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2LP
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AUK 023LP
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2025 repress on black vinyl. 2LP version. Aufheben is an album by The Brian Jonestown Massacre, recorded in Berlin in Anton Newcombe's studio and the infamous East German Radio Station "Studio East." Featuring Matt Hollywood, an original member of the band. It also features Will Carruthers (Spacemen 3, Spiritualized), Constatine Karlis (Dimmer) and Thibault Pesenti (Rockcandys). Plus vocal performances by Eliza Karmasalo (in Finnish). This album brings the traditional Brian Jonestown Massacre sound mixed with Eastern influences and brings it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years.
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ZORN 119CD
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Announcing Perseverance Flow, the latest album from acclaimed Chicago-based ensemble Natural Information Society (NIS). After a trilogy of double LPs by expanded manifestations of the band that began in 2018 with Mandatory Reality & continued through Since Time Is Gravity (a Pitchfork Best Jazz & Experimental Album of the Year selection & Mojo's #1 Underground Album of 2023), NIS returns to its core formation of Lisa Alvarado on harmonium, Mikel Patrick Avery on drums, Jason Stein on bass clarinet, & composer/multi-instrumentalist Joshua Abrams on guimbri for one continuous 37 minute composition across a single LP. As the rocket boosters on spaceship earth sputter closer to burnout, lower your stylus into a soundfield that grows stronger the deeper you travel into it; a dose of the medicine many of us look to music to deliver awaits you inside. One of the deep contemplations of this natural information (thanks Bill Callahan) is the wide range of source materials Abrams draws from over the band's more than 15 year history: Ideas from minimalism, modal jazz & traditional musics are regularly reimagined in these compositions. The 2021 double LP descension (Out of Our Constrictions), with guest soloist Evan Parker, reflected aspects of Abrams' love of party music, Chicago house, & John Coltrane. *But even veteran travelers with the NIS best brace themselves for the Perseverance Flow. Speaking to the history & the inspirations behind the album, Abrams offers: "We played the piece for a year in concert before the recording. At Electrical (Audio Studios, Chicago) we went in at 11 & were done in time to pick our kids up from school." Abrams continues: "In a reference world, I imagine Perseverance Flow like a live extended realization of a Jaylib lost instrumental as remixed by Kevin Shields. Or vice versa. I also think it has sympathies to some of the more rhythmically intricate dance musics out of Chicago & Lisbon." The core NIS ensemble heard on Perseverance Flow always address Abrams' writing with the discipline of orchestra musicians & the creativity of improvisers. But this time around, instead of inviting living legend status musicians Evan or William Parker or Ari Brown as honored guests to solo freely over the composed materials, Abrams' invited guest collaborator was the medium of the recording studio itself. Situated at the board with engineer Greg Norman, Abrams pushed post production techniques found only sporadically on earlier NIS records deep into the heart of the music, distorting & reshaping instruments to subtly &, at times, aggressively mutate timbre & texture, color & time. Refracting the band's signature mesmerizing chains of overlapping rhythmic patterns through the sonic funhouse of dub makes Perseverance Flow the most formally experimental NIS album to date. Now a soundworld fully unique to itself is listening to itself, consoling & humoring itself, & consoling & humoring you. A destruction myth & a creation myth of a soundworld together at once -- "energetically nutritious" (October 2025 Issue 500 The Wire) supernatural information society.
"Perseverance Flow is skipping rope in slo-mo. A dance of co-operation to rally guts & humors & keep marching through pouring tears" (Abrams).
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AIA 001EP
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For Martin Gretschmann, the ever-evolving Berlin artist known as both Acid Pauli and Console, music has always been a deeply personal journey. His new imprint, All Is Acid, is the destination, a creative home for his uncompromising and experimental sound. Breaking from the cycle of trends, the label is a return to the essential, offering just a few curated releases a year. Each is intended as a timeless artifact for deep listening, primarily showcasing Acid Pauli's own intricate and intimate productions. This release is given a powerful new dimension by a standout remix from Italian artist Adiel. Her bold, reverent reinterpretation honors the original's spirit while imprinting it with her own unique signature.
