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viewing 1 To 16 of 16 items
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LP
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BEWITH 018LP
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2025 restock. Be With Records present a reissue of Willie Hutch's Soul Portrait, originally released in 1969. Soul Portrait is a slice of Southern-fried soul, a blend of beat ballads and dancers. Increasingly rare, this reissue is most welcome and showcases the early work of a soul legend. Officially licensed and remastered by Simon Francis, it's pressed on 180 gram vinyl for the first time and features the original artwork and liner notes. A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack (1973) and Foxy Brown (1984). Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder, and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the '70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs. His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was; he wrote every tune on the album while also arranging and conducting for it. The album's centerpiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognizable track, it's a towering ballad drenched in stylish, sliding horns, and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton (2013) as well as 9th Wonder for the Murs classic "Dreamchaser". Horn-heavy opener "Ain't Gonna Stop" is a funk-fueled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. The blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come. The thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern soul favorite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smoldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic; rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance. Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best.
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BEWITH 019LP
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2025 restock. Be With Records present a reissue of Willie Hutch's Season For Love, originally released in 1970. A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the '70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs. Often-overlooked, his second album Season For Love is a must for all deep soul fans and has been sought-after by collectors of different stripes for decades. Whereas his debut featured thundering, gritty numbers, Hutch treats you to a mellower soul here -- sumptuous, warm and string-led. He compared his approach to that of Otis Redding and there are definite parallels; from the raspy, rough-hewn vocals that tend to roam between sweet and deeply impassioned to the horn-heavy, emphatic sonic backdrops. With flawless originals presented alongside a few well-chosen classics (his stunning cover of "Wichita Lineman" arguably bests the original's splendor), it's easy to see why sample-based musicians have been falling over themselves to plunder from this album. Witness the sweeping strings that grace "The Magic Of Love" and the heartbreaking "Walking On My Love"; the mellifluous guitar work on the contemplative instrumental "The Shortest Distance" and gorgeous single "When A Boy Falls In Love". Whilst the arrangements and playing are subtly jaw-dropping throughout, Hutch's uncontrived voice has a certain warmth to match a Nat "King" Cole and a purity of tone that even recalls the great Sam Cooke. Indeed, a few numbers are almost in a jazz vocal territory reminiscent of artists Lou Rawls. That's not to say that others lack the righteous energy and undeniable groove of Willie's later sound. Remarkably consistent throughout -- a rare commodity for many '70s soul albums -- the lack of one signature song likely hindered its progress. Mastered for vinyl by Simon Francis. Original artwork. 180 gram vinyl.
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STEP 004LP
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2025 repress. Deluxe gatefold vinyl edition. "With a book of lyrics and artwork, updated by Vashti herself. This vinyl reissue of Vashti Bunyan's lone 1970 solo release features contributions from British folk royalty including members of Fairport Convention and preeminent producer Joe Boyd."
"Vashti Bunyan's lone 1970 solo release features contributions from British folk royalty including members of Fairport Convention and preeminent producer Joe Boyd. Vashti was recently heard singing alongside Devendra Banhart on the title track of Rejoicing In The Hands. The songs were written over two summers and one winter of travelling. After a chance meeting that winter with Derroll Adams (noted Woody Guthrie era folksinger and banjo player) who told her not to 'hide her light under a bushel,' Vashti took the songs of her journey to Joe Boyd. A year later he recorded Just Another Diamond Day, inviting Robin Williamson of the Incredible String Band, and Dave Swarbrick and Simon Nicol (who also played on Nick Drake's records) from Fairport Convention to accompany Vashti on some tracks. The album was released late in 1970 to little attention. The music was abandoned by the singer in favor of further horse journeys and complete obscurity. However, over the years all the recordings have succeeded in finding their own way to the notice of music collectors. The master tape of the album lay in a London warehouse for thirty years before being unwisely taken across the city in an underground train and getting wet in a raging thunderstorm, but has survived almost intact. The four additional on this edition are from well traveled old vinyl, acetate demos, and home recorded tape." -- Paul Lambden.
