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Originally released in 1981, this is MIZUTAMA SHŌBŌDAN’s legendary debut album. A wild theatrical mix of avant-post-punk material worked out by one of the most uncompromising women’s brigades ever. An outstanding document from “another” Japan! MIZUTAMA SHŌBŌDAN were a force of nature – powerful and original and unapologetic. I saw them live before I heard the first record and was very impressed. I liked the way the group interacted, it was a very good atmosphere between everybody. I really liked the contrasting sounds and styles of Kamura and Tenko, two very different kinds of voices that really worked well together.
‘Fred Frith’
CONTAINS PRINTED INNER SLEEVE AND 4-PAGE FOLD-OUT INSERT
Reissued for the first time on vinyl, here's Jamaican reggae singer George Faith second album, originally released on Hollywood Records in 1979. Amazing soulful reggae melodies backed by the likes of Sly & Robbie, Aston "Family Man" Barrett, Tommy McCook, Earl "Chinna" Smith and more. Produced by the one and only Bunny Lee at Harry J Studios, and mixed by Scientist at King's Tubby's Studios!
10 Anos Depois is the tenth album by Brazilian musical artist Jorge Ben, released in 1973. It is a collection of popular songs from the first decade of his career re-recorded as medleys.
Originally conceived as a promotional pre-release dub version of Man From Wareika, this album is enhanced with an array of rare and previously unreleased bonus tracks from the Island vaults, ensuring that this is by some way a finest collection of the trombone maestro’s timeless work. Available for the very first time on vinyl this is a must have for any dub fanatic.
Ornette! is the seventh album by Ornette Coleman as a bandleader and the second credited to his quartet (following This Is Our Music). Though considered one of his early works, by the time it was recorded on 31st January 1961, Coleman was already an established jazz legend. His reputation had been cemented by the release of ground-breaking albums such as The Shape of Jazz to Come and Free Jazz.
These two albums embody the central, seemingly contrasting, elements of Coleman's early career: a meticulously crafted approach to melodic innovation and free improvisation, often with only minimal pre-determined structure. Ornette! bridges these two aspects, leaning more towards the former with its focus on melodic exploration, while still incorporating elements of Coleman's characteristic spontaneity.
The album’s opening track, W.R.U., exemplifies Coleman’s refusal to conform to audience expectations or traditional jazz conventions. The theme is sardonic and intricate—too demanding to fit into established jazz frameworks yet too deliberate to be dismissed as pure improvisation. The track encapsulates Coleman’s vision of "free jazz" as music freed not only from rigid structures but also from the constraints of genre classification, a limitation Coleman resisted throughout his career.
Critics have speculated that Coleman’s angular, unconventional sound may reflect his interest in psychoanalysis, suggesting that his music operates on both personal and artistic levels. This interpretation is bolstered by the track titles, which are acronyms of Sigmund Freud’s notable works and essays, hinting at deeper layers of meaning within the compositions.
The album’s brilliance also lies in the exceptional chemistry among its musicians. Don Cherry’s pocket trumpet—a defining feature of Coleman’s early recordings—remains a vital counterpart to Coleman’s alto saxophone. Ed Blackwell, who had appeared on the previous quartet album, demonstrates his rhythmic creativity and technical brilliance, particularly on T. & T., while Scott LaFaro, the newest member of the ensemble, contributes adventurous and daring bass work, most notably in his dynamic solo toward the end of W.R.U. Despite joining after the departure of long-time collaborator Charlie Haden, LaFaro integrates seamlessly, and his bold playing adds a fresh dimension to the group.
While Ornette! is less celebrated than some of Coleman’s other albums, it is a pivotal work in his artistic evolution. Upon its release, it was well-received by DownBeat magazine and later gained increased recognition from critics and publications such as The Village Voice, The Penguin Guide to Jazz Recordings, and Pitchfork. Over time, it has achieved cult status within Coleman’s discography, recognized as a critical document in the development of his innovative musical approach.
A1 Part I - Acknowledgement
A2 Part II - Resolution
B1 Part III - Pursuance
B2 Part IV – Psalm
Tangerine Dream’s 1970 debut, Electronic Meditation. Standing in stark contrast to their later synth-driven ambient works, this is the chaotic ground zero of Krautrock and experimental rock. A primal, avant-garde departure that captures the raw energy of the Berlin underground.
