MUSIC

The 1st solo album "Himatsubushi" released in 1974 after the breakup of Murahachibu is now available in a limited edition reissue with the original cover obi from the time of its first release!

Blues in the Mississippi Night documents a remarkable 1947 session recorded by Alan Lomax in New York, shortly after performances at his Midnight Special concert series. Featuring Big Bill Broonzy, Memphis Slim and Sonny Boy Williamson—originally credited under pseudonyms for their safety—the recording pairs intimate performances with candid conversation. Prompted by Lomax, the musicians speak openly about racism, labour and life in the Jim Crow South, tracing the blues back to lived experience. The result is a powerful blend of music and testimony, grounded in the realities that shaped the form. Remastered from the original tapes by Lomax Archive, this edition restores the clarity and presence of the session. It stands as a vital historical document, capturing three defining voices in direct, unguarded form.

Following her Grammy-nominated debut, "surrealist blues poet" aja money returns with a soulful, jazzy scratch pad of ideas, concepts and philosophies that features Vic Mensa, Mick Jenkins, Brandee Younger, Georgia Anne Muldrow, and others. On the surface, monet's sophomore album might seem like a set of poems set to low-slung, post-Low End Theory beats and kosmische/spiritual jazz synths, but she's not that straightforward. Her politics are the beating heart of her craft and that heart beats with revolutionary energy: already this year, her second poetry book 'Florida Water' has been nominated for an NAACP award. Crucially, she reclaims the idea of surrealism for Black voices; following artists like Suzanne Césaire, she uses surrealism to set her politics free, not as a series of Jungian tropes and aesthetics. She's plugged in throughout and, most importantly, her delivery makes the music strangely gripping. Poetry's not the easiest sell, but monet's tongue-twisting tales of American brutalism have never felt more necessary. "Octavia Butler newscasting premonitions from a graveside in Altadena," she quips on 'hollyweird', just moments before a wild trumpet circles the air above. And on the brilliant 'for the Congo', she cuts even closer to the bone. "How many children," she asks. "How many children died for the sake of my comfort today?" African percussion penetrates her words and it's hard not to feel utterly crushed.

Hot on the heels of ‘Mordechai’, the critically acclaimed third album from US psych-rockers Khruangbin, the Texas trio are set to become the latest act to present their own LateNightTales in the popular, long-running musician-curated album series.Having first come to prominence in 2013 when producer and D.J. Bonobo included Khruangbin’s ‘A Calf Born in Winter’ in his own collection of songs for the series, the little known Houston trio had yet to release an album, but have since gone on to become international superstars forming their own exotic, individual sound. “The LateNightTales series is such a special thing to be a part of because we wouldn’t have made it if it wasn’t for Bonobo’s LateNightTales, because that’s how we got into the LNT family – and got a break.”With a mind-blowing selection of tracks that cross borders and cultures, Khruangbin’s deep love of global grooves – from Asian pop to Nigerian reggae – Japanese mellow groove to Latina flavas – are steeped in eclecticism; Nazia Hassan’s Hindi-disco ‘Khushi’, produced by British-Indian legend Biddu, South Korean rock band Sanullim who contribute ‘Don’t Go’, a pair of African bangers from Nigerian Maxwell Udoh and Roha Band, from Ethiopia; a diversion to Belarus for Песняры and thence to Madrid for the strident vocal performance of Paloma San Basilio with ‘Contigo’ before hightailing back to Texas.Elsewhere, the Lone Star state reps proudly, with David Marez and Kelly Doyle plus, in the LateNightTales tradition, the band deliver an exclusive, horizontally brilliant version of Kool & The Gang’s ‘Summer Madness’, while the mix concludes with a spoken word piece by Tierney Malone, accompanied by fellow Houstonian Geoffrey Muller’s atmospheric banjo rendering of Erik Satie’s ‘Gnossienne’.“It’s cool to think about what you would listen to late at night, as a band together, lighting a spliff, kinda vibe. We definitely wanted to cover as much global territory as possible; so it was the globe and then home. We wanted to show the treasures from our hometown, or people from our hometown that the rest of the world probably doesn’t know. That’s what makes Khruangbin Khruangbin. The stubbornness about being so hometown-centric but what makes Houston is this this constant international influence. That’s that gulf stream, bringing it right into Houston. So I guess that’s kind of the theme.”The LateNightTales series was established back in 2001 with Fila Brazilia taking to the controls and mixing up the first of what would continue to be the first choice of music connoisseurs worldwide. Since then, the series has seen releases from the likes of The Flaming Lips, Hot Chip, Floating Points, David Holmes, Bonobo, Jon Hopkins, Röyksopp and many more.

