recording, whereas ‘Try’ was probably the eldest of almost 2 years.Then there’s the duet between Angie and myself ‘I See You You See Me’.My mum and dad were arguing downstairs and I knew it would only be a matter of time before they would make up and laugh about how ridiculous they were both being.I based the song on that kind of love, one that sees through everything.Angela’s voice on that still melts my heart.

I’d bought a set of these glockenspiel tone bars from a charity shop in Hanwell one afternoon walking home from signing on at the job-centre and all the way back I was thinking about this much more tender arrangement of a song I’d written called ‘Hymn For Her’.The climax of the song on the third chorus was originally how it was all throughout.I

remember that day working on it with Michele and Angela as we were so excited about how it turned out we decided to play it live that night to a small few.

There’s so much love and hope and joy and honesty in this album.So much fun in the arrangements, so much youth and innocence in our voices.It encapsulates a very precious time within the four of our lives.I’m still our biggest fan.

Fifteen years later.

We’re still wanting to create music that is timeless.

We’re still wanting to be a band that you can believe in.

We’re still wanting to break your heart whilst lifting your spirit.

But we can’t ever make that first album again, this is it, we captured that moment in time…..and upon reflection it surpassed all of our wildest expectations.

Hope you enjoy listening.

Romeo Stodart

Marc Bolan’s passions included the blues, soul, rock ‘n’ roll, hard rock and disco-soul, and his intent to explore these genres are all visited on this collection of classic album tracks and singles.His influences – Jimi Hendrix, Eric Clapton/Cream and Bob Dylan are all apparent amongst the material on Shadowhead, but the music here is unique.Bolan’s creative fire produced a phenomenal catalogue of work: the material on this album was recorded over five years (1972 – 1976), in seven studios, in five countries.

This record provides insights into Bolan’s creative process whilst keeping the essence of the music in its classic form.Shadowhead showcases the development of tracks such as Precious Star and Groove A Little, and a track that made its public debut on the CD release, Blues Jam (Dreamy Lady Session).Other tracks reveal many of the instruments and sounds from the master tapes to enable the working processes to be more clearly understood.
This release marks the first time that this collection has been issued on vinyl.

Pressed on purple 180g Heavyweight vinyl

The second version of the song, by London’s Haha Sounds Collective and featuring Stereolab’s Laetitia Sadier on lead vocals, was recorded subsequently over several sessions, as it was a more elaborate affair involving 12 musicians.Also recorded at Wilton Way by Syd Kemp, the second version takes the initial concept and stretches it out, giving it breathing space and a huge mood.It pares the idea down to its essence, then builds it up vertically, stacking instruments and colours, creating an altogether different experience.

SILK ROCK
written by Chris A.Cummings (SOCAN)

SILK ROCK (Marker Starling version)

Personnel:
Joe Carvell – bass
Chris A.Cummings – Wurlitzer, Clavinet, Philicorda organ, Moog Voyager, lead vocals
Ian Daniel Kehoe – guest vocalist
Euan Rodger – drums
Andy Whitehead – guitar
Victoria Rose Hamblett, Marie Merlet, Aurora Barrett – choir

Recorded at Wilton Way
Engineered by Syd Kemp
Mixed by Vincent Hivert
Mastered by Paul Rannaud

SILK ROCK (Haha Sounds Collective version)

Arranged by Haha Sounds Collective

Personnel:
Laetitia Sadier – lead vocals
Victoria Rose Hamblett, Cathy Lucas, Silvia Fiore, Anthony Kastelanides, Milan Monk, Arthur Sajas – choir
Joel Burton – piano
Syd Kemp – bass
Alex McKenzie – flute
Milan Monk – vibraphone
Cedric Monzali – drums
Nathan Pigott – percussion, tenor saxophone and alto saxophone 1
Arthur Sajas – guitar
Joseph Stone – alto saxophone 2

Recorded at Wilton Way
Engineered and mixed by Syd Kemp
Mastered by Jason Mitchell

LYRICS

Trying to find a way
To tell it all, all, all now
Trying to find a way
To set it down

Trying to find a way
To tell it all, all, all now
Trying to find a way
To set it down

Spending too much time
On the wrong things
Spending too much time
Getting it wrong

Trying to find a way
To tell it all, all, all now
Trying to find a way
Casting it down

Can I be myself?
Can I be myself again?
Can I be myself?
Can I be myself again?
Can I be myself?
Can I be myself again?
Can I be myself?
Can I be myself again?