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AW 139CD
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"Kyle Sowash has had it. I mean, he's not alone. Things are getting tough out there. People are on these streets selling their Built to Spill records just to make rent. It's not okay. Start Making Sense is an appeal to sanity for all dads and phantom dads. A celebration of the tired and a strong cry for another beer. In case of emergency, raise glass. We've come so far from simply filing things under 'what's important' and 'what's not;' on this record, Sowash deals with fragile men, Cleveland football and justice for classic rock drummers. That coffee-colored telecaster still gets beat to hell, just for the healing. Look at the guitar up close if you can. Or just listen closer. The band is locked in. La Russo bumps. You could marinate meat in Hemminger's tone. Bandman has arms like a government clock. There's a universal yuck on us. You wake up to a world advancing and aging and cracking apart. Put this record on, man. Start Making Sense is a modern life survival kit, replete with horn arrangements and hot dog hooks. You're gonna be okay. Or you're gonna get the dishes done, at the very least. Turn it around, my guy. Start making sense." --Lee Keeler
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LP
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BAN 002LP
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LP version. Siècle, the fourth album by Superpoze (Gabriel Legeleux, born in 1992), stands as the culmination of what the composer of Opening, For We the Living, and Nova Cardinale, also a producer and performer, has been meticulously crafting for the past ten years, with both precision and sensitivity. A striking and melancholic electronic music, where instruments and machines collide, blending synthetic textures, strings, and spectral voices. The result is an album of eight expansive and sharp-edged tracks, where life pulses, burns, and soothes.
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BTR 065GRN-LP
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Green color vinyl version. Sababa 5 finally delivers their long-promised, and self-titled album of original instrumentals, built around the band's distinct mix of Middle Eastern psych, funk, and disco groove. Sababa 5's knack for intricate grooves and catchy melodies have led to a series of acclaimed singles, from fresh takes on classic melodies to vocal collaborations, championed by the BBC's Gilles Peterson, Cerys Mathews, and Gideon Coe in the UK, and Radio Nova and FIP, in France, whilst they gradually found their own contemporary sound, creating original music together that could stand up on its own across a whole album. Across these eight songs, the group blends the Afro disco, reggae, jazz, funk, and a plethora of Middle Eastern traditions, whilst traveling time and space, drawing a musical, cultural and geographical line from Somalia to Iran, via Ethiopia, Sudan, Egypt and Turkey, from the late '70s and early '80s to today. Thus, Sababa 5 creates a unique psychedelic groove that builds on the approach that the likes of the Daptones have taken to working independently, writing, producing, and recording original music, with their own modern take on '70s soul and funk. Standouts include "Malca" (a girl's name that means "queen"). Built around broken synth lines, a languid East Africa meets Anadolu psych groove and vintage organ licks, the instrumental peaks a transformative chord change, shooting it into the stratosphere. The carnivalesque "Lizarb" ("Brazil" backwards), raises the tempo and temperature. The piece kicks off with a guitar-led call-and-response before a synth-led melody lifts everything to another level. Topped off before the end by a beautiful wah-wah meets psychedelic Mizrahi style guitar solo over a pulsating drum and groove line, demanding a physical response. "Habedil" ("the idiot" in Hebrew), is named for the innocent, child-like synths that lead off towards the start, whilst the bass and guitar riff repetitively, crafting an irresistible groove before dovetailing into an epic disco synth vamp. With this, their debut, self-titled album, Sababa 5 is ready to take a seat among the most exciting and original instrumental-based groups across the globe, with an exciting and distinct approach to groove, sound, and melody. For fans of: Surprise Chef, Sven Wunder, Yin Yin, The Soul Surfers, ATA Records.