Tame Impala’s second album, crafted entirely by Kevin Parker—who wrote, performed, and produced every track. A work that finds a universal brilliance only by diving fearlessly into the deepest corners of one’s inner world.
The Stooges’ 1969 self-titled debut—a raw, visceral blueprint for punk rock. Iggy Pop’s feral vocals collide with Ron Asheton’s gritty, repetitive riffs to forge the ultimate proto-punk sound.
Joe Quarterman & Free Soul emerged from the local scene in Washington, D.C., releasing their only full‑length album on GSF Records in 1973.
The mere mention of jazz played on bagpipes is guaranteed to get a look of disbelief from most people, but not from listeners who have heard Rufus Harley, especially Re-Creation of the Gods, a 1972 disc that many consider his best. The Transparency label has reissued this record on CD with four extra tracks and pristine digital remastering of the sound. Rufus Harley, one of the only bagpipe-playing jazz musicians in the history of jazz, is a virtuoso on the instrument, coaxing improvised riff after riff from it. In his hands it sounds like two reed instruments played at once. This very enjoyable and often surprising music is in the soul-jazz vein, with a touch of Eastern sounds, and the combination of organ, bagpipe, percussion and sometimes electric bass works very well. The playing can easily be termed spiritual. Re-Creation of the Gods is reminiscent of Rahsaan Roland Kirk's later work—eg. Blacknuss, with its mixture of spirituality and soul—and Rufus Harley's bagpipe sounds somewhat similar to the manzella and stritch played by Kirk. Bill Mason's organ is an excellent complement to Rufus Harley's bagpipe and sax. The combination hints at the organ/tenor combos of the late '60s and early '70s. Although the leader and Bill Mason stand out with their solos, the tight drumming and solid electric bass anchor the music within the soul-jazz tradition and add an earthy quality to the recording. The only track which seems out of place is the 23-second intro (one of the extra tracks), which seems to be from a live show by Rufus Harley's quintet. The rest of tracks do not appear to have been recorded live, nor are they made by a quintet (rather a trio or a quartet). The liner notes provide short essays on spirituality and quotes from a variety of Eastern religious texts, which fit well with the mood of the music but do not give any further details about the recording. The remainder of the bonus tracks, however, have the same lineup of musicians and are in the same musical vein as the original tracks, so they are likely taken from the same recording session. The similarity in the musical quality and style does not mean that these tracks are repetitive or indistiguinshable from each other—or formulaic in any way. On the contrary, each one is unique and full of surprises. They are like poems in a poetry jam session; each is unique on its own, but also an inalienable part of the whole. The few other Rufus Harley tracks that I have heard (from his Atlantic years) seem like prototypes for this record. The ideas are there, but they are not as accomplished or fully realized as the ones on this recording—thus, while they're interesting, they're not as rewarding to listen to as this disc. Bagpipes and jazz make an unusual combination, but this is a very creative, enjoyable and refreshing soul-jazz record that, while not necessarily groundbreaking, is very rewarding to listen to many times over.
Released in 1961, Ornette Coleman’s Free Jazz is both a controversial milestone and a landmark recording. Featuring a double‑quartet setup with separate groups placed in the left and right channels, the album captures an unprecedented form of collective improvisation that redefined the boundaries of jazz.
Nick Drake’s final masterpiece, Pink Moon, released in 1972. It is an album of eternal resonance—a solitary soul’s delicate balance between a quiet prayer and a silent resignation.
Released in 1969, Five Leaves Left is Nick Drake’s debut album. Produced by Joe Boyd and recorded at Sound Techniques in London, the record features leading figures of the British folk scene, including Richard Thompson and Danny Thompson. Widely regarded as a landmark of British folk, the album showcases Drake’s delicate vocals, intricate guitar work, and beautifully arranged strings.