Spending too much time
On the wrong things
Spending too much time
Getting it wrong

Spending too much time
Spending too much time

Can I be myself?
Can I be myself again?
Can I be myself?
Can I be myself again?
Can I be myself?
Can I be myself again?
Can I be myself?
Can I be myself again?

Out of this nightmare and into your dreams
Out of this nightmare and into your dreams
Out of this nightmare and into your dreams
Out of this nightmare and into your dreams

You can succeed if you concentrate on your own thing
You can succeed if you concentrate on your own thing
You can succeed if you concentrate on your own thing
You can succeed if you concentrate on your own thing

Out of this nightmare

Black 7″””

Track One: I Don’t

Track Two: Sugar Finger

Side Two:

Track One: Big Rock Candy Mountain

Track Two: Multiply

Famously signed after only their fifth gig, and appearing on TOTP ahead of their first single ‘I’ll Manage Somehow’ being released, ‘Nuisance’ reached the top 20 in 1995 with four further top 30 hits – ‘Being Brave’, ‘Daydreamer’ (UK14), ‘Stardust’ and ‘Sleeping In’ (UK24).

As a bonus this edition includes for the first time on vinyl non-album single ‘We Love You’ plus hidden CD-only bonus track ‘Bones And Red Meat’

To celebrate the 25th anniversary of the original release, this special edition RSD release is presented on Orange coloured 180g vinyl

Dubbed the ‘Til Dev Do Us Party Remix’, Idles’ reinvention of ‘Wedding Bells’ came from the long-running mutual respect that Metronomy and IDLES share.The original’s driving bass is pushed to a pulsating new peak, while the distortion layered on Joe Mount’s vocals increase the track’s tension.The result is manic, energising and surprisingly uplifting.

Next up is Michael Mayer’s What IZ Love remix of ‘Insecurity’ where we see the co-owner of the Kompakt label reinvent the original track as a sprawling 8-minute techno exploration.

Then we have interdisciplinary audio-visual artist Anna Lann who applies some audacious experimentation to her remix of Salted Caramel Ice Cream.Mount’s topline is twisted beyond all recognition and layered with skittering beats and foreboding vibes, making for a waking nightmare.

Hotly-tipped Domino artist, Georgia, who looks set to make a major breakthrough in 2020 delivers her playful mix of Wedding Bells, heightening the track’s innate sense of fun, going big in every way – imposing synths undercut by seismic bass and hyperactive percussion.
Finally we have Gerd and Shans mix of ‘Lately’, bringing a ’90s flavour to the track, with old school house stabs reframing Metronomy as big room floor-fillers.

Introduction by Iggy Pop
Cleo de 5 a 7
Eva
La Baie de Anges
Les Sept Peches Capitaux
L’Amerique Insolite
Une Femme est Une femme
Les Plus Belles Escroqueries du Monde
Lola
Vivre sa vie

Celebrating the life of the legend that is Michel Legrand and music for the New Era, this stunning stand-alone collection, compiled by label owner Jason Lee Lazell features the jazz cuts from some of the most iconic films of the French New Wave era….
This release is endorsed by the one and only Iggy Pop from Iggy & The Stooges fame and now DJ on BBC6Music…
Iggy worked with the Grammy award winning Legrand in 2011 on his Holiday album and remains a huge fan of his work…

