• 01. Burn Berlin
    02. Dust In My Nose
    03. Twilight Of Your Idols
    04. No Brain, No Pain
    05. Malevolent Blues
    06. Insomnia
    07. State Your Hate
    08. Blindness
    09. White Noise Crisis
    10. Baotou Lake
    11. Society Undead
    12. Bleak Street
    13. Death To Nation



    [engl] Berlin City Riot Punk vs London based HC/Streetpunk. 10 Song 10", 300er Auflage.
  • 01. Baby
    02. I got Love
    03. Donna
    04. Rat
    05. Fool.
    06. Hot Fun
    07. Want Some
    08. Why
    09. Angel
    10. Dally Grind


    Come on and feel the Love

    [engl] The Love is the lovechild of Bob Belmans who after a lifetime in the dark finally takes his place in the spotlight. Like a Shaggy Roy Orbison he seduces you with his silky voice to take you then with him to the dark caverns of nasty garage-rock and deranged 60s soul. Bob Belmans was writing songs anonymously for years in his garden house, just keeping them to himself, until he felt like the time had come out and let the world hear about it. He gathered experienced forces of the Belgian underground around him with a history in bands like El Guapo Stuntteam, The Sha-la-lees, The Sore Losers and JFJ. They went to the mountains and came back two days later with ten songs about love and life, all recorded in one tumultuous weekend. No overdubs, no backing tracks, just catching the honesty and raw energy of the songs, as real as it gets. Being influenced by all things Motown, 70’s New York cool and that classic early rock and roll sound, it all comes together in a guitar driven, straightforward modern day garagerock record. Expect excitement, expect a mess, expect realness, but it won’t be boring and that’s a promise.
    EAN 4260016922246
  • 01. Born To Lose (For You)
    02. Is It True
    03. Natural Good
    04. What’s Mine
    05. Finish What You Start
    06. Wasted Youth
    07. The Jigg Is Up
    08. Tell Me
    09. It Ain’t Nova
    10. Garbage Dreams
    11. Too Little, Too Late
    12. Liar
    13. Hong Kong Sally


    Garbage Dreams

    [engl] The Sha-La-Lee’s are a belgian/dutch Proto punk/ Garage rock and roll band with former members of El Guapo Stuntteam, the Sore Losers, the Kik and Powervice. Way beyond their teens, close to being deaf, backpains and receding hairlines they are still too dumb to quit... A new album will be released end of May '23 containing 13 songs about the usual shit , love, frustation ,tragedy and lies. Link Wray, The Sonics, Oblivians, Roky Erickson, The Deadly Snakes,Chuck Berry MC5 and Reigning Sound are some of the bands the Sha-La-Lee’s have stolen from. Everything would be said in a nutshell if there wasn't more to it than that. The Sha- La-Lee’s is the logical step after 30 years of experience in the music business. Everyone knows these kitsch films, man/woman from the village goes out into the big world, does business, feels empty, comes back and finds happiness. Even if this image conveyed is wrong, there is an important narrative in it. Happiness needs direct contact. And that's how it is in rock 'n' roll. Big stages help the ego, but they never convey the real idea of rock 'n' roll. Perhaps this thought was the inspiration behind the founding of the Sha-La-Lee’s. The smell of cigarette smoke at the concert, a beer bottle to your lips instead of a half-crushed plastic cup. Conversations after the show with like-minded people instead of the same small business talks in the locked backstage area. It's a guess, but one that's suggested by the sound of the album. This rough form of writing songs, paired with 30 years of band, stage and whatever experience, makes old garage punk hearts swarm. "Garbage Dreams" has something timeless about it, a sound that doesn't pander to anyone, that's what it is - garage punk the way I love it.
    EAN 4260016922253
  • 1. Time
    2. Broken Boy
    3. Love Cuts
    4. Numb To The World
    5. Torches
    6. The Rusty Sound Of Love That Dies
    7. Survive
    8. 0806
    9. Erupt
    10. Karma



    [engl] Cancer’ is a rough, melodic rock album emanating the member’s background in hardcore and metal while the band treads new paths towards a more vulnerable expression. An approach that is a natural consequence of the dissolvement, illness and struggle that have marked the band these last years - a struggle which has now resulted in a strong and honest record about survival ‘Cancer’ is produced by Jacob Bredahl and Riverhead, recorded by Tommy Hansen, Tue Madsen and Jacob Bredahl, mastered by Brad Boatright with artwork by Liz Curso. ‘Cancer’ is released on LP/CS/Digital via Sounds of Subterrania April 28th 2023.
  • 01. The Black
    02. Cry Me
    03. Workin In A War
    04. Shame on You
    05. Going Down
    06. All The Children
    07. Get Ya
    08. All By Myself
    09. Policeman
    10. Mommy
    11. Someday


