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Vinyl LP pressing. Rock for Light is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. We're proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek and bass player Darryl Jenifer. In addition to new mixes, that version used an altered track order. This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.

Vinyl LP pressing. Rock for Light is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. We're proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek and bass player Darryl Jenifer. In addition to new mixes, that version used an altered track order. This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.

Recorded in 1966, Os Afro-Sambas is a groundbreaking album that fuses traditional samba with Afro-Brazilian spiritual rhythms from candomblé and umbanda. The collaboration between virtuoso guitarist Baden Powell and poet Vinícius de Moraes creates a deeply evocative soundscape, blending haunting melodies, rich harmonies, and intricate arrangements. Featuring the vocal harmonies of Quarteto em Cy, the album honors Bahia’s cultural roots while expanding the expressive possibilities of Brazilian music.

Bag People were Chicagoans who outgrew their home in the maelstrom of the early 80s NYC post-punk/ no-wave scene. They weren’t around long, but their compulsive noise-rock sound, unearthed from tapes lost for 40 years, looms large and stands tall next to the efforts of better-known contemporaries like Sonic Youth and Swans. A righteous puke of art-punk from a time of incredible brokenness in the world – in other words, savage sounds for today!

Nasim-e Sahar (The Breath of the Dawn) by Asareh Shekarchi (on tombak and āvāz), and Bahareh Fayazi (on tar) is a reinterpretation of works by master Iranian singer Reza-Qoli Mirza Zelli (1906 - 1946). This recording features a variety of modal divisions of Iranian music with poetry that speaks of both earthly and mystical love stories. Sparse and powerful, Nasim-e Sahar showcases the technical virtuosity and improvisational mastery of these two artists. By reinterpreting the masterpieces of a male singer, Bahareh and Asareh, two young women, promise the dawn of a new age in which women claim their rightful place in the history of Iranian music.

In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”. Therefore, it was not surprising that they crossed paths with Jef Gilson in the capital. He was always on the lookout for new artists for his recently formed Palm label and had been active on many fronts in jazz since the end of the 50s. The French bandleader/pianist/composer/sound engineer had already recorded, in the preceding months other American musicians who would go on to have great careers: Byard Lancaster, Keno Speller, Clint Jackson III, Khan Jamal… Gilson therefore offered Baikida Carroll the chance to record his first album under his own name, which would be the 13th release on the label. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. They were ready to enter the studio for the 3rd, 4th and 5th June 1974. The first side of the album is divided into two long tracks which send free jazz back to its long-lost African roots. The opener “Orange Fish Tears” indeed rolls out a jungle of percussion of all sorts and sizes -the whole group is involved- which weave and mix together reaching a point where all bearings are lost, lending a sense of wonder to the majestic entry of the brass and woodwinds, flying suddenly out from the undergrowth. “Forest Scorpion” (sic) is a real voodoo ceremony where a venomous percussive groove backs the fiery solos from keyboards and saxophone in a furious trance. A warning; after these two tracks listeners are physically and emotionally wiped out! The other side is more introspective. Deliberately using dissonance and repetition, “Rue Roger” -the only composition by Oliver Lake- in a long dialogue between trumpet and saxophone, could almost remind us of Terry Riley in his favourite ballpark. “Porte D'Orléans”, the fourth and final track on the album, has the group back to their old tricks in a long hallucinatory jam which owes as much to the contemporary music of György Ligeti as to the most angst-ridden Jerry Goldsmith soundtrack music (remember the heavy chords which beat through “Planet of the Apes»). With these two sides, and in under 45m, Baikida Carroll and his musicians show just what they can do, from cerebral to charnel without ever simplifying things. This is an indispensable album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek. For those with good taste, in other words.