TRACKLIST

A1.ABERTURA: MINAS Novelli Arlequim – 5.48

A2.PONTE DE AREIA (Milton Nascimento/Fernando Brant) – 5.58

A3.POVO DA RAÇA BRASIL (Milton Nascimento/Fernando Brant) – 5.22

B1.A VIAGEM (Milton Nascimento) – 4.09

B2.ENCONTROS E DESPEDIDAS (Milton Nascimento/Fernando Brant) – 2.10

B3.A LUA GIROU Adaptação de Milton Nascimento sobre tema folclórico – 3.34

B4.BICHO HOMEN (Milton Nascimento/Fernando Brant) – 2.39

B5.DECRETO (Milton Nascimento) – 2.25

B6.OLHA D’AGUA (Paulo Jobim/Ronaldo Bastos) – 4.29

C1.ÚLTIMO TREM (Milton Nascimento/Fernando Brant) – 4.29

C2.E DAÍ? (Milton Nascimento/Ruy Guerra) – 5.12

C3.SAÍDAS E BANDEIRAS (Milton Nascimento/Fernando Brant) – 3.47

C4.O VELHO (Milton Nascimento) – 1.49

D1.BOLA DE MEIA, BOLA DE GUDE (Milton Nascimento/Fernando Brant) – 2.51

D2.ORAÇÃO (Milton Nascimento/Fernando Brant) – 1.28

D3.ITAMARANDIBA (Milton Nascimento/Fernando Brant) – 2.47

D4.ROUPA NOVA (Milton Nascimento/Fernando Brant) – 5.27

D5.PONTE DE AREIA (Milton Nascimento/Fernando Brant) – 4.10

Since The Obsessed’s earliest days, the band accumulated dozens of b-sides, covers, alternate takes and demos, many of which were issued on a variety of compilations and an early-2000s collection called Incarnate.

Long out of print, Blues Funeral Recordings’ new ultimate edition of The Obsessed ‘Incarnate’ is completely remastered, features the addition of 4 new tracks, and is packaged with all new artwork, photos, and all-new extensive liner notes written by Wino himself to tell the stories behind each long-lost gem.

Since The Obsessed’s earliest days, the band accumulated dozens of b-sides, covers, alternate takes and demos, many of which were issued on a variety of compilations and an early-2000s collection called Incarnate.

Long out of print, Blues Funeral Recordings’ new ultimate edition of The Obsessed ‘Incarnate’ is completely remastered, features the addition of 4 new tracks, and is packaged with all new artwork, photos, and all-new extensive liner notes written by Wino himself to tell the stories behind each long-lost gem.

The Obsessed ‘Incarnate’ Ultimate Edition will be released in a beautiful gatefold double LP package with a unique vinyl color configuration exclusively for Record Store Day.

Track Listing:
Disc 1: A: Intro / 4:47, B: “Shimmy Shimmy Ya” / 2:42
Disc 2: A: “Baby C’mon” / 3:26, B: “Brooklyn Zoo” / 3:38
Disc 3: A: “Hippa to da Hoppa” / 3:01, B: “Raw Hide” (featuring Raekwon & Method Man) / 4:03
Disc 4: A: “Damage” (featuring GZA) / 2:47, B: “Don’t U Know” (featuring Killah Priest) / 4:27
Disc 5: A: “The Stomp” / 2:23, B: “Goin’ Down” / 4:20
Disc 6: A: “Drunk Game (Sweet Sugar Pie)” / 4:21, B: “Snakes” (featuring Killah Priest, RZA, Masta Killa & Buddha Monk) / 5:26
Disc 7: A: “Brooklyn Zoo II (Tiger Crane)” Part 1 (featuring Ghostface Killah) / 4:45, B: “Brooklyn Zoo II (Tiger Crane)” Part 2 / 3:15
Disc 8: A: “Proteck Ya Neck II the Zoo” (featuring Brooklyn Zu, Prodigal Sunn, Killah Priest, & 60 Second Assassin) / 4:00, B: “Cuttin’ Headz” (featuring RZA) / 2:28
Disc 9: A: “Dirty Dancin'” (featuring Method Man) / 2:43, B: “Harlem World” / 6:16

Disc 1 is purple vinyl
Disc 2 is red vinyl

Track listing:

Side A
The Magic Piper (Of Love) Edwyn Collins
BBC – Ming Tea
Incense and Peppermints – Strawberry Alarm Clock
Carnival – The Cardigans
Mas Que Nada – Sergio Mendes & Brasil ’66