    Slow Gems

    [engl] Special Version handmade limited on 50 copies!
    LP lim
  • 01. Gokiburi Sanka
    02. Oh! All Night long!
    03. Surfin' Girl
    04. Buchikowase!
    05. Miminari Rock
    06. Mujitsu No Otoko
    07. Glory Glory
    08. Orenosora
    09. Mattaku Hanashini Narimasen
    10. Tamaniwa Lovesong Wo
    11. Nouzeishayori Aiwokomete
    12. Bun Bun Bun
    13. Kokyounoumiyo
    14. No No No
    15. Beer Love


    The 50Kaitenz no bikkuri

  • 01. Arkanoid
    02. On The Radio
    03. Obsolete Machine
    04. 28th Century Mate
    05. Video Blog
    06. The Network
    07. Rate Me Rate Me
    08. Dancefloor Queen
    09. Call The Shots
    10. The Voyage


    & the 28th Century Mates

    [engl] Johnny Notebook is back. In tow the 28th Century Mates. Having emerged from the remnants of the bands Dean Dirg, Toyotas, Metric Eyes and Tetallica, the synth-punk duo Johnny Notebook, rooted in Düsseldorf, Wuppertal and Madrid, releases all their pent-up energy onto society after almost three years. The result is the energetic, driving sound of the new long player Johnny Notebook and the 28th Century Mates. It is played with the proven mixture of the danceable beats of the Roland TR505 drum composer, the catchy cadences of the PolyKorg800 synthesizer, recurring hooklines and a ruthlessly nasal, but no less melodious voice. Influences from genre gods like Devo, Screamers and Aviador Dro are still the unmistakable foundation of Johnny Notebook. 28th Century Mates is also enriched by repeated Italo-Disco elements, for example in the form of overlaying synthesizer melodies through to shorter keyboard solos, which makes the sound a bit more positive and light-lived than on previous Johnny Notebook releases. Lyrically, many of the songs address the sometimes absurd interactions between digital and analog reality and oscillate between nostalgia, sarcasm and fatalism, without sounding even remotely melancholy
    LP lim
  • 01. Vägen Hem
    02. En Andra Chans
    03. Hjärtat
    04. Här Ha Du Ditt Liv
    05. Friheten
    06. Ingenstans Fort
    07. Nikotin
    08. Häller Andan
    09. Mellan Väggarna
    10. Sekunderna
    11. 17.00
    12. Nytt År


    Här Har Du Ditt Liv

    [engl] Have you ever wondered what would happen if you start mixing the catchy melodies of ABBA and the sex appeal of Roxette with the heavenly guitar playing of the Marked Men and the attitude of Pippi Longstocking? Well, you should have done that once. Because now Sekunderna's debut album comes as a complete surprise and hits you unprepared in the pit of your stomach and in your heart. This can be dangerous, you are not that young anymore! 12 Power Pop Punk Rock songs with the very best sing-along recipe from Umeå.
  • 01. Someone Else
    02. Never Leaving
    03. Cannonball
    04. Fantasy
    05. Death
    06. Social Vampires
    07. Make You Better
    08. Blame On Me - Bad Company
    09. Red Light
    10. Rat #2



    [engl] The Tacks‘ self-titled album immediately shines with the band‘s inherent wonderful sound of melancholic joy in darkness in general. The mix of goth, dark wave, post punk and the best of 80s college radio can confidently be subsumed under Dark Punk - if you need something like pigeonholes for it. Glassy guitars, an enchanting voice, bubbling basses and driving melodies to a catchy beat - that‘s The Tacks from Christchurch, NZ.
  • 01. What Do To
    02. You Can't Deny


    What To do

    [engl] Two new garage punk killers from your favorite Danish punk band. In the old fashioned way, two monsters of songs smash everything that gets in their way.
  • 01. Supersurprise
    02. Time
    03. Blues
    04. His Royal Fishness


    We came from the ocean where everyone swallows the words

    [engl] What do the new Dun Field Three record and a trip to the open sea have in common? You never know what’s coming next. And that’s exactly how you want it. “His Royal Fishness” drives you into post-punky-rocky waters, whips you through, only to glide along again clearly and gently, almost melancholically. Always with a wise feeling that the next abyss is already opening up beneath you. So “Supersurprise” is not only the name of the first song, with this EP you are surprised throughout. And that’s great!
    EAN 9120083371277
  • 01. Undreams
    02. Shame and blame
    03. Go
    04. Silence Violence
    05. Hibernate
    06. Smile
    07. Falling
    08. Lost Girl
    09. The defrost
    10. Make a scene