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BEWITH 156LP
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2025 repress. Tommy Guerrero's revered Return Of The Bastard gets its first ever vinyl reissue. Endearingly simple but beautifully beguiling, it's lo-fi dusty break business with the most elegant guitars this side of Vini Reilly and Gabor Szabo. Tommy's breezy drum-machine guitar-soul should be prescribed to soothe an aching world. By rights, he should also be a Balearic god. Here's 14 tracks of drop-dead laconic beauty, all of them combining to create this unheralded masterpiece. Working with Tommy directly, the LP has been fully remastered and sounds as dazzlingly, heartbreakingly beautiful as it did back in 2007. As ever, there's heavenly Latin guitar stylings that make you swoon and the melancholic vibe is accentuated by the addition of some melodic wordless vocals from Tommy. The head-nod funk of "Calling For Ya!" features Curumin delivering the clever title as a hypnotic vocal refrain peppered throughout, all hung around some buried spoken word vocals and gorgeous cello work from Lenny Gonzalez. "Bloodinthemud" is a low-down gritty funk workout whilst "Zapata's Boots" is a total low-key groover, all Latin percussion and Morricone muscle aided by a whistled Spaghetti Western melody. The upbeat and bright "40 Summers," featuring congas from Alfredo Ortiz, is as clean and poppy as Tommy gets and it really is a look he wears incredibly well. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possible quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. Part of Be With's Tommy Guerrero reissue campaign. 140g-vinyl.
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LP
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BEWITH 179LP
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Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy funk-laden lounge music, oscillating between dark and light flashes. It's nothing short of astounding! This vinyl release is hyper-limited, with just 500 pressed for the world. The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. This collection was written and recorded in Spring and Summer of '24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers and guitar. He even dusted off my sax for this one, which he doesn't do as often as he'd like! This type of groove-oriented library music has been a steady part of Steve's diet since the late '90s. Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood ('70s/'80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it. The album's cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe, so this shot seemed appropriate. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.
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BEWITH 187LP
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Wally Badarou is a synth pioneer and musical polymath. But rarely does he sing over his sumptuous tracks. The six songs that comprise new record Simple Things finally realize Wally's vision for select backing tracks from his beloved Colors Of Silence. The tracks were originally developed back in 2001 for the release of the original CD; here, Wally has "simply" added overdubs and vocals to their mastered mixes with some discerning edits. Simply put, Simple Things is another slice of simply stunning Wally Badarou genius. Simple Things has been decades in the making. Indeed, Wally struggled not only with the idea of singing these wonderful songs himself but singing them in English and writing his own lyrics, while wrestling with the sensational backing tracks, which themselves seemed to have taken on a life of their own. As Wally explains: "In addition to the instrumental artist I have been known as, so far, there has always been a singer who simply was not sure he was, up until now. Even though Back To Scales Tonight, my very first album, was, indeed, a song album." The guide vocal Wally had laid for Colors Of Silence -- with an organ sound -- seemed striving for words in Linguala, a Congolese language he could not speak. Therefore the decision to do it himself was not an easy one, for it had to be in English to fit his singing. A synth specialist, there can be few artists more under-appreciated given their vast influence than Wally Badarou. His solo work practically defined the sound of the Balearic DJs of the 1980s, and thus the more sophisticated sound of dance culture thereafter. He was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah "Sticky" Thompson), the in-house recording team of Compass Point Studios responsible for a series of albums in the 1980s recorded by Grace Jones, Tom Tom Club, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. Badarou's keyboard playing could also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, M (Pop Muzik), Talking Heads, Manu Dibango, and Miriam Makeba. Wally's sophisticated synth textures and expressive keyboard runs are so full of character, so full of life, that this work of art transcends any easy genre categorization. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possible quality at Record Industry in Holland.
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LP
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DKOLP 009LP
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Sélavy is Prosper's debut album. It features 13 tracks that range from fairly traditional French chanson to more techno, rap, rock, punk, and even pop styles. Wordplay and stylistic devices play a central role in the lyrics. Much like his work as a visual artist -- where he cuts and assembles elements that seem to have little in common at first glance -- Prosper uses the French language as a tool to express his emotions and reflections on life, with all its sorrows and joys. In doing so, he dissolves the boundaries between poetry, song, and artwork. Featuring Jwles.