Released in 1969, In a Silent Way marks the beginning of Miles Davis’s electric period and stands as one of his most groundbreaking works. Featuring John McLaughlin, Herbie Hancock, Chick Corea, Joe Zawinul, and Wayne Shorter—musicians who would later shape the future of jazz‑rock and fusion—the album was recorded at New York’s legendary 30th Street Studio.
Originally released in 1994, Protection is Massive Attack’s second album, refining the Bristol sound they introduced on Blue Lines and helping to define the contours of what would become known as trip‑hop.
Recorded in 1962 when a 22‑year‑old Herbie Hancock entered the Blue Note roster, Takin’ Off stands as his remarkable debut album. Featuring an all‑star horn lineup with Freddie Hubbard on trumpet and Dexter Gordon on tenor sax, and captured at Rudy Van Gelder’s legendary studio, the record embodies the essence of the hard‑bop golden era.
Released in 1994, Hard To Earn stands as one of Gang Starr’s defining works and a cornerstone of ’90s East Coast hip-hop. Across this 2LP set, DJ Premier delivers some of his hardest, most stripped‑down production—dry, cracking drums, razor‑sharp sample chops, and a minimalism that hits with maximum impact. Over these beats, Guru’s calm yet commanding voice lays out street codes, philosophy, and everyday realism with unmatched precision. The album features several classics, including the hypnotic “Mass Appeal,” the street‑level narrative “Code of the Streets,” the party‑ready “DWYCK” featuring Nice & Smooth, and “Speak Ya Clout” with Jeru the Damaja and Lil Dap. With most guests coming from the Gang Starr Foundation, the record captures the raw energy of New York’s underground scene at the time. A pivotal moment in Gang Starr’s evolution, Hard To Earn marks the shift from their earlier jazz‑rap image toward a harder, more minimal sound. Essential listening for anyone exploring the golden era of hip‑hop, and a perfect fit for vinyl with its original 2LP format.
Funkadelic’s 1971 masterpiece Maggot Brain stands as a landmark of psychedelic funk. The album opens with the title track, a more‑than‑ten‑minute solo performance famous for the story that George Clinton instructed guitarist Eddie Hazel to play the first half “as if you had just been told your mother had died,” and then to play the second half “as if you had learned she was still alive.” The result is an overwhelming, emotionally charged performance—one of the most iconic guitar moments in rock history.
Ambient 1: Music for Airports is a studio album by the English musician Brian Eno. It was released in February 1979 through E.G. Records and Polydor Records.[1] It was the first Eno album released under the label of ambient music, a genre intended to "induce calm and a space to think" while remaining "as ignorable as it is interesting".[2][3] While not Eno's earliest entry in the style, it is credited with coining the term. The album consists of four compositions created by layering tape loops of differing lengths, and was designed to be continuously looped as a sound installation, with the intent of defusing the anxious atmosphere of an airport terminal as an alternative to "canned" Muzak and easy listening styles.
Pratt & Moody return with a new 7” single on Timmion Records, pairing “Hard Way To Live” with “You Bring Me Joy” – two deep diving soul cuts that reaffirm their place among the true pioneers of the modern sweet & beat soul revival. Written and recorded together with Timmion’s trusted house band Cold Diamond & Mink, the single continues a lineage that has consistently blurred the line between contemporary songwriting and timeless soul aesthetics. The A-side, “Hard Way To Live,” finds Pratt & Moody firmly in their beat ballad lane. Built on a warm, funky foundation, the song balances emotional weight with melodic lift, as its chorus opens into crossover soul-pop territory. Lyrically, it wrestles with life-earned scars and the quiet difficulty of letting go of pain that they cause – the feeling of keeping on running even after you’ve spent the last of what you had. ”On the flip, “You Bring Me Joy” unfolds like a slow-burning David Lynch scene, its dramatic crawl evoking soundtrack soul before bursting into a Stax-era Staple Singers inspired chorus. Tremolosoaked guitar lines nod to classic dark surf music, while Emilia Sisco’s gospel-tinged background vocals nod to Mavis Staples, elevating the track into full emotional bloom. Together, these two songs offer a vivid preview of Pratt & Moody’s upcoming album – a deeper plunge into soulful storytelling, their tried and tested lowrider soul chops, and modern clarity, soon to follow on Timmion Records.