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NADA 002LP
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2025 restock, last copies, reduced price. First time reissue of Caracol. Brazilian underground music in the 1980s produced fascinating and mysterious records, where organic and regional percussion finally gained electronic and synthetic nuances. Songs were processed electronically and acted in harmony with drumming and dissonant guitar interventions. This was a too bold recipe to be understood in Brazil at that time, dominated by pop music and the first signs of lambada fever and country music. The music contained in Caracol was so anti-commercial that things seemed to happen in a parallel universe for the duo João de Bruçó and R.H. Jackson. João de Bruçó started out as a drummer, playing from jazz to forró. Then he studied Brazilian folklore, worked in circuses and wrote tracks for theater, dance performances and TV. Studying percussion and the relationship between dance and music, he discovered new instruments and possibilities. R.H. Jackson also started out as a drummer and percussionist. He studied cinema, video and electronic composition. He also created soundtracks and researched Brazilian folk dances and candomblé. Jack was already an avid user of several technological innovations and was one of the few in Brazil in the 1980s who dominated computer programming, samplers and sequencers. Caracol was recorded between 1988 and 1989. João was responsible for the percussion, accordion and a series of objects, such as a copper vase with water, seeds, animal hooves, snorers, springs, bells, marbles and a metal mug, plus piano and a toy clarinet. Jack took care of electronic programming, samplers, sound treatments, synthesizers, subtractions and guitars. Both were in charge of vocals. "What draws most attention in Caracol is the choice of intuition as a creative and compositional process. Despite the sound and timbristic result being marked by a lot of simplicity, at the same time it oozes multiplicity. The voices, processed electronically, merge with a drumming of surdos, repiniques and the dissonant interventions of a guitar. The vocals are onomatopoeic and modal, like a kind of indigenous tribal ritual. Whoever wants to classify the album will have difficulties. In many moments, the choices and sounds are so primitive, that one could hardly think of it as avant-garde. But those who put pre-concepts aside - and use only their ears and musical sensitivity - will be delighted." Contains two extra and unreleased tracks, recorded during the original recording sessions. Remastered from the original tapes. The track "Terra Batida" was included in Outro Tempo (Electronic and Contemporary Music from Brazil 1978-1992) (Music From Memory, 2017).
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NADA 003LP
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2025 restock, last copies, reduced price. First time vinyl reissue. 1985 was one of the most important years in Brazil's recent history, when the country was freed from more than 20 years of military dictatorship. The youth took the lead and finally Brazil entered the world show business circuit with Rock In Rio festival. But the real revolution was happening in the underground and this record is a proof of that. One of the people in charge was the musician, composer, poet, writer, scriptwriter and speaker from Rio de Janeiro Ronaldo Tapajós, who was always involved with experimental and avant-garde music. His trajectory begins in the mythical 1968, when, as part of the the duo Rô and Carlinhos, he released an emblematic single containing the song "O Gigante" -- perhaps the first Brazilian bad trip recorded on vinyl and a shrewd criticism of the society's "square" habits. According to Cinema's LP press release: "in the era of visual music, Cinema is sound". In terms of sound, listening to this album feels like diving into an intriguing anguish of trying to understand how the relationship between technology available at that time (1983-1984) and the more organic instruments happened, this duality between synthesizers/effects with percussion, woodwind instruments, piano and clarinet. In other words: how was the coexistence between the synthetic and the acoustic? This paradox seems to seduce collectors, DJs and enthusiasts of Brazilian music from the '80s around the world. This fictional soundtrack has a dark mood, as if a fog of dark and ambient music insisted on staying on top of cheerful patterns of Afro-Brazilian percussion, or conceptual synth pop. The track "Sem Teto" was included in Outro Tempo (Electronic and Contemporary Music from Brazil 1978-1992) (Music From Memory, 2017). Includes two extra and unreleased tracks found after decades. Remastered from the original tapes. Includes eight-page color booklet full of photos, images, and new testimonials from the four members of the project.