    [engl] In Germany, there is a word called Gram, which is not so common anymore and describes a persistent, gnawing sorrow. In my quest to put into words the music of "Undreams," the second album from the Stockholm-based three-piece band, this word kept coming to mind. Fascinatingly frozen by the fragile beauty in which the songs are written, the minimalist, unfiltered rawness captivates me and yet always reflects the sound of this brokenness on one's own being like a mirror. "Undreams" comes seven years after the debut album "Cradle of Snake". These seven years have done the band more than good. The dark sound of their songs has nothing in common with the adolescent melancholy of some contemporaries. It is not egocentric or even narcissistic, but and forgive me this word, because it is equally uncommon in this context, caring. He wraps you gently like your favorite blanket on a gray autumn day, gives you soft, flickering light on a nightly walk, he comforts quietly, knowing full well that danger is not banished by a hum, he says the world is not a good place, but we have it in our hands, as long as we stick together, to change that. It may sound presumptuous, but "Undreams" showcases all the skills Mia, Tess and Frankie have acquired over the years in their bands and solo projects. It is an album drawn by life experience, dark, but also powerful, thunderous, energetic. "Undreams" is an album of three women who face life in all its facets. It was recorded, like the previous one, by Stefan Brändström at The Dustward Studio in Stockholm. Snake wanted to get as close as possible to the atmosphere of the rehearsal room and make the album a reflection of what the band heard and felt during rehearsals. "With the power of 'Me Too' in our hearts, we've been working through the album process since the wave in 2017. We think it's a darker album, but also with a glimmer of hope. We've found that we can be strong together, share difficult experiences and use them to make ourselves heard. We address teenage angst, the fear of getting older, love, grief, and the struggle to put the shame and guilt where it belongs."
  • 01. Vis-a-Vis
    02. Listening
    03. Exposure
    04. What Is Compassion
    05. Aujourd'hui
    06. Bayonet
    07. It's Mutual
    08. How Many Duchesses
    09. I Came Alive
    10. We've Been Disappearing


    Human Error/Human Delight

    [engl] SAVAK is a Brooklyn-based post-punk band formed in 2015 by singers/guitarists/songwriters Sohrab Habibion and Michael Jaworski. Drummer Matt Schulz has been the other constant member over the course of 5 LPs, an EP, and multiple 7” singles. To round out their recordings and live performances, SAVAK has welcomed a variety of bass players and other musician-friends on horns, strings and keyboards. From the onset, Habibion and Jaworski's intent has been to give each other space to bring in ideas and to support the other songwriter in the process. Setting aside any notion or formality of there being one “lead singer,” they’ve taken a shared approach, setting aside their egos for the benefit of the song. The band extends this ethos to everything it does, typically taking turns singing songs at shows and sharing an equal number of contributions to each recording. SAVAK’s 5th full-length album, Human Error / Human Delight, will be out April 15th, 2022 on the band’s newly-minted record label, Peculiar Works Music. Like more than a few albums coming out these days, this is the band’s “pandemic record,” which happened to suit the dual-songwriter approach quite well, as Habibion and Jaworski wrote and recorded separately, isolated in quarantine, sharing files back and forth. Whenever the coast seemed clear, they met up with Schulz to add drums and various overdubs. The completed tracks were then handed off to long-time SAVAK producer, and occasional bass player, Geoff Sanoff, for mixing. The album was initially conceived as two separate EP releases, with songs falling under one thematic umbrella or another. Human Error tracks deal with frailty, shared struggles, humility, and self improvement. Human Delight celebrates togetherness, understanding, joy and even hints at transcendence.
    EAN 600064798112
  • 01. Antigen - Overcome The Fear
    02. Antigen - Praise The Lord
    03. Antigen - Authority
    04. Antigen - Shitshow 2020
    05. Socialstyrelsen - 1312
    06. Socialstyrelsen - Mörker Utan Slut
    07. Socialstyrelsen - Undergångskänslor
    08. SocialstyrelseN - Pissliv, Jag Hatar Dig
    09. Socialstyrelsen - Knivad
    10. Socialstyrelsen - Kapitalismens Grav
    11. Socialstyrelsen - Hata Mig


    A Sense Of Dread

    [engl] Antigen: Fast anarcho/crust punk from Prague (Czech Republic). This is their follow up to the critically acclaimed debut album Dust and ashes (2020). Think La Fraction and Burning kitchen! Socialstyrelsen: The most promising band from Sweden right now. The harsh vocals, the piercing guitars and the thundering d-beat drumming combined makes this release stand out from the rest. Think Protestera and Massmord and you have sort of an idea on what to expect.
  • 01. Yaral Sa Doom
    02. Thiante
    03. Mouhamodou Lo and His Children
    04. Salamaleikoum
    05. Gouné Yi
    06. Yaral Sa Doom II
    07. Riddim Rek Sa Niouy Mom
    08. Mame Cheikh Sidy Anta Mba
    09. Si Tu Savais Juste
    10. Legui Legui