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LP
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DELI 032LP
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London-based producer Tar Blanche, also known as a member of the dreampop band Yumi Zouma, unveils How to Dance Freely Without Social Anxiety, a seven-track journey through jazz-house, deep house, and chill-out lounge. With a sound that resonates alongside artists like dublon, Table, and Berlioz, the English producer blends ambient textures, refined guitar riffs, and emotive productions, crafting an intimate yet hypnotic atmosphere. Signed to Délicieuse Records, Tar Blanche continues to push boundaries, cementing his place as one of the most exciting producers in modern electronic music.
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LP
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DIS 199LP
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"More than 20 years after recording their last record, Cough, Black Eyes returns with Hostile Design. The album is comprised of six all-new songs, written directly in the wake of the band's April 2023 reunion shows. Hostile Design was recorded at Tonal Park studios over three days, with Ian MacKaye resuming his role as producer and Don Godwin engineering. The instrumentation returns to Cough's two drums, bass, guitar and sax lineup, but adds some fresh elements. Live multichannel dubbing, now a standard of their shows, has been integrated into the performances, as have electronic drum triggers and samples as well as the occasional bass clarinet passage. In the years since their initial dissolution, each member has pursued their own creative paths, including drone rock, avant techno, ambient, sonic collage, visual art, video work and more. In coming back together, the breadth of their collective practices are all integrated into the music."
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LP
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ENLP 073X-LP
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A decade after the release of his debut solo album Atlas, Lisbon-born producer Branko celebrates the anniversary with a special vinyl reissue. Released in 2015, Atlas was the result of an ambitious journey across five cities -- New York, São Paulo, Amsterdam, Cape Town and Lisbon -- where Branko collaborated with more than 20 musicians and producers. From Afro-house and gqom to baile funk and bubbling, the album captured the emergence of a new global sound, seen through the lens of local scenes and shaped by discovery and mutual exchange. To mark its 10-year anniversary, the vinyl reissue includes the expanded edition highlight "Reserva Pra Dois" with Mayra Andrade. Atlas opened a new chapter in the producer's career, while helping show the world how local sounds drive global club music. It's time to rediscover it. Featuring The CLERK, Nonku Phiri, Mr. Carmack, Alex Rita, Bison, Zanillya, Capadose, The Ruffest, Rodes, Princess Nokia, Okmalumkoolkat, Lewis CanCut, Cachupa Psicadelica, SKIP&DIE, Fellow, and Mayra Andrade.
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FEELIT 154LP
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"Vse po Kolu, Znovu (All in a circle, again) is the fourth studio album by Morwan, marking the culmination of years of creative exploration. The collection features eight tracks recorded between 2023 and 2024, except for the title track, 'Vse po Kolu, Znovu,' which was written back in 2020. The new album delivers a heavier, more aggressive sound, representing a noticeable departure from the band's earlier works. Genre-wise, it drifts from post-punk to avant-gard rock and even shoegaze. Combined with deeper and more personal lyrics, this makes it Alex AShTAUI's most emotional and honest work to date. Vse po Kolu, Znovu is a story about fears tearing you apart from within and conflicts that give you no peace. It's about the endless cycle of existence, pulling you into the vortex of inevitable dread. It tells of the moment when control over yourself slips away, and you become a helpless observer, forced to watch your life crumble before your very eyes. It's about the rejection of oneself, about the desperate desire to escape your own essence and return to the beginning, just to feel something real once again."
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2LP
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FLEE 007LP
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The songs of Louisiana's Francophone and Creole heritage have flowed through the bayous for centuries, shaped by African, Native American, French, and Caribbean influences. This double vinyl compilation and its OBI strip features a staggering 34 songs, ranging from French ballads and Creole renditions to zydeco hooks and reinterpretations by a wide array of contemporary artists such as Madteo, Tanz Mein Herz, Radio Hito, Cyril Cyril, and Deafkids, among others. With archival recordings and contemporary creations side by side, it serves as a bridge across the vast bayou of Louisiana music. Also featuring Elby "Bee" Deshotels, Alma Barthélémy, Caesar Vincent, Raywood Morvant, Chalvin Godar, Burton LeMaire, Clifton Chenier, Isome J. Fontenot, Gabriel Broussard, Emeline Broussard, Chimère FM, Yama Warashi, Herandu, _thesmoothcat, Juu, and NAPPYNAPPA.