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NADA 004LP
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2025 restock, last copies, reduced price. Reissued for the first time, Fragmentos da Casa by Brazilian percussionist Marco Bosco was originally released in 1986 by Carmo, owned by Egberto Gismonti. Carmo also released albums by Gismonti, Piry Reis, Fernando Falcão, Nando Carneiro and André Geraissati, among others. In 1986, Marco Bosco's percussive arsenal was unique and extremely peculiar, containing chizanzhi, caxixis, purrinhola, requo-requo, shequeres, berimbaus and lingo drum, among other instruments. This fusion of acoustic and synthetic, promoted by some Brazilian artists in the '80s and celebrated worldwide, still brings memories to the percussionist. For him, the arrival of those electronic gadgets "was the best thing that happened on the planet." This reissue includes a reproduction of the original artwork, new testimonies by Marco Bosco and a long article signed by Bento Araujo, author of the series of books Lindo Sonho Delirante, which investigates audacious and fearless music produced in the Brazilian underground. The track "Sol da Manhã" was included in Outro Tempo (Electronic and Contemporary Music from Brazil 1978-1992), compilation by DJ John Gomez released by Dutch label Music From Memory.
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2LP
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DRONE 027LP
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2025 repress. Death In Vegas returns with new album Death Mask, where disintegration, overload and total sonic immersion tell a personal tale. With dirty circuitry and rough-hewn textures at the fore, this is gritty, unpolished techno; an audio outlier that's full of personality, and a bold artistic statement. It's closer in DNA to the grainy growl of sunn O))), or the searing intensity of Underground Resistance at their fiercest, and as far from generic influencer business as you could possibly get. "I've been soaking in Ramleh's 'Hole In the Heart', the machine funk of Terrence Dixon's Population One, Jamal Moss' psychedelic techno jams, the stunning minimalism of Mika Vanio's Ø and Panasonic, the layered drones of LOOP, and drowning in the acid of TM 404." Broader inspirations are weaved into the album's fabric too; from his Thameside Metal Box studio and evocations of nautical ghosts, to lamentations for a broken world, to memories of a youthful Detroit pilgrimage, and the innocent fraternity of rave euphoria, there's a lot going on, acting as a chronicle of moments, and locations.
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2CD
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LCD 2001CD
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2025 repress. Originally released on Lovely Music in 1998. Double CD of all five of Elaine Radigue's songs in tribute to the Tibetan saint and poet from the 11th century. Two of the tracks dates from Radigue's first release in 1983, two are previously unreleased and the final 62-minute track was previously issued as a sole CD in 1987. The material is performed by Radigue (synthesizer and recording), Robert Ashley (English voice), and Lama Kunga Rinpoche (Tibetan voice). Radigue was born in France and has studied under Pierre Shaeffer and Pierre Henry; her music has an extremely organic and mystical electronics vibe, and has been previously documented on Phill Niblock's XI label, as well as Metamkine and Lovely. Milarepa is a great saint and poet of Tibet who lived in the 11th century. Through years dedicated to meditation and related practices in the solitude of the mountains, Milarepa achieved the highest attainable illumination and the mental power that enabled him to guide innumerable disciples. His ability to present complex teachings in a simple, lucid style is astonishing. He had a fine voice and loved to sing. When his patrons and disciples made a request or asked him a question, he answered in spontaneously composed free-flowing poems or lyric songs. It is said that he composed 100,000 songs to communicate his ideas in his teachings and conversations.
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CD
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LCD 5013CD
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2025 restock; 2009 release. Alvin Lucier on Sferics and Music For Solo Performer: "Sferics is the shortened term for atmospherics, natural radio-frequency emissions in the ionosphere, caused by electromagnetic energy radiated from nearby or distant lightning. . . . My interest in sferics goes back to 1967, when I discovered in the Brandeis University Library a disc recording of ionospheric sounds by astrophysicist Millett Morgan of Dartmouth College. I experimented with this material, processing it in various ways -- filtering, narrow band amplifying and phase-shifting -- but I was unhappy with the idea of altering natural sounds and uneasy about using someone else's material for my own purposes. I wanted to have the experience of listening to these sounds in real time and collecting them for myself. When Pauline Oliveros invited me to visit the music department at the University of California at San Diego a year later, I proposed a whistler recording project. Despite two weeks of extending antenna wire across most of the La Jolla landscape and wrestling with homemade battery-operated radio receivers, Pauline and I had nothing to show for our efforts. . . . Sferics was recorded by the composer on August 27, 1981, in Church Park, Colorado. The sound material was collected continuously from midnight to dawn with a pair of homemade antennas and a stereo cassette tape recorder. At regular intervals the antennas were repositioned in order to explore the directivity of the propagated signals and to shift the stereo field." "Music For Solo Performer was first performed on May 5, 1965 at the Rose Art Museum, Brandeis University, with the encouragement and participation of John Cage. I sat on a landing between the two floors of the museum, electrodes attached to my scalp. The mono output of the alpha amplifiers was routed to the inputs of eight home stereo amplifiers, the outputs of which were sent to 16 loudspeaker-percussion pairs deployed around the museum. During the course of the 40-minute performance Cage randomly raised and lowered the stereo amplifiers' volume controls channeling the alpha signal to various instruments around the room. . . . This recording of Music For Solo Performer was produced under the supervision of Wesleyan professor of music Ron Kuivila with the assistance of graduate students Ivan Naranjo and Phillip Schulze and undergraduate Forrest Leslie, at the Wesleyan University Experimental Music Studio, on December 8 and 9, 2007."