Side B
Female of the Species – Space
You Showed Me – The Lightning Seeds
Soul Bossa Nova – Quincy Jones & His Orchestra
These Days – Luxury

Side C
Austin’s Theme – James Taylor Quartet
I Touch Myself – The Divinyls
Call Me – The Mike Flowers Pops
The Look of Love – Susanna Hoffs

Side D
What the World Needs Now Is Love – Burt Bacharach / The Posies
The Book Lovers – Broadcast
Austin Powers -The Wondermints
The “Shag-Adelic” Austin Powers Score Medley – George S.Clinton

When Earthman Arthur Dent learns that first his house and then his planet are about to be bulldozed, it’s the beginning of an interplanetary adventure for him and his friend, Ford Prefect.After fleeing Earth they hitch a lift with hoopy frood Zaphod Beeblebrox, who hurtles from one improbability to another – literally.With Trillian and Marvin the Paranoid Android in tow, the answer to Life, the Universe and Everything is soon revealed: 42.But what was the question…?

Following the success of the BBC radio series, Douglas Adams adapted his scripts for these two full-cast albums, with incidental radiophonic music provided by Paddy Kingsland.First released by Original Records in 1980, The Hitchhiker’s Guide to the Galaxy and The Restaurant at the End of the Universe star Peter Jones as The Book, Simon Jones as Arthur Dent, Geoffrey McGivern as Ford Prefect and Mark Wing-Davey as Zaphod Beeblebrox.

Produced by Geoffrey Perkins and Tim Souster, the cast also includes Cindy Oswin, Stephen Moore, Richard Vernon, Valentine Dyall, David Tate, Jim Broadbent, Bill Wallis, Roy Hudd, Frank Middlemass, Stephen Greif and others.Hang onto your towel – it’s going to be the ride of a lifetime.
Pressed on 180g Translucent Vogon Green, Magrathean Blue and Pangalactic Purple vinyl

Description
Devon Goldberg’s original score to director Kire Paputts’ 2019 dark comedy feature-length film “The Last Porno Show,” performed by Morricone Youth along with Cochemea Gastelum (Sharon Jones & The Dap Kings), Sean McCaul (Philip Glass), Karen Waltuch (Wilco, JG Thirlwell) and Scott Hollingsworth (World Inferno Friendship Society).

The Terrahawks – a taskforce responsible for protecting Earth from invasion by a group of extraterrestrial androids and aliens led by Zelda – operates from a top secret base in South America with an amazing collection of vehicles and technology.

This release celebrates the year of Zelda’s invasion with Richard Harvey’s iconic 80s theme (and variations) as well as a full-cast audio drama story ‘Into the Breach’ featuring 3 of the original voice cast, with authentic sound effects and music.

1. Sight of You
2. She Rides the Waves
3. Mother Might
4. Colours and Shapes
5. A Deeper Sleep for Steven

6. Half-Life, Remembered
7. Baby Maker
8. Two Sick Sisters
9. A Revelation
10. The Colour of the Sky

Here we have the first album on ltd edition yellow vinyl for record store day, containing repetitive, machine bass music, for DJs to play loud & dancers to freak to. Featuring vocals from Mutado Pintado (NYC), Paris Brightledge (Chicago) & DJ Genesis (Detroit).

We have a very short forecast running on this title – closing this Friday, February 14th.

Track listing:

SIDE A (Features etching in the runout groove – Side A – FREE SLY STONE!)

Loaded

SIDE AA (Features etching in the runout groove -Side AA – FREE JAMES BROWN!)

I’m Losing More Than I Ever Had
Ramblin’ Rose (Live in NYC)

The full colour sleeve from long-term collaborator JAKe nods to Kraftwerk’s 1978 original electro masterpiece.

On producing the track Prince Fatty notes:
“This one always takes people by surprise, The Model by Kraftwerk is a under cover roots rockers classic – Synthesiser melodies and echoes blend as one in sound system harmony with a sweet lovers rock vocal by Shniece and MC Horseman’s signature Rub a Dub Style – enjoy ! “