n 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”. Therefore, it was not surprising that they crossed paths with Jef Gilson in the capital. He was always on the lookout for new artists for his recently formed Palm label and had been active on many fronts in jazz since the end of the 50s. The French bandleader/pianist/composer/sound engineer had already recorded, in the preceding months other American musicians who would go on to have great careers: Byard Lancaster, Keno Speller, Clint Jackson III, Khan Jamal… Gilson therefore offered Baikida Carroll the chance to record his first album under his own name, which would be the 13th release on the label. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. They were ready to enter the studio for the 3rd, 4th and 5th June 1974. The first side of the album is divided into two long tracks which send free jazz back to its long-lost African roots. The opener “Orange Fish Tears” indeed rolls out a jungle of percussion of all sorts and sizes -the whole group is involved- which weave and mix together reaching a point where all bearings are lost, lending a sense of wonder to the majestic entry of the brass and woodwinds, flying suddenly out from the undergrowth. “Forest Scorpion” (sic) is a real voodoo ceremony where a venomous percussive groove backs the fiery solos from keyboards and saxophone in a furious trance. A warning; after these two tracks listeners are physically and emotionally wiped out! The other side is more introspective. Deliberately using dissonance and repetition, “Rue Roger” -the only composition by Oliver Lake- in a long dialogue between trumpet and saxophone, could almost remind us of Terry Riley in his favourite ballpark. “Porte D'Orléans”, the fourth and final track on the album, has the group back to their old tricks in a long hallucinatory jam which owes as much to the contemporary music of György Ligeti as to the most angst-ridden Jerry Goldsmith soundtrack music (remember the heavy chords which beat through “Planet of the Apes»). With these two sides, and in under 45m, Baikida Carroll and his musicians show just what they can do, from cerebral to charnel without ever simplifying things. This is an indispensable album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek. For those with good taste, in other words.

Isolated at the rural fringe of Northern California, Bailey’s Nervous Kats took Shasta County by storm in the early '60s. Combining surf, rock n' roll, exotica, and R&B, the Kats were a teenage dream draped in Magnatone amplifiers and crisp white polo tees. Their self-titled—and only—LP came at the dead end of the band’s run, issued on Orville Simmons' one-shot Emma imprint in 1965. The mid-century modern LP of your dreams.

Sublime Frequencies finally unleashes it’s ESSENTIAL compilation from 1970’s Egypt. Modal instrumental tracks from Baligh Hamdi - one of the most important Arabic composers of the 20th Century (writing for legends Umm Kalthum, Abdel Halim Hafez, Sabah, Warda, and many others). Features his legendary group the “Diamond Orchestra” with Omar Khorshid on guitar, Magdi al-Husseini on organ, Samir Sourour on saxophone, and Faruq Salama on accordion. All of these musicians were discovered and recruited by Hamdi to interpret his vision of a modernized, hybrid Arabic music. Under Hamdi’s direction, this orchestra charted a new melodic direction and created a new musical language. This compilation is culled from a specific era of Hamdi’s long career, a decade where he fully realized an international music which incorporated beat driven Eastern tinged jazz, theremin draped orchestral noir, tracks that feature searing guitar solos from none other than Omar Khorshid, and a selection of buzzing, sitar driven, Indo-Arabic tracks establishing a meeting of mid-east and eastern psychedelic exotica, and a vision that created some of the hippest music coming out of the Middle East from the late 1960’s and throughout the 1970’s.

Sublime Frequencies finally unleashes it’s ESSENTIAL compilation from 1970’s Egypt. Modal instrumental tracks from Baligh Hamdi - one of the most important Arabic composers of the 20th Century (writing for legends Umm Kalthum, Abdel Halim Hafez, Sabah, Warda, and many others). Features his legendary group the “Diamond Orchestra” with Omar Khorshid on guitar, Magdi al-Husseini on organ, Samir Sourour on saxophone, and Faruq Salama on accordion. All of these musicians were discovered and recruited by Hamdi to interpret his vision of a modernized, hybrid Arabic music. Under Hamdi’s direction, this orchestra charted a new melodic direction and created a new musical language. This compilation is culled from a specific era of Hamdi’s long career, a decade where he fully realized an international music which incorporated beat driven Eastern tinged jazz, theremin draped orchestral noir, tracks that feature searing guitar solos from none other than Omar Khorshid, and a selection of buzzing, sitar driven, Indo-Arabic tracks establishing a meeting of mid-east and eastern psychedelic exotica, and a vision that created some of the hippest music coming out of the Middle East from the late 1960’s and throughout the 1970’s.

In November 2022 world-renowned kora player Ballaké Sissoko and acclaimed guitarist Derek Gripper spend just three hours recording a wordless album together. The kora and guitar in the hands of masters - a session where New Ancient Strings meets One Night On Earth. “Musically we tested each other,” says Sissoko, explaining that the most magical aspect of their initial encounter was the spontaneity of the whole thing. “We have the mastery of our instruments, the technique and a good ear. Derek is very curious, that’s very important.” “He’s just such a good listener,” says Gripper about Sissoko. “It’s not what he plays, it’s how he plays it. He’s an amazing interpreter, the prime master of timbre.” “It’s a remarkable album,” says Lucy Duran, professor of Music at SOAS. “It’s the furthest away that Ballaké has gone from his own idiom and it’s brilliant – not world music, it’s in a totally different realm, entering new territory”

 

Une pièce nue, trois nuits dans le studio de Salif Keita. Sissoko et Segal ont chassé de leur esprit tout ce qui peut éloigner un musicien de son art pour se concentrer sur l’essentiel : l’entrelacement de leurs chants intérieurs.