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MGART 611TV-LP
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2025 repress; transparent vinyl version. First-ever official reissue on vinyl since 1975. Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke. Engineered by Conny Plank, it was recorded in March and June 1971 on Ohr Records. This 50th Anniversary Album will be released in memoriam of all the musical contributors to this release and on Manuel Göttsching´s MG.ART label.
"On our album, the track 'Amboss' represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album -- 'Traummaschine' -- the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin -- and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions. Thank you for your attention." --Manuel Göttsching (Taken from the original A-R-T Bio 1970)
140gram Limited Transparent Vinyl. Sticker, 50th Anniversary RE-Edition, Re-Cut carefully overseen by Manuel Göttsching. 350 gram Quadro Fold Out Sleeve that exactly replicates complex/original OHR die-cut jacket, A2 Poster, 2x (German and English) A4 Inlay with Original Bio Sheet written by Manuel Göttsching (1970). Pressed at Optimal, Germany.
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2LP
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MVD 4429LP
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2025 restock; transparent red and opaque yellow vinyl. "Devo, captured live in Oakland, performing early experimental tracks written between 1974 and 1977, prior to any label deal or public success. No matter how messy, beginnings are exciting. Especially when what happens next endures the test of time. For Devo, the beginning happened in the basements and garages of Akron, Ohio. The songs they wrote were raw and unfiltered with no commercial intent. They called it Hardcore Devo. Performing 21 oddities, this is a tribute to departed, original Devo bandmate, Robert 'Bob 2' Casale. Recorded live on June 28, 2014 at the Fox Theater in Oakland, California. This repress is on red (disc 1) and yellow (disc 2) and is limited to 500 copies."
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PF 011LP
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2025 restock; LP version. "Wire's first three albums need no introduction. They are the three classic albums on which Wire's reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical track listings to their vinyl counterparts. These versions should be considered Wire's classic 1970s albums, pure and undiluted. Usually contextualized against a backdrop of two years of the growing cultural importance of punk rock--Wire's debut Pink Flag, released in December 1977 on EMI's progressive label Harvest was in fact was something 'other.' To the keen cultural commentator, the timing and label of its release will register two essential facts about it. Firstly, too late (a year after the Pistol's debut release) to be part of UK punk's first flush and secondly that the band were signaling something beyond punk by their choice of label. Further investigation would reveal twenty-one tracks, some of them clocking in at well under a minute and covering a range of tempi well beyond the buzzsaw rockabilly that had become, even by the second half of 1977, punk's staple."