    Yaral Sa Doom

    Kosmische Avantgarde Sounds aus Senegal: "Yaral Sa Doom" ist ein bahnbrechendes Album, das Grenzen und musikalische Szenen überspannt. Inspiriert von westafrikanischen Traditionen, Sufi-Lobpreisliedern, spirituellem Jazz und Dub-Rhythmen, ist das Ergebnis ein genreübergreifender Einstieg in einen internationalen Sound, der seinesgleiche sucht. Hypnotische Perkussionsschleifen über wogenden Flächen, Call-and-Response-Gesänge, die sich über elektronische Beats legen, und Kinderstimmen, die zu Aufnahmen von rauschenden Wellen singen. 2018 reiste der schwedische Musikarchäologe und Leftfield-Musiker Karl Jonas Winqvist nach Toubab Dialaw im Senegal, einem kleinen Fischerdorf, das zum Zentrum der senegalesischen Boheme-Kunstszene wurde. In den nächsten Wochen kamen dort Musiker, Perkussionisten, Dichter und Beatmaker zusammen, um Ideen zu skizzieren und freie Improvisationen aufzunehmen. Winqvist kehrte nach Schweden zurück und tauschte die Aufnahmen über WhatsApp mit dem im Senegal lebenden Kollaborateur und Studiotechniker Arouna Kane hin und her. "Yaral Sa Doom" ist eine Wolof-Phrase, die "die Jugend erziehen" bedeutet. Im Zentrum des Albums steht das Thema Bildung, mit Songs, die sich direkt mit den sozialen Problemen des heutigen Senegals, mit Bildung und Immigration auseinandersetzen. "Heute muss man Kinder mit einem Instrument und Kunst erziehen, wenn man ihnen ein Instrument beibringt, lehrt man sie, ihren Geist zu benutzen", sagt Djiby Ly. Mit über 20 Mitwirkenden aus dem Senegal und Schweden ist das resultierende Album vielschichtig und komplex, behält aber eine zentrale Vision bei. "Es ist, als würde man ins Meer eintauchen", erklärt Kane. "Da schwimmen alle möglichen Arten von Fischen herum, aber zusammen bilden sie den Ozean." Nichtsdestotrotz ist es auch eine geografische Anomalie, die nur durch den Austausch im Internetzeitalter möglich wurde. "Yaral Sa Doom" ist eine außergewöhnliche Aufnahme und ein visionärer Einstieg in die Zukunft der transglobalen Zusammenarbeit.
    EAN 0602318137265
  • 01. Noise Addiction
    02. Hard Action
    03. Lame Brain
    04. I Feel Bad
    05. Wild One
    06. Rot In the Doghouse
    07. No Rules
    08. Thrillers Of Oz
    09. Spoiled Sport
    10. Courageous Cat
    11. These Boots Are Made For Walking
    12. American
    13. The Girl With The Hungry Eyes
    14. I Want Your Body
    15. Future


    Rise And Rise Again

    [engl] Beat Generation presents a reissue of Pure Hell sole full-length album, recorded in 1978 but not released until 2006. In 1974, on the streets of Philadelphia, a band unlike any other was formed. They called themselves Pretty Poison. They had a sound so ahead of its time that the music industry was not yet ready for it. They coupled the punk sound of the New York bands of the time with a harder, faster heavy metal edge unheard before. Their unique sound was a result of Kenny Gordon's berserk choreography and Preston Morris's needling guitar riffs, while Steel and Spider added synchronized barrage with no nonsense execution to the arsenal. Inspired by the famous fuel-altered dragster, they changed their name to Pure Hell in 1975. Soon after, they moved to New York City where they played with bands like the New York Dolls, Sid Vicious, Wayne County and the Electric Chairs, The Dead Boys, The Stimulators, Richard Hell, The Germs, The Nuns, The Cramps and more. In 1978 Pure Hell headlined a tour of the UK, with bands like the UK Subs, Wilko Johnson, Vermilion & the Aces and more opening for them. While in the UK, their only original record was released. It was a single released by their manager Curtis Knight on his label, Golden Sphinx Records. The songs on the single were "These Boots Were Made for Walking" and "No Rules." The single charted in the top 40 charts in the UK. During the same year, a full length album was recorded but was never released. It did not surface again for 28 years.
    EAN 8435008884697
  • 01. Did You Hear What They Said
    02. Better Days Ahead
    03. Household Name (Interlude)
    04. Your Daddy Loves You
    05. Changing Yourself (Interlude)
    06. Pieces Of A Man
    07. Enjoying Yourself (Outro)
    08. Alien (Hold Onto Your Dreams)
    09. Before I Hit The Bottom (Interlude)
    10. 95 South (All Of The Places We've Been)
    11. The Other Side
    12. The On/Off Switch (Interlude)
    13. Blue Collar
    14. On Bobby Blue Bland (Outro)