Jon Savage's SF Sike 1966-72 charts the evolution of San Francisco's psychedelic underground through 18 essential recordings from the era. Spanning 1966 to 1972, the compilation brings together key tracks by The Beau Brummels, Quicksilver Messenger Service, Moby Grape, Skip Spence, Creedence Clearwater Revival, Grace Slick & Paul Kantner, Country Joe & The Fish, Santana, Sly & The Family Stone, The Grateful Dead and more. Inspired by Savage's exploration of the city's countercultural explosion, SF Sike 1966-72 captures the adventurous spirit and musical freedom that made San Francisco one of the defining centres of late-'60s psychedelia.

Jon Savage's SF Sike 1966-72 charts the evolution of San Francisco's psychedelic underground through 18 essential recordings from the era. Spanning 1966 to 1972, the compilation brings together key tracks by The Beau Brummels, Quicksilver Messenger Service, Moby Grape, Skip Spence, Creedence Clearwater Revival, Grace Slick & Paul Kantner, Country Joe & The Fish, Santana, Sly & The Family Stone, The Grateful Dead and more. Inspired by Savage's exploration of the city's countercultural explosion, SF Sike 1966-72 captures the adventurous spirit and musical freedom that made San Francisco one of the defining centres of late-'60s psychedelia.

For years, Takuro Okada has carried a quiet question: how can a Japanese musician honor the music of African Americans without simply borrowing it? That search shapes his new album Konoma, a work guided by the idea of “Afro Mingei.” The Tokyo guitarist, producer, and bandleader has lived inside this tension since childhood, drawn to blues, jazz, and funk records that nourished him, yet hesitant in the face of the histories they hold. The concept of Afro Mingei, which Okada first encountered in an exhibition by artist Theaster Gates, gave him a way forward. Gates connected Black aesthetics with Japanese folk craft, both rooted in resistance — “Black is Beautiful” defying racism, the Mingei movement preserving everyday beauty against industrial erasure. That kinship became the compass for Konoma, a record attuned to echoes across cultures and time.

Konoma holds six originals and two covers, all shaped by this dialogue. The elegantly unhurried “Portrait of Yanagi” drifts like a standard half-remembered from another era, while the brief but potent “Galaxy” gestures toward Sun Ra’s late 1970s electric organ experiments, the fractured propulsion of Flying Lotus’s early beat tapes, and the shadowy atmospheres of trip-hop. Okada’s choice of covers sharpens the conversation: Jan Garbarek’s “Nefertite” shimmers with the cool austerity of 1970s ECM, reframing Europe’s own search for identity inside jazz, while Hiromasa Suzuki’s “Love” channels the electric vibrancy of 1970s Japanese fusion, when musicians fused psychedelia, funk, and folk into a distinctly local dialect. Together, they anchor Konoma in a lineage of artists who bent borrowed forms toward something new.