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2LP
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SAT 070LP
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2025 repress. DaRand Land, who hails from the post-industrial confines of Buffalo, NY was one of the leading figures of Deep4Life, a cult label known for submersible oriented, yet dancefloor-friendly productions. With ambient synth-driven tones and heavy funk basslines being at the center of his sound, DaRand Land's music often evokes an introspective quality, without losing its groove fundamental. DaRand's works, which span decades on deep house labels such as Downbeat, Confluence and Pulp have been described as "uncompromising" and has afforded him a passionate following of listeners who seek a more emotive, thought-provoking brand of underground music. Teaming up once again with Scissors and Thread -- the perfect fit for his sound -- DaRand Land drops an album full of crafty, trippy house for the heads. Wander Being contains ten tracks on the double vinyl release with a pair of additional tracks for the digital release. The vibe is deep and sleek, with a rough, bumping edge. The title track sets the tone, a smattering of percussion accompanying a thick, round kick drum and Rhodes chords, giving off a classic Detroit feel. Tracks like "Turn to The Music" ramp up the energy somewhat, but overall the tracks sit in the sweet spot between dancefloor burners and soulful, jazzy, deep cuts. Noticeable is the space given to each element across the tracks -- the hi-hats sparkle, the snare snaps, and the basslines roll and rumble. Add to this the magic melodic flourishes provided by the pads and synths, reminiscent of the late Mike Huckaby in places, made this whole album a thoughtful, joyful experience. "The genesis for the Wander Being LP," says DaRand "was a desire to return to the essence of some of my original Deep4Life productions. How was this accomplished? Principally, through the exclusive use of hardware components, minimalist arrangement, and a minds-eye approach to source the musical elements. In particular, the single, 'The Nature of Reality' was written to convey a sense of what it feels like to be in a state of suspended animation. There is a natural tension introduced via the organic, swirling pad progression juxtaposed against endless vocal echoes and the low-end groove of the bassline. Thematically, I wanted to carry this forward through the entirety of the album. balancing subdued keys and strings with ethereal tones and atmospheres."
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VAMPI 168LP
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2025 restock. "This whole project grew out of a song called 'Cycles Of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Joe Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at Nuyorican Poets Cafe in my neighborhood. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles Of You'. When I got the opportunity from Vampisoul to do a full album, I was hoping Bataan and I could write some songs together, but our schedules proved tough to coordinate. I figured the best way to go about it was to do most of the work and just have him come sing on it. The rhythm section was a band called TransLove Airways that I formed in 2002. To this core group I added pieces from a few other local bands: The Middle Initials, who are a great Temptations/Main Ingredient-style vocal group, and members of an incredible Latin band called Grupo Latin Vibe, who were responsible for almost all the percussion and the vibraphone solo on 'I'm The Fool Pt. 2'. There was also some fine trombone playing by Aaron Johnson of Antibalas and great flute work by Neal Sugarman and my cousin Sonny. Preparing for Call My Name, I listened to a lot of different records from the mid to late '70s. It has now been over ten years since the completion of this record, and so much has changed. The Call My Name sessions took place when Daptone had just moved to Bushwick, its now-famous current location. Gabe Roth was my first call whenever I had any recording to do. He was yet to become the legendary figure at the center of the Daptone/Truth & Soul universe. He was just a humble guy with an incredible talent and an impeccable ear who made authentic sounding records with inexpensive analog gear." -- Daniel Collás, producer of Call My Name
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VAMPI 308LP
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New 2025 restock. Reissued here for the first time, Cartão Postal is one of the best and most sought-after Brazilian funk-soul albums from the early '70s. It includes some outstanding up-tempo gems like Marcos and Paulo Sergio Valle's "Que bandeira," and the stellar "Esperar Prá Ver," co-written by Evinha's brother Renato Corrêa who also happened to be a member of the Golden Boys. This is a classic Brazilian soul-funk title, right up there with all the greatest albums of the genre. Remastered from the original tapes and pressed on 180g vinyl. This release is part of a new reissue series that will include many other outstanding Brazilian classics. Cartão Postal was originally released on Odeon Brazil in 1971, a few years after Evinha started her solo career. From 1961 to 1968 she was a member of Trio Esperança, alongside her brothers Mário and Regina. In 1969 Evinha won first prize at the Festival Internacional da Cançao Popular and her discography for Odeon took off. Cartão Postal, her third solo album, comprises some outstanding gems. "Só Quero" emanates samba soul sounds while songs like "Por Mera Coincidência" or "Rico Sem Dinheiro" resemble what Trio Esperança was doing at the time: vocal-driven groovy jams spiced with celestial strings arrangements and heavy-duty drums and basslines, which is not surprising since they both worked with the same producers and arrangers, as they were all Odeon artists. Ridiculously rare and expensive now, and at the top of many collectors' wants lists for decades, it's finally reissued here after years unavailable.
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3CD
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VP 4212CD
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2025 repress. 40th anniversary, triple-CD edition of The Congos' legendary Heart Of The Congos.
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