    Nothing New

    [engl] Gil Scott-Heron never had a pop hit single; he was more important than that. With ‘Johannesburg’, ‘Home is Where The Hatred Is’ and ‘The Revolution Will Not Be Televised’ he wrote songs that resonated beyond the world of disposable chart-toppers. That’s not to say he didn’t have success, and 1974 was a very good year for him. The album “Winter In America”, released on Strata-East, spawned the radio hit ‘The Bottle’ and several cover versions. Former Columbia Records boss Clive Davis was impressed and made Gil, Brian Jackson and the Midnight Band the first signing to his Arista label later in the year. The streak continued into 1975 when their first Arista album, “Midnight Band: The First Minute Of A New Day”, made the jazz, R&B and pop charts. Gil was certainly making a name for himself. Towards the end of 1974, Gil’s former label, Flying Dutchman, put out a compilation of tracks from his first three albums. “The Revolution Will Not Be Televised” was no hastily put together cash-in. Instead it became the primer for what many would describe as Gil’s best work. From its striking Charles Stewart cover shot and lavish packaging, it was clear time and effort had been made to get the album right. From the incendiary polemicism of the title track through heart-wrenching contemplations on modern life such as ‘Pieces Of A Man’ and ‘Did You Hear What They Said?’, and back to the anger of ‘Whitey On The Moon’, it captured perfectly what his first three albums were about, revealing not just a performer but a writer every bit as poetic as Bob Dylan. The skill of his collaborators, most notably co-writer Brian Jackson and producer Bob Thiele, and musicians of the calibre of Hubert Laws, Bernard Purdie and Ron Carter, all helped to showcase his songs to their full splendour.
    EAN 0634904057503
  • 01. Ambassadors
    02. Storytellers
    03. 8 Ubers (Tribute to DJ Jaivane)
    04. Conka
    05. Smooth Criminal (Main Mix)
    06. Lerato La Bass
    07. Trip to Vlakas (Main Mix)
    08. Chants of Africa


    Amapiano Selections

    [engl] The past five years have seen amapiano, South Africa’s electronic music movement born in the townships of the country’s Gauteng province, evolve from an underground sound to a nationwide mainstream staple. Even with its commercial success though, amapiano’s DIY ethos has continued to disrupt music creation and distribution in the country. Most amapiano commercial successes today began their careers on cracked versions of production software like FL Studio, distributed their work through file sharing platforms like datafilehost and marketed it using social media pages they controlled and influenced. Amapiano is partly a tasting menu of South Africa’s musical history, a lineage that has been as much a backdrop to the times as it has been a catalyst for change in the country. South African jazz has thrived pre and post-democracy, contributing international stalwarts of the genre, notably Miriam Makeba, Abdullah Ibrahim and Hugh Masekela. Kwaito music—which itself borrowed from other genres like marabi, kwela, mbaqanga, maskandi, bubblegum and others—was created and proliferated in the 90s partly because of the newly accessible House music imported into the country. In the early 2000s, Deep and Afro House dominated, to be followed by the rise of diBacardi, a percussion—heavy electronic music genre most popular in the city of Pretoria and its surrounding townships. Amapiano Selections, the debut album by DJ and producer Teno Afrika, gives listeners outside the movement’s online release economy an insight into the high-burn nature of amapiano that has spawned a distinct typology under its larger umbrella. 21-year-old Lutendo Raduvha has spent the bulk of his life moving between different townships on the outskirts of Johannesburg and Pretoria in the Gauteng province. The palette of amapiano styles on the album reflect these influences. But at first, South Africa’s youngest electronic music movement lived underground with a small, loyal following. “Amapiano is a genre that I chose because I have a passion for it,” says Teno “I started following amapiano in 2016 because I wanted to explore how it’s produced. It was not taken seriously in our country.” The record’s opening track, poignantly named “Ambassadors,” is the sound de jour in this current moment of amapiano’s evolution. Here organ solos riff over demure drums, bass and percussion for a sophisticated sound that is palatable to both seasoned and uninitiated ears. Teno Afrika does something similar on Conka, but this time referencing the Kwaito-influenced Amapiano popularised by DJ Sumbody and Cassper Nyovest’s collaborations and Focalistic’s lyrical dribbling which earned him the nickname Pitori Maradona (Maradona of Pretoria). The next two tracks, “Storytellers” and “8 Ubers" as well as tracks 6 and 7 (“Lerato La Bass” and “Trip to Vlakas”) are Teno Afrika’s hat tip to the sound evolving in the townships on the outskirts of Pretoria (Pitori to the hip) known locally as gong gong amapiano. From the home of diBicardi, the percussion and groove of the latter two especially are distinct for their almost off-tempo stride, an identifying feature of diBacardi. The high-pitched keyboard builds to a delayed break; once there, the drum is almost turned inside out to create a bass-line that becomes the driving force behind the track. As a counterpoint to the unrefined, chest rattling coarseness, fifth in the line-up “Smooth Criminal” is carried by the melody, given ample breathing space and balances the heavy bass on its back. Teno Afrika is referencing Harvard amapiano, named after the Ivy League US university for its supposedly more educated approach to production. Interestingly, Teno Afrika only gives vocals prominence on the closing track “Chants of Africa.” As a way of making their music recognizable and relatable for broadcast, amapiano producers have sometimes overly relied on vocals in the form of singing, catch-phrases and party refrains for the purpose. “It was my decision not to use vocals on this project,” says Teno “The reason is I wanted people to feel my instrumentals and style because this is my first album.” On his closing track the young producer gives a glimpse of the considered approach to music which buoys anticipation for greater things from his future releases.
    EAN 0843563132166
  • 01. Staple Singers - Brand New Day
    02. George Soule - Get Involved
    03. Grady Tate - Be Black
    04. Derrick Harriott - Message From A Black Man
    05. Marvin Gaye - You're The Man
    06. Segments Of Time - Song To The System
    07. Cannonball Adderley - Walk Tall
    08. Last Poets - Black Wish
    09. Nancy Dupree With Group Of Rochester, NY Youngsters - James Brown
    10. Curtis Mayfield - Ghetto Child
    11. Melvin Van Peebles - Sweet Sweetback's Baadass Song (Won't Bleed Me)
    12. Syl Johnson - I'm Talkin' Bout Freedom
    13. Gil Scott-Heron - Who'll Pay Reparations On My Soul?
    14. Earl Sixteen - Malcolm X
    15. Cipher Jewels - 2000 Years
    16. S.O.U.L. - Tell It Like It Is
    17. The Main Ingredient - Black Seeds
    18. Derrick Harriott - Brown Baby
    19. Wendell Harrison & Phillip Ranelin - What We Need
    20. Walter Heath - You Know You're Wrong Brother
    21. Last Poets - Down To Now