Okada’s life has been shaped by such crossings. He grew up in Fussa, where the Yokota U.S. Air Force base loomed large, learning guitar in rowdy clubs for American servicemen while teaching himself recording at home. That hybrid education led to collaborations with Haruomi Hosono, Nels Cline, Sam Gendel, James Blackshaw, and Carlos Niño, and to a body of work spanning film soundtracks, collaborative projects, and exploratory solo albums. Earlier this year, Temporal Drift released The Near End, The Dark Night, The County Line, which features selections from Okada’s expansive archive of recorded material, cementing his reputation as one of Japan’s most adventurous contemporary musicians. With Konoma, co-released by ISC Hi-Fi Selects and Temporal Drift, Okada delivers his most personal and expansive statement yet: a meditation on connection, influence, and the beauty that survives across cultures.

- Words by Randall Roberts

Blues in the Mississippi Night documents a remarkable 1947 session recorded by Alan Lomax in New York, shortly after performances at his Midnight Special concert series. Featuring Big Bill Broonzy, Memphis Slim and Sonny Boy Williamson—originally credited under pseudonyms for their safety—the recording pairs intimate performances with candid conversation. Prompted by Lomax, the musicians speak openly about racism, labour and life in the Jim Crow South, tracing the blues back to lived experience. The result is a powerful blend of music and testimony, grounded in the realities that shaped the form. Remastered from the original tapes by Lomax Archive, this edition restores the clarity and presence of the session. It stands as a vital historical document, capturing three defining voices in direct, unguarded form.

One of many projects on Strata-East spearheaded by bassist, composer, and arranger Bill Lee (legendary director Spike Lee’s father), The Descendants of Mike and Phoebe’s only album, A Spirit Speaks, enlists Lee’s brother and sisters—Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead—to form a group named in tribute to their enslaved ancestors. Combining elements of jazz, gospel, soul, and blues, among other influences, A Spirit Speaks has become one of the most sought-after albums from the catalog. Now remastered from the original master tapes, this one-of-a-kind album can be experienced in digital formats for the first time.

New album of peaceful explorations by The Cosmic Tones Research Trio. This, their second record, maintains the space and long tones that made their debut, "All Is Sound" a successful anecdote to the loud and fast times we live in. It also expands their musical palate with powerful rhythmic elements.

The Cosmic Tones Research Trio have been breaking new ground with healing / meditation music that also honors their roots in Gospel and Blues...and hints at forward looking Spiritual Jazz. Through their Cello, Saxophone, Piano and Flute playing they bring a new sound to the table. Ancient to the future.

Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn’t until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she’d heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit. These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa’s entire musical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself. We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

New album of peaceful explorations by The Cosmic Tones Research Trio. This, their second record, maintains the space and long tones that made their debut, "All Is Sound" a successful anecdote to the loud and fast times we live in. It also expands their musical palate with powerful rhythmic elements.

The Cosmic Tones Research Trio have been breaking new ground with healing / meditation music that also honors their roots in Gospel and Blues...and hints at forward looking Spiritual Jazz. Through their Cello, Saxophone, Piano and Flute playing they bring a new sound to the table. Ancient to the future.

Collision Drive is Alan Vega’s second solo studio album, originally released in 1981. If his debut laid the groundwork for a raw, minimalist take on rockabilly and blues, Collision Drive expands the palette with a grittier, more layered, and unfiltered energy. Here Vega’s lyrics channel universal themes deeply rooted in his fascination with street life, science fiction, politics, comics, love and the mysteries of the universe. It’s a record that pulses with feeling and rebellion, displaying the full spectrum of human experience and Vega’s evolving vision.

Alan was always reinventing himself, creating and refining his mastery of variation while maintaining his own unparalleled and identifiable aesthetic. Sonically, this album is more dynamic than his first. Ditching drum machines for a live drummer, and enlisting a hard rock band to back him, Collision Drive offered a different view of Vega’s artistic vision. The aching punk rockabilly of “Magdalena 82” unfolds with a hypnotic blend of guitar slides and frenetic energy, while Vega’s cover of “Be Bop A Lula” transforms Gene Vincent’s classic into an aggressively charged, manic howl. Elsewhere, tracks like the hard-driving cosmic rock n roll “Raver” push into psychobilly territory. Vega was relentlessly innovative, continuously paving new ground.