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FLENSER 181CD
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"There's a kind of quiet violence in how music is consumed today -- flattened into background noise, sonic perfume fed into algorithms, sold as lifestyle. It's entertainment as anesthesia. Sound without the weight. The Spiritual Sound, the new full-length from Los Angeles?based band Agriculture, stands as a pointed refusal of this condition. This is not a playlist. This is not a vibe. It is a demand. Across its runtime, The Spiritual Sound traces a narrative arc through extremes: searing, sky-cracking catharsis on side A; a slow-burning, devotional undercurrent on side B. The album is largely a fusing of the visions of its two principal songwriters, Dan Meyer and Leah Levinson: distinct voices, deeply complementary. Meyer writes like someone clawing toward the divine through noise, channeling Zen Buddhism, historical collapse, ecstatic grief. Levinson's songs move differently: grounded in queer history and AIDS-era literature, amid the suffocating fog of the present, they carry the weight of survival as daily ritual. Her writing asks how to honor queer community and collective struggle without turning it into identity branding or personal mythmaking: how to stay honest, how to stay present. Though distinct, their voices converge in a singular spiritual grammar -- one that defines the totality of The Spiritual Sound, not as separate parts, but as one unified expression. Agriculture's formation mirrors this duality. What began as a loose collaboration between Kern Haug and Dan Meyer in the Los Angeles noise scene evolved into a shared pursuit of the sublime through heavy music. With the additions of Richard Chowenhill and Leah Levinson, the project solidified into the band's current form. The ecstatic black metal foundation was laid on 2022's The Circle Chant, expanded into something more precise and far-reaching on their 2023 self-titled full-length, and deepened further with 2024's Living Is Easy: a record that embraced devotional intensity and radiant heaviness in equal measure. Agriculture doesn't offer salvation. The Spiritual Sound isn't a map out of the fire. What it offers instead is presence: a confrontation with the moment, however unbearable, however divine. It insists that meaning is still possible, even in a world hell-bent on reducing everything to content, and where suffering itself can be conducive to recovery. As the Buddhist saying goes 'the only way out is in.'"
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LP
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ITR 386LP
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"Naïm Amor and Kid Congo Powers met shortly before the pandemic in Tucson, Arizona. When the complete lockdowns hit everybody, Amor, like lots of other musicians, reclused himself in his studio and started experimenting with longtime ideas that were on the shelf. The initial idea was to combine rockabilly/garage-electric guitars with electronic drum machines and bass synthesizers, a vague intuition inspired by Link Wray's guitar tones on one hand and the electronic rawness of the band Suicide on the other. After recording a couple tracks, Amor got the idea of inviting Kid Congo to collaborate in the making of some electric guitar 'dialogs.' The tracks of Tucson Safari display the two different personalities and approaches of Amor and Kid Congo, both passionate electric guitar players, in the form of an exploration through composition and tone. The interwoven layers of guitars reveal the particular harmonic and melodic sense of Amor's sound 'dancing' with the unmistakable slide and fuzzy tones of Kid Congo Powers."