One bare room, three recording sessions in Salif Keita's studio. Sissoko and Segal chased out of their minds everything that can distance a musician from his art to concentrate on the essence: the interlacing of their inner song.

Six years after Chamber Music, the partnership between the two men, nourished by their years of pilgrimage worldwide, resonates louder than ever on Musique de nuit.

Kora - Ballaké Sissoko

Cello - Vincent Segal

Babani Kone - Lead vocal on Diabaro

For the first time in Nø Førmat’s history, the CD and vinyl editions of ‘A Touma’ will be available exclusively to Nø Førmat! subscribers. Subscribe to the PASS and get all of our productions of the year! After the success of Djourou, the Malian virtuoso returns for an intimate tête à tête with his kora – intimate yet simple and majestic. Taking time off from the Djourou sessions, Ballaké recorded these eight instrumental pieces in the intimate confines of the Chapelle Sainte-Apolline in Belgium. Together they proclaim, without need for further evidence, the heights of mastery and freedom that this discreet giant of global music has scaled in his forty-year-long career. Though two of the pieces also feature on Djourou, the new album gathers together all eight of them in a musical conversation between a master, made of flesh and spirit, and his ‘double’, made of string and wood. It’s a captivating, intimate and authentic testament, recorded in one afternoon, in which Ballaké takes us on a journey, a meandering trip full of majesty that borders on the sacred and touches serene meditative uplands as well as plains criss-crossed by Manding warriors straight out of the epics of a country of whom they are the pride. As for the title ‘A Touma’, take it to mean ‘this is the moment’: the moment for Ballaké to share the fruits of his maturity, and for us to discover and be blown away.

This 2-track single is a gift from the past, reissuing two rare Thai treasures from the late 1960s, big hits from that time which were actually covers of Japanese songs. Pan-Asian music produced by Surin Paksiri, a legendary presence in the Isan music scene from the 1960s until the present. The first song "Ya Deon Show" was Paksiri's first hit, a Thai-language version of "Soran Bushi", a traditional work song of Hokkaido fishermen, sung here by popular actor Banchop Chaiphra. The song fuses a Luk Thung arrangement with a Japanese "Dodonpa" rhythm. The second singer here is Samai Onwong, a key force in the development of Thai pop music, with "Sakura La Kon (Goodbye Sakura)", sung in both Japanese and Thai. The original was a 1968 hit by Pinky & The Killers and features some fine Khaen playing by Samai, lending a bittersweet Thai feeling. With English lyrics and liner notes, this is a lovely treat, guaranteed to bring a smile and perhaps a tear.

What is luk thung?

A musical genre whose name means ‘country person’s song’ or ‘children of the field’. The name became established in the latter half of the 1960s and now has the status of a national genre of popular song unique to Thailand. The lyrics of luk thung songs deal mainly with the rural idyll, comparisons between the city and the countryside, life in the big city and current affairs. There are certain typical traits to the music, but no official musical form.

“Tunggak Semi” is the third album from Indonesian musician and producer Bambang Pranoto. Originally released in 2000, it’s an exemplary slice of what has become his signature style, a dream-like meditation on aspects of nature, combining elements of accordion, acoustic guitar, flute and percussion. The compositions cross eastern and western notation to inhabit a world of their own, a world between worlds, where harmonies reflect the beauty and joy of nature.

Bambang had a rather atypical entry into music, and studied electronics and telecommunications, before he took advantage of the wave of computer software like Cubase and Protools in the 1990s that enabled him to set about recording his own compositions and soundscapes. After playing in groups, he developed his own approach to constructing his productions. He invites musicians to record interpretations of his themes, which he then pieces together in Protools like a jigsaw puzzle. “The musicians have never even met!” he chuckled on a Skype call.

“Tunggak Semi” refers to the giant trees that appear all over Bali, and their process of renewal and regeneration. “If you cut the tree, and leave the roots, they will grow again. Everytime we cut, they grow again. It’s limitless. This philosophy means there’s always something new coming, whether an idea or music, anything.” This approach has grown out of Bambang’s studies into meditation, including Indian and Chinese scriptures, also Balinese and Indonesian religions. Music, like meditation, is a daily practice, and acceptance of the music and its ‘unfinishedness’, forms a central part of the process.