Newly remastered by Josh Bonati from the original tapes, Collision Drive receives a reverent reissue from Sacred Bones Records.

Here we witness the full ascension into his own mythology: part rockabilly outlaw, part cosmic preacher, part outsider visionary. Broader in scope than his debut but just as uncompromising, Collision Drive is a bold and personal exploration of sound and identity. Raw, electrifying, and groundbreaking, it remains a cult cornerstone of outsider rock and a touchstone in the evolution of art-punk and experimental pop from one of New York’s most fearless icons.

Alan Vega’s self-titled debut solo album was released in 1980 during the same period Suicide released their second album, Suicide: Alan Vega and Martin Rev. While Suicide’s label ZE Records was interested in pushing the duo toward a synthetic disco sound inspired by Moroder’s production on Donna Summer’s “I Feel Love,” Vega felt a pull in a different direction. He wanted to dig deeper into the roots of his own sonic identity, fueled by rockabilly, early rock n roll, and his enduring love for Elvis Presley. Filling the gaps between recording with Suicide, and fleshing out the songs he was writing on his own, Vega started to create his first record and performing live to develop this sound.

As with his visual art, Vega layered sound in a minimalist, dynamic and intentional way. The result was a fiercely singular album built from raw materials and deeply rooted in Vega’s artistic vision. Tracks like the classic anthem “Jukebox Babe” with its jiving rhythm and minimalist swagger, captured that approach completely and went on to become a hit in France. “Kung Foo Cowboy” takes on a southern twist, strongly leaning into the blues, while the golden pop shine of “Ice Drummer” rings in melodic yet plaintive vocals, marching drums and a tasteful harmonica solo. “Bye Bye Bayou” is a haunted slice of mutant rockabilly that fuses 50s rock with Vega’s eccentric performance style and was later reimagined in the 2009 cover by LCD Soundsystem, introducing Vega’s solo work to a new generation. Similarly, The Flaming Lips’s 1994 cover of “Ice Drummer” paid homage to Vega’s outsider spirit.

Now remastered by Josh Bonati from the original tapes and available on streaming services for the first time, Alan Vega has been faithfully reissued by Sacred Bones Records, preserving the raw intensity of Vega’s original recordings while making them newly accessible to listeners around the world.

Alan Vega is more than a solo debut, it’s a declaration of artistic independence and freedom from one of New York’s most influential and uncompromising artists. Stripped of Suicide’s intense electronics yet retaining Vega’s outsider energy and edge, the album translates early rock 'n roll through an art-punk filter that stands the test of time as a cult masterpiece in its own right.

“If I have anything to contribute to this art form . . . It’s a voice of our culture. This is a voice right out of them cotton fields—this ain’t out of the conservatory. This is out of the neighborhood. And that’s where my impetus comes from . . . I have seen it from the bottom up.”.—Julius Hemphill

“Throughout my years of talking with Julius, the desire on his part to reach a directness of expression, to communicate in a direct way, was an ongoing imperative in his thoughts. The Dogon A.D. recording session introduces him to the world as a protean composer, as a singular and passionate improviser and instrumentalist, and as a cultural thinker. In this striving toward transcendence, he brings in a sense of celebration and high spirits, of tough loss and sadness, and of proud resistance and survival. This recording, made on a cold February day in St. Louis in a studio with little heat, has lit up the musical world for so many for so long. It is wonderful to have it available again in this iteration for a new generation of listeners.” -- (from the liner notes)

Meticulously remastered & includes a 28-page booklet with new notes by Marty Ehrlich, complemented by several stills from a 30-minute film of an early ’70s dance performance featuring complete performances of Dogon A.D. and Rites with Hemphill, Baikida Carroll, Phillip Wilson, and John Hicks.

This, at long last, is the definitive edition of this seminal jazz masterwork.

Incredible LP of shambolic garage rock recorded from 1966 - 1968. Lo fi, sincere, deep, catchy, badass music. Hard to find gems. A must for fans of real deal 60's garage rock. Not for the faint of heart.