    Black & Proud – The Soul Of the Black Panther Era

    [engl] „A really wonderful compilation of some of the hardest, most pounding a righteous soul ever recorded, geared to be a sort of unofficial soundtrack to the Black Panther movement of the late 60s and early 70s! It’s a proud mix of both longstanding hard soul and funk favorites and more obscure cuts alike, including “The Revolution Will Not Be Televised” by Gil Scott-Heron, “Heritage Of A Black Man” by Sam Dees, “Panther” by the Last Poets, “Right On” by Sons Of Slum, “Be Black” by Grady Tate, “You’re The Man” by Marvin Gaye, “Ghetto Reality” by James Brown, “Ghetto Child” by Curtis Mayfield, “Won’t Bleed Me” by Melvin Van Peebles, “Do You Remember Malcolm” by Miriam Makeeba” and lots more. 19 cuts in all — with a really nice booklet of photos, notes, an essay, biographical details and more, complete in both English and German. A really hard, really tight batch of great songs — and a huge treat to have rounded up on one set!“
  • 01. Blonda Yirini
    02. Didadi
    03. Ndiagneko
    04. Djougoh
    05. Hine
    06. Kanawa
    07. Adjorobena
    08. Foliwilen



    [engl] The meaning of “Kanawa” is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them while crossing the Sahara. Some climb over the wires across the borders and they have gotten shot. We have asked them not to leave and instead stay home. But I ask them why do they leave their country? Why do they decide to go? They said that they leave because of the family situation or problems, poverty, and unemployment. We told them if ever they are to leave, they should privilege legal ways. They should abide by laws vigorously when they are to emigrate. That’s better than hiding in boats or adopting other illegal means. I ask them to stay and work in their country. So that we can help each other find a solution to this problem. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. This song is about that message and I chose it as the title of my album because I like it. My choice is because it is very meaningful and it is something we see on a daily basis. I chose it in order to alert and sensitize everybody about this question of illegal immigration. To sensitize our brothers and sisters. It is a message. That’s why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. To sensitize them so that some can stay home and grow the land. Leaving is not the only solution. That’s my message.
    EAN 0843563131954
  • 01. Kourouni
    02. Tou Dibile
    03. Tjefouroule
    04. Djankonia
    05. Nianimanjougou
    06. Sokono Woulouni