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2CD
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IF 1099CD
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"After more than thirty years of working with and performing the great repertoire, the music of Philip Glass has, in a way, almost revolutionized my life as a musician," confides Vanessa Wagner. An emblematic artist on the French music scene, winner of a Victoire de la musique award and director of the Chambord and Giverny festivals, Vanessa Wagner is as inspired in her interpretation of Mozart, Debussy, Tchaikovsky, and Dusapin as she is alongside Murcof and Rone. With her innovative and daring approach, she has established herself as a major influence on the classical music landscape, crossing boundaries and blazing inspiring trails. For InFiné, she has dedicated four albums to the major figures of this movement, John Adams, Meredith Monk, Brian Eno, and Ryūichi Sakamoto, as well as to the new generation Caroline Shaw, Bryce Dessner, and Nico Muhly. After giving numerous concerts based on these works, she felt the need to record in their entirety this essential monument in the history of music, which bridges the gap between the 20th and 21st centuries: Philip Glass's 20 Etudes for piano by Philip Glass. His approach helps to place these two books in the great repertoire, alongside the great cycles of studies by Ligeti, Debussy, Dusapin, and before them, Chopin and Liszt. The thread linking Philip Glass to Vanessa Wagner may be as simple as a detail: a moment, a pedagogy, a way of looking at the piano. In Words Without Music, Glass recalls his apprenticeship with Nadia Boulanger in Paris -- a lesson in rigorous received just as the Nouvelle Vague was about to shatter the conventions of cinema the conventions of cinema, just as the composers of the minimalist movement had done with the language of music. Nurtured by Ravel and Debussy, the great French pedagogue disciplined yet inquisitive minds, capable of embracing modernity without denying modernity without denying their heritage. The Complete Piano Etudes of Philip Glass is also available for the first time on vinyl, housed in a 4LP Box set (IF 1099LP).
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JIAOLONG 002EP
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Warehouse fine, last copies. "Feted kosmische synthesizer wizards from Cleveland OH, Emeralds, have never had any of their music remixed before. Let alone having the title track from their acclaimed 2010 album reworked (twice) into a floor-filling behemoth by Daphni (aka Dan Snaith aka Caribou). 'We toured together in 2010 and since then I've always wanted to play their music in my DJ sets. So I did my own version of this track,' says Snaith. 'It's one of those tracks that whenever I play it I can feel the energy in the room lift.' Luckily, Emeralds were equally enthusiastic, and so this unlikely hybrid sees the light of day... or rather, the dark inside of a club."
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JIAOLONG 005CD
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2025 repress. Daphni's classic debut gatefold 2LP from 2012 finally repressed! Dan Snaith has fallen deeper into his love affair with the dancefloor to bring a full-length release as Daphni. The first Daphni album of shape-shifting works is titled Jiaolong (pronounced JOW-long) and is released on Dan's own imprint (also called Jiaolong). Inspired to work in a completely different way -- setting aside the meticulous compositional rigors and musical layers that underpin Caribou songs -- Dan Snaith-as-Daphni reaches out for a more feminine, fluid energy and seeks instant gratification.
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3CD
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FREUD 129CD
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2025 repress. "35th anniversary edition of the 1985 studio album. Disc 1: Remixed by The Vibrators' Pat Collier, with the guitar properly up in the mix - Johnny missed the original mixing sessions. Expanded with two unreleased tracks left off the original album, plus six previously unheard outtakes. Previously only available as a limited RSD19 vinyl release. Disc 2 is Que Sera Sera - Live in Europ -- a selection of 18 live tracks from Geneva, Amsterdam & Lyon, mostly previously unreleased. Disc 3 is the original album and related single and mixes. It comes with a 36-page booklet featuring new sleeve notes by Thunders biographer Nina Antonia with interviews with the participants, including Mike Monroe, plus lyrics and unseen photos. Packaged in a clam-shell box."