Alan Vega’s self-titled debut solo album, originally released in 1980, marked a bold new chapter for one of New York’s most influential and uncompromising voices.

On his solo debut, Vega dove headfirst into the roots of his personal sound, fueled by blues, rockabilly, and his enduring love for Elvis Presley. Stripped of Suicide’s confrontational electronics but retaining Vega’s outsider energy and voice, the album translates early rock 'n roll through an art-punk filter and stands as a cult masterpiece in its own right. Minimalist, haunting, and deeply personal, it carved out a unique place in the underground canon.

Now available as a limited deluxe double LP edition, this definitive reissue pairs the newly remastered original album with a second disc of previously unheard early demos, offering a rare glimpse into the raw creative process behind this cult classic, and alternate artwork exclusive to this pressing. Alan Vega Deluxe Edition is a companion piece that sheds new light on Vega’s process and vision during this pivotal era, making it a must-have for collectors and longtime fans.

Benton County Relic is Cedric Burnside’s debut record for Single Lock. It was honored with a nomination for “Best Traditional Blues Album” at the 61st GRAMMY Awards. It was Cedric’s second nomination and Single Lock’s first. “Cedric Burnside carries the mantle — the joy and the burdens and the history of the North Mississippi hill country blues, a style like no other in Southern music.” - The Bitter Southerner Grammy-nominated Blues musician Cedric Burnside remembers his roots— NPR Weekend Edition “The Big Bad Burnside Sound is back… and how!”- MOJO “If you’re tired of typical I-IV-V fare, Cedric just might be your man, and Benton County Relic might be the tonic you’ve been wanting.” - Premier Guitar

“My favorite singer in the place was Karen Dalton. She had a voice like Billie Holiday’s and played the guitar like Jimmy Reed.” – Bob Dylan Karen Dalton's 1969 Capitol debut is finally back in print! Light in the Attic is thrilled to present a brand new edition of this heart-wrenching & bluesy introduction to the intoxicating world of Dalton and her deep well of musical secrets. World-weary and filled with the blues, Dalton’s unsurpassed interpretive depth and emotional range were like no other. Recorded for Capitol in 1969, It’s So Hard To Tell Who's Going To Love You The Best spans generations of classic American songwriting–covering classics by Lead Belly, Fred Neil, and Tim Hardin. While no longer with us in the physical, Karen’s growing musical presence is stronger than ever and worthy of re-examination by both the converted and the uninitiated alike. This new re-release serves as the definitive, all-analog version of Dalton’s stunning debut, featuring remastered audio from the original Capitol masters, the original 1969 artwork in an expanded gatefold jacket, unseen photos by album photographer Joel Brodsky, and an essay interviewing Karen’s friends and music collaborators, from album producer and bassist Harvey Brooks to musician Peter Stampfel of the Holy Modal Rounders.

A collection of outtakes from the First Blues sessions along with other tracks, live recordings & rehearsal cuts including Bob Dylan and/or Arthur Russell and a cameo by Don Cherry on kazoo.

Track 1 taken from rehearsal tapes December 9th 1975: Allen Ginsberg (Vocals) accompanied by the Blues/Sholle Band.

Tracks 2-4 taken from the Holy Soul Jelly Roll: Electric Music Poetry Improvised sessions.

Tracks 5-8 taken from the First Blues Hammond sessions.

Track 9-10: recorded live at Gerdes Folk City, June 16th 1984: Allen Ginsberg (Vocals), Don Cherry (Kazoo), Peter Orlovsky (Banjo + Lead Vocal on "Feed Them the Raspberries to Grow"), Steven Taylor (Guitar) & Mark Kramer (Bass).

Track 11: Session at Bob Dylan's Santa Monica Studio, February 23rd 1982: Allen Ginsberg (Vocals), Bob Dylan (Bass), David Mansfield (Mandolin, Guitar), Steven Taylor (Steel String Acoustic Guitar) & Arthur Rosato (Drums).