    La Grande Cantatrice Malienne Vol 1

    [engl] Nahawa Doumbia is one of Mali's defining vocalists of the last four decades. Her work journeys through progressive stages of musical evolution and sonic vogues, making it hard to summarize or even comprehend. She's played a part in popular music since the late ‘70s, as her version of Wassoulou music developed from vocals-and-guitar duo into full-scale touring bands packing a bombastic, electrified punch. As Doumbia puts it, "My music has changed multiple times to this day…The more I progressed in my musical career, the more instruments I have had accompany my songs." ?La Grande Cantatrice Malienne Vol 1 looks back to the beginning of Doumbia’s long career, when her voice was remarkably strong yet still developing. This was before she added bass and percussion, and finally the electric guitar and synths for which she became known in recent years.? She'd been singing traditional music since her early teens in Bougouni. Doumbia performed with cultural troupes throughout her youth and gained the notice of Radio Mali officials who entered her in a Radio France International contest, Découverte 81 á Dakar, which she won. Whether she knew it or not, as a young lady from a town many hours from Mali’s capital Bamako, she was destined for a worldwide touring career at the vanguard of Malian popular music. ?Released in 1981 by the excellent Côte d’Ivoire-based AS Records, the singer was barely 20 years old when it was recorded. She was accompanied by her future husband N’Gou Bagayoko on acoustic guitar, whose style echoes the nimble runs of traditional kamele n’goni players. The stark simplicity of this highly intimate recording—the audible room acoustics, the occasionally in-the-red vocals—do not obscure the mature strength of her voice. On Vol 1 Doumbia performs her songs with the tenacity and hunger of a young artist on the cusp. "When I think about it, first, I am reminded of how long ago it was. It's one of the albums that I love most because it reminds me of my youth. I was so young and my voice was light and joyful. I still listen to some of those songs today. I am really proud of that first album because that’s where it all began. It shows me how far I’ve come in my personal and artistic life; it gives me the courage I need to keep going forward, and makes me appreciate all the years of dedication and hard work I put into my musical career. "?These early songs are rhythmically built around Bagayoko's sensitive guitar, as his fingers brush the fretboard and gently outline the melodies. Although this record predates the singer’s use of percussion, the driving skeletal didadi rhythm is apparent in the songs. Later albums like Vol 3 further prioritize her hometown didadi beat and the result made her famous.
    EAN 0843563115534
  • 01. Two Timer
    02. Regenerate
    03. Do You Know?
    04. Time
    05. Thinking About You
    06. Don't Give Up
    07. Out To Get You
    08. Two Timer (Instrumental)
    09. Regenerate (Instrumental)
    10. Do You Know? (Instrumental)
    11. Thinking About You (Instrumental)
    12. Don't Give Up (Instrumental)


    Big Crown Vaults Vol. 1

    [engl] We are always sitting on a handful of unreleased songs that didn’t make their way to albums. Listening back to these gems we decided to launch a new series entitled Big Crown Vaults and the first volume features the music of Lee Fields & the Expressions. These tunes were cut during the Special Night & It Rains Love sessions. When you hear these tracks you can imagine how difficult some of these decisions were in the first place to leave them off the albums. An absolute standout is “Regenerate,” a song that finds Lee in the country soul realm, a style that Mr Fields, a North Carolina native, flourishes in. A drum break starts the song and then drops into a chorus where El Michels, Paul & Big Bill Schalda belt out the earworm chorus. Lee sings an encouraging tune about finding your way out of a low point in a relationship while The Expressions lay down an airtight groove. “Thinking About You” takes it back to the dance floors with what will surely be a hit at Soul parties around the globe. An uptempo drum break opens the song and Lee launches into a tale about the unbreakable bond with his significant other and how they keep each strong through moments of hardship and pain. People who have seen Lee perform live in the last decade might have been lucky enough to hear his rendition of Little Carl Carlton’s “Two Timer”. For those of you who haven’t heard it, Big Crown Vaults has got you covered. A faithful version of the song showcases Lee’s gorgeous voice and the Expression's unwavering groove. Another treat on here is the fuzzed out funk banger “Do You Know” where Fields uses his platform to address some of our societal woes in a “Make The World” style. A deeper from the vaults number is “Out To Get You”, an instrumental that Lee never laid down vocals to. Even as just a rhythm track it stands as a testament to The Expressions musical prowess, the band that created 5 studio albums with Lee Fields which will go down in history as stone classics.
    EAN 0349223010411
  • 01. Ibola Aids
    02. Ingani
    03. Amarumasi
    04. Kulani Kulani
    05. Dodomedzi
    06. Hai Kamina
    07. Yogo Yogo
    08. Ti Samboko
    09. Ama Owners
    10. Kulani Kulani (Remix)