“We must not just think, but we must also feel, and we must accept that feeling,” explains Bambang, and that’s a step of opening one’s mind to possibility. It seems in keeping with two of Bambang’s musical inspirations, namely Ryuichi Sakamoto and Peter Gabriel, both known for their love of world folk music, and fusion of musical traditions. That’s mirrored in Bambang’s own collage-like approach, recording elements and piecing them together to make something unimagined. While the acoustic sound palette for “Tunggak Semi” is rooted in live recordings, Bambang is not afraid to put the digital technology to good use.

“We have to use the computer as a tool in the best way we can,” Bambang says. “Sometimes people say music is made by people, not by the computer, but it’s just another piece of equipment. What can we compose from this equipment? It’s technology music!”

Written and produced by Bambang Pranoto at interactive garden studio, Depok, Bogor between September and December 2000. 2025 version remastered by Wouter Brandenburg at Brandenburg Mastering.

This double A-sided 7-inch features two new cool, sophisticated and funky melodic pop songs from Bank. Tight bass lines, multi-hued percussion, snappily intertwining guitars, yearning melodies and clever production touches abound. These Tokyo veterans evince their love of all varieties of funky pop from recent decades in these two sweet sides.

What is the true tempo in your heart?
Following "Light Wave", M's J-Indie pop is a new album by Bank, a 5-member group that pursues HYPE pop that has nothing to do with the atmosphere of the times. Mixing / mastering is that Tomoki Kanda!

Bank is an angler scene in the early 90's: Tokyo Neo Acoustic-Early Club Music-Crue-L (presided by Kenji Takimi) who has been active around the very "Shibuya-kei" parties, Bridge, Love Tambourines, Arch. Formed in 2006 by musicians who have worked in a legendary band. The core is Dai Nakamura (gtr, voc) and Nozomi Suzuki (drums). The motto is "good music with good performance" without any strangeness, but Nakamura's helplessness is new wave-post-punk-neo acoustic, fake jazz-funkaratina, which are their indelible foundations. 80s lovers naturally come out, and the sound is indistinguishable between old and new (for some reason, everyone likes Duran Duran).

Supporting the inorganic songwriting of Nakamura is Suzuki, who has the characteristics of Fumio Hirami (ex. Love Tambalins), who is a pillar of rhythm with AOR in the background, and YMO-like drumming of non-groove. The strangely comfortable urban groove created by this mismatch is also attractive. Mixing / mastering is Tomoki Kanda (genius!), Who has been an ally since the 90's. This time we will also release the bank's first vinyl version!

Baan Yen Laken is a leading figure who has built up the existence of a female mass idol Mor lam in the heyday, and is a superstar who has been the goal of many singers including Ankanan and Hong Thong since the latter half of the 1960s. Discovered by Isan's big-name producer, Tape Pubut, she has an urban mor lam that was one of the first to incorporate Western music, and destroyed traditional mor lam entertainment with flashy costumes and bewitching stage productions. The state of (* meaning of development and development in Thai) that foresaw this era was criticized at that time, but the influence that it became more enthusiastic and became the mainstream of the present age is immeasurable.

She was supported not only by her cuteness and flashiness, but also by her debut in an era when good and bad songs were the first priority, and she was sung by legendary Morlam singers. Because he was a talented singer who fascinated him. That should be it, Baan Yen's singing ability learned under Morlam's classic apprenticeship is with origami. He is now one of the leading singers in the country (he has also performed at Thai festivals in Japan).

This time, she compiled the most violent 70's innovative Morlam & Luk Thung works, and distributed them in a well-balanced manner from flashy and up-to-date songs to moist and astringent songs. It is a "listening" best compilation album that focuses on the innate talent of Baan Yen, the skill of singing. Soi48, of course, for song selection, commentary, and binding!

Soul singer Barbara Massey and jazz guitarist Ernie Calabria paired up for this rare 1971 album. With Calabria having worked with Nina Simone and Harry Belafonte, among others, and Massey having sung backup for artists including Jimi Hendrix, Cat Stevens, and Herbie Hancock, the pairing was an inspired one and resulted in this superb soul-jazz outing. Massey has a dry yet passionate and evocative vocal quality that often brings to mind Grace Slick. Fittingly, the duo takes on Jefferson Airplane's "Somebody to Love," turning the Summer of Love anthem into a steamy and hypnotic soul-funk jam. Elsewhere, the duo touches upon such varying styles as folk, Latin, and psychedelic rock with cuts like "For You" and "Do You Know?," bringing to mind such similarly inclined acts as the Free Design and Bill Withers. Anyone who has even a passing interest in this kind of '70s cross-genre aesthetic will certainly want to seek out Prelude To.... ~ Matt Collar

Another Timbre releases a new CD by Barbara Monk Feldman, wife of American avant-garde music legend Morton Feldman, featuring five chamber and solo pieces composed between 1988 and 1997. Performed by the "GBSR Duo" consisting of George Barton & Siwan Rhys and Mira Benjamin from Apartment House! This is a fantastic chamber music piece that envelops you in a very ethereal tranquility.

Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over.

Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore.

It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.

Vocal Shades And Tones is a miraculous leftfield library classic from the genius mind of celebrated UK composer/singer/vocal arranger Barbara Moore. It's a heavenly groove-based blend of jazz, Latin, soft-psych, folk-funk and gospel soul. Recorded for the legendary Music De Wolfe in 1972, it's an audacious start-to-finish listen, as dizzying as it is dazzling. It's a perfect snapshot of a musical era, supported by Moore's glorious vocal arrangements. Widely regarded among collectors, DJs, and lounge/easy-listening acolytes as an absolute essential it is viewed as the holy grail by many production music heads, rarely appearing for sale and disappearing in a flash when it does. Indeed, originals now go for over £300 and it's easy to see why. Just one of the reasons why this fresh Be With reissue, part of a wider De Wolfe reissue campaign, is so utterly crucial. Racing out the gate, the driving "Hot Heels" is a bright, sophisticated scat groove which sounds Brazilian, richly produced as if coming by the hand of Arthur Verocai. Yes, *that* good. It's followed by "It's Gospel" which is, er, a wonderfully slow and deeply soulful gospel treasure. The appropriately monikered "Steam Heat" is a darker, breathy gem, one for salacious crates and one of the record's most infamous tracks. "Fly Away" is pastoral West Coast soft rock, very much in conversation with John Cameron and Keith Mansfield's epochal KPM recording, Voices In Harmony. "His Name Was" is a stop-you-dead-in-your-tracks Beach Boys accapella church-organ stunner, whilst "Swing Over" is another carefree, richly produced sun-dappled smasher. The gentle Bossa and sunshine soul of the aptly-titled "Touch Of Warmth" closes out a virtually perfect A-Side. The B-Side opens with the easy grace and dramatic build of "Voice Force Nine". The jaunty "Very Fine Fellow" may be the only track to slightly grate so we advise heading to the slower, moody "Shades-Tones", eminently more compelling with sparkling, hypnotic piano throughout, underpinning the gorgeous wordless vocals. Just beautiful. It was sampled by Redman for his Method Man-featuring "Do What Ya Feel" on the great Muddy Waters. We're back in Brazilian territory with the cool, uptempo "I'm Feather" before swooning to the warm, relaxed "Drifting", another total highlight which was famously sampled by Koushik on his legendary remix of Madvillain's "America's Most Blunted (Doom's Verse)". The penultimate track, "Take Off" is a bright, organ lounge groove before this remarkable set is rounded out by the beaty "Fly Paradise". It's so so good, it sounds like Rotary Connection fronted by The Mamas & the Papas. As noted in a recent Guardian article on Moore's life, "there is a plushness and electricity in the tight vocal harmonies that spring out, sung with the precision of cathedral choristers decades before Auto-Tune." Amen. In the 1960s, Barbara Moore was a member of Top of the Pops’ resident vocal-harmony group, The Ladybirds and sang backing vocals for Dusty Springfield’s TV show. Her own outfit, the Barbara Moore Singers, were regulars on TOTP, singing with Jimi Hendrix when he performed "Hey Joe" live in Lime Grove Studios. An important detail for Moore was the shepherd’s pie she bought Hendrix when she found him alone, looking emaciated, near the BBC canteen. By 1970, she was working as a session singer for De Wolfe and, by 1972, was composing her own tracks for De Wolfe and working within their tight creative strictures. Each short track had to evoke an obvious mood and theme, with no significant key or tempo changes. Her response, this very album, managed to stay between the lines while cohering as an overarching artistic masterpiece. The audio for Vocal Shades And Tones has been carefully remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Eventually crowned Queen of the Norfolk Sound, Barbara Stant was just a teenager when she auditioned for Shiptown impresario Noah Biggs in 1970. A dozen sides were tracked throughout the decade, producing a body of work that stretched from deep soul to northern soul to sister funk. By 1978 disco was in overdrive, Noah Biggs was in the ground, and Stant’s career on hold. My Mind Holds Onto Yesterday is what remains.