Issued under license from the Allen Ginsberg Estate. All songs written by Allen Ginsberg and published by May King Poetry Music administered in North America by Music of Virtual and for the Rest of the World by BMG Rights Mgt.

Out of press in its original form for years, controversial beat poet Allen Ginsberg's East Village love-in 'First Blues' - a vast double-album of collaborations with everyone from Arthur Russell to Bob Dylan and Don Cherry - is newly reissued via Death Is Not The End. It's hard to deny Ginsberg's impact; his poetry alone was enough to shift the course of US counter culture, and you can visualise his contributions to downtown punk and folk. But his music career isn't quite as intimately understood, which makes 'First Blues' a pretty vital artefact for anyone looking to investigate further. Ginsberg wrote and recorded the material between 1971 and 1983, taking the opportunity to leaf through his lengthy phonebook and call up anyone he admired or had collaborated with in the past. So Dylan - who Ginsberg had collaborated with before - shows up on the first few tracks, helping to balance out his friend's wobbly-voiced, country-fried recitations with tangled acoustic twangs. The money shots comes with the majority of the remaining tracks, produced and featuring cello by Arthur Russell, given free rein to rumble through folk, blues, jazz and gospel over Ginsberg’s sexcapades, Buddhist revelations and conspiracy theories with bare-faced joy. 'CIA Dope Calypso' is a bonkers highlight, a chirpy Harry Belafonte reinterpretation that lambasts the Central Intelligence Agency for its under-the-radar drug peddling, while 'Sickness Blues' uses Russell's bendy cello tones as a crash mat for Ginsberg's pained lamentations.

Out of press in its original form for years, controversial beat poet Allen Ginsberg's East Village love-in 'First Blues' - a vast double-album of collaborations with everyone from Arthur Russell to Bob Dylan and Don Cherry - is newly reissued via Death Is Not The End. It's hard to deny Ginsberg's impact; his poetry alone was enough to shift the course of US counter culture, and you can visualise his contributions to downtown punk and folk. But his music career isn't quite as intimately understood, which makes 'First Blues' a pretty vital artefact for anyone looking to investigate further. Ginsberg wrote and recorded the material between 1971 and 1983, taking the opportunity to leaf through his lengthy phonebook and call up anyone he admired or had collaborated with in the past. So Dylan - who Ginsberg had collaborated with before - shows up on the first few tracks, helping to balance out his friend's wobbly-voiced, country-fried recitations with tangled acoustic twangs. The money shots comes with the majority of the remaining tracks, produced and featuring cello by Arthur Russell, given free rein to rumble through folk, blues, jazz and gospel over Ginsberg’s sexcapades, Buddhist revelations and conspiracy theories with bare-faced joy. 'CIA Dope Calypso' is a bonkers highlight, a chirpy Harry Belafonte reinterpretation that lambasts the Central Intelligence Agency for its under-the-radar drug peddling, while 'Sickness Blues' uses Russell's bendy cello tones as a crash mat for Ginsberg's pained lamentations.

The raw, thunderous power of Charley Patton resounds once again in this essential second volume of Father of the Delta Blues: Selections from Paramount Recordings. These tracks capture Patton at his most urgent and unfiltered, delivering fierce slide guitar, hollered vocals, and lyrics steeped in mystery, defiance, and deep Mississippi soul. This volume continues the excavation of Patton’s singular legacy: part preacher, part trickster, part storyteller. Lovingly restored and remastered by Dave Gardner, Volume Two is not just a document of early blues—it's a glimpse into the roots of American music itself, where rhythm met rebellion and history was etched into shellac. Pressed on color vinyl exclusively for RSD Black Friday 2025.

A mixture of raw blues and reggae from Skip McDonald (Sugarhill Gang, Tackhead, Strange Parcels) with guest appearances from Ghetto Priest and Bim Sherman. Originally released in 2002.