    Yogo Yogo

    [engl] The rags-to-riches chronicle of Penny Penny’s life would be remarkable if he had only released his smash debut Shaka Bundu and packed houses for a few years. But the inimitable South African singer and dancer known for his trademark top ponytail and emphatic anthems was no one-hit wonder. In the aftermath of Shaka Bundu’s nationwide explosion, far beyond his country the album resonated with ever bigger audiences. He performed up and down the continent, building fanbases in more than a dozen countries. So his sophomore album Yogo Yogo—released in 1996—solidified Penny Penny’s standing in pop music nationally and provided new energy to his pan-African stadium-filling adventures. “I was very busy between Shaka Bundu and Yogo Yogo. Shows every week, local and outside the country. There was no relaxing from 1995 until 1999.” The album also reflects the era in which it emerged. If Shaka Bundu arrived triumphantly amid newfound political freedom in South Africa with the end of Apartheid and Nelson Mandela’s election, Yogo Yogo was a next level expression for the maturing artist. He wanted to get a message out. Composed with Joe Shirimani, who also produced the album, the sound and compositional style echoes the earlier recording but the topical nature of the lyrics became more deliberate, more didactic. In the song “Ingani” Penny proclaims, we are all one people even though we may speak different languages, we are all Nguni—a larger historical grouping that includes many of the ethnic groups in modern South Africa. “Kulani Kulani,” which means grow up, urges young people to say no to drugs and yes to education. Ama Owners, referring to the public transport drivers involved in violent rumbles, asks the nation’s drivers to relax because we need them for our safe arrival. Penny’s success as a Xitsonga artist should not be under-estimated in the context of popular music at the time in South Africa. “When I started with my own style and image, first time in Shangaan we had artist like me,” Penny explains. “Our music was traditional before. But I brought a mix of rock and disco and it became the bomb. Every star won’t be popular without your own style.” It took them eight days to finish album, writing the songs in the studio. Penny says, “The songs just happened. Joe is very good at listening and producing, he has lots of patience. When he played the keyboard I would sing, standing behind him once he finished the rhythm, I would sing it all in one take, non-stop. We were not using computers to record, we were singing live. And we pressed the music on cassette and vinyl—not CD—back then." Fast-forward to 2020, Penny Penny is deep in the political game and appears on television 6 times a week as the star of his own reality TV show, “Papa Penny Ahee!”. He is setting up an avocado farm and provides fifty families in his region with food every month via his charitable foundation. Penny still plays huge shows around South Africa and will appear at some Europe’s biggest festivals in 2021.
    EAN 0843563115534
  • 01. "Hot Breath Hannah" With The Paul Mitchell Trio - Please Mr. Play Boy" (NRC)
    02. Archibald - Great Big Eyes (Imperial)
    03. Varetta Dillard - Send Me Some Money (Savoy)
    04. LaVern Baker - Tiny Tim (Atlantic)
    05. Guitar Slim & His Band - Well, I Done Got Over It (Specialty)
    06. Guitar, Jr. - Knocks Me Out (Mercury)
    07. "Hot Breath Hannah" With The Paul Mitchell Trio - Looking For A Man (NRC)
    08. Pipes - Let Me Give You Money (Dootone)
    09. Big Maybelle - That's A Pretty Good Love (Savoy)
    10. The Memos - The Biddy Leg (Memo)
    11. Annisteen Allen - Rough Lover (Decca)
    12. Jesse Perkins & The Bad Boys - One More Kiss (Savoy)
    13. Carol Fran - I'm Gonna Try (Port)
    14. Camille Howard - Exite Me Daddy (Federal)
    15. The Southern Wonders - The Gambling Man (Peacock)
    16. Fontella Bass - My Good Loving (Prann)


    La Noire Vol. 2 , Please Mr Playboy!

    [engl] “Please Mr. Playboy” a new pressing of fantastic original rhythm and blues, blues, and rock and roll sides from the deep vaults. As you well know by now with the success and praise from collectors the world over on “Have Mercy Uncle Sam,” these pristine rhythm and vocal accompaniment sides will certainly shake the chill off any cool night. This is the music that “made you” if you know what we mean… Please Mr. Playboy starts off with a mystery that must be a well known singer, (can you recognize her?) She starts us off with a one-off advertisement plea from 1965 for Tabs Pants. Buy a few pairs of Tab trousers, and get this hot platter on the house. Hot Breath Hannah is the name of our illustrious singer, but do we dare giver up her identity?…this is a fun and well produced side from the National Recording Company. Dog House takes you down to New Orleans for a rare Boogie number by Archibald, otherwise known as pianist Leon T. Gross. Leon treats us to his beautiful right hand piano work on this very rare side for Imperial records. We have a side by the sultry voiced Varetta Dillard on Savoy Records out of NYC. Varetta was there as history was made as she was on the bill at very first Rock and Roll show ever, the Moondog Coronation Hour put on by Alan Freed in Cleveland. However, she never got to perform that night as the show was shut down after the first song by Paul “hucklebuck” Williams. On this record she gives us her classic, “Send Me Some Money.” A musical force to be reckoned with and one of my favorite female singers, Big Maybelle is on this platter giving us some of her finest work on, “Pretty Good Love.” Guitar from the fantastic Mickey Baker cracks on this record from the Savoy label recorded in the Spring of 1956. Gut punching horn work from Dave McRae (alto), Buddy Lucas, Warren Lucky (tenor), and Leslie Johnakins (baritone saxophone) all deserve to be credited on this rare side of rock and roll perfection. The gals keep rocking us with a side from Lavern Baker on Atlantic, and we travel back down the Mississippi to New Orleans for Guitar Slim’s, “Done got over it” with Lloyd Lambert on the bass. More beautiful guitar work on a rare side from Guitar Jr., otherwise known as Lonnie Baker Brooks. I was fortunate enough to be there one night while Lonnie regaled us with stories as he held court at the bar of Buddy Guy’s in Chicago. He was thrilled that we got giddy over his telling of the Guitar Jr. sessions on Goldband. Here we offer a rare side from Mercury. Lucky Millinders’ singer Annisteen Allen greets us with the stomper “Rough Lover” recorded on Decca, as well as the hell of piano player and alluring vocalist Camille Howard with, “Excite me Daddy” This is another amazing seat lifting side with guitar work from Jonny Rodgers of Solid Sender’s fame. There are more rare sides on this record found in the dust bins and basements of from Texas to Paris and we get the feeling that the ladies can rock it and roll it with the fellas any day of the week!