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KSCD 042CD
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2025 repress. If any album could conjure up the revolutionary spirit of Jamaica in the mid-1970s, Tapper Zukie's invincible M.P.L.A. set would surely be a fighting contender. The coming together of great rhythms and meaningful lyrics in a time of unrest in the country seemed to have made the album all the more urgent and relevant. As time would tell, it would also prove to be a lasting success, not only with the hard core reggae fans but also their punk counterparts, who embraced its militant themes and crossed the album over to a whole new audience. Tapper Zukie (b. David Sinclair, Kingston, Jamaica) had already returned from a trip to London, England by the mid-'70s, initially sent with help from his parents, brother Blackbeard and producer Bunny "Striker" Lee to get him out of trouble on the streets of Kingston, Jamaica. He had performed some live shows in London and made some recordings for Larry Lawrence, who produced his debut Jump And Twist. He returned to Jamaica in 1974 to work with Bunny Lee. His frustration over Bunny Lee's reluctance to record him led him cutting "Judge I Oh Lord" for producer Lloydie Slim. Bunny Lee finally recorded "Natty Dread Don't Cry." The eight rhythms and a further two from Jo Jo Hookim and Ossie Hibbert, alongside some free studio time at King Tubby's Studio would result in the M.P.L.A. album. The rhythm provided by Jo Jo Hookim was a Channel One studio cut by The Revolutionaires based on Little Richards' "Freedom Blues." The Ossie Hibbert rhythm again cut at Channel One based on The Royals' "Pick Up the Rockers" would provide the backdrop to Tapper's "Pick Up the Rockers." These and the remaining Bunny Lee rhythms, were all cut in a one-hour session at King Tubby's Studio. "Don't Get Crazy" was cut on a rhythm based on the Joe Frazier rhythm to Tony Brevett's "Don't Get Weary." "Go De Natty" was cut on Cornell Campbell's "Please Be True," originally a cut to Alexander Henry's "Please Be True." "Stop the Gun Shooting" runs over Horace Andy's "Skylarking." "Ital Pot" was cut on Johnny Clarke's version of Burning Spear's "Creation Rebel." "Marcus" sees Tapper professing over Johnny Clarke's "Poor Marcus." "Chalice to Chalice" pulls on Johnny Clarke's "Give Me a Love," "Don't Deal with Babylon" answers Junior Ross And The Spears' "Babylon Fall" and "Freedom" rides on the great rhythm of Junior Ross And The Spears' "Liberty." An outstanding and timeless album cut by one of Jamaica's finest DJs and producers, the mighty Tapper Zukie.
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KSLP 056LP
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2025 repress; LP version. Ska was the name given to the music that came out of Jamaica between 1961 and '66, based on the American R&B and doo-wop records that the sound systems in Kingston used to play. But the American records' style started to mellow out while the Jamaicans preferred a more upbeat sound. So the sound system bosses became record producers to cater to this demand. Sir Coxsone Dodd and Duke Reid led the way, putting the top musicians on the island in the studio to make music, with the emphasis on the offbeat making the music unmistakably Jamaican. WIRL (West Indies Records Limited) was set up by the Jamaican politician Edward Seaga in the late 1950s. He had supervised the recording of an album of ethnic Jamaican music and needed an outlet for its eventual release. In 1962, the year of Jamaican independence, Seaga became a member of parliament, representing the Jamaica Labour Party, and decided to sell the label to Byron Lee, who changed the name from WIRL to Dynamic Sounds. Ska from the Vaults of WIRL Records features some of the best scorching ska sounds to come out of WIRL, and they still sound as fresh today as they did when they were recorded. Features tracks by The Skatalites, Johnny Moore, Roland Alphonso, and Don Drummond.
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KSLP 062LP
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2025 repress; LP version. Derrick Morgan is one of the greats of Jamaican music, and the undisputed king of ska. But his recording career did not stop in 1967 when the sound of ska slowed down into rocksteady. Nor did it stop in 1968 when rocksteady evolved into the early sound of reggae. This set was first released in 1974, when reggae was king, under the name In the Mood, but the working title had been This Is Derrick Morgan. The working title follows the format by which the world of reggae would normally introduce a new singer with a showcase album. In this case, for the first reissue of this album, the working title is restored to reintroduce Derrick Morgan to the new reggae sound -- though an artist of Morgan's caliber really needs no introduction, as his voice works on any rhythm put his way. One of the greats of Jamaican music showing the world -- with the help of producer Bunny Lee -- that he can roll with the reggae sound.
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KSLP 070LP
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2025 repress; LP version. Kingston Sounds present a reissue of Horace Andy's Natty Dread A Weh She Want, originally released in 1979. The Natty Dread A Weh She Want set brings together two legends of reggae music. The stylish and unmistakable falsetto voice of singer Horace Andy, and the production/DJ singing skills of Tapper Zukie. Both artists' catalogues of music stand up strong, but something special out comes from both of them on this set of tunes. "Natty Dread A Weh She Want" was a massive hit when it was released by Tapper Zukie and Horace Andy, but this timeless track still sounds as fresh today as the day it was released in 1979, as do the other tracks on this fine album.
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