July 28 street date. The 107th Street Stickball Team is one of the rarest of the rare Latin soul collectables, released in tiny numbers by Ralph Lew's Dorado label and it is one of the finest releases to have been masterminded by Bobby Marin. This is the first ever reissue of its spectacular mix of soul, boogaloo and funk. The 107th Street Stickball Band’s LP was recorded in the period immediately after Marin worked with Speed and has much of the same feel, from the funk workouts such as ‘Barbara With The Kooky Eyes’ through the boogaloo workouts onto the wonderful soul grooves of cuts such as ‘On Old Broadway’.
The CD is finished off with the only three surviving cuts from a 1967 session put together by Bobby and his brother Richard (who produced the session). It is a Latin supergroup featuring among others - Tito Puente, Louie Ramirez and Jimmy Sabater, who went under the name Nitty Sextette. What they recorded was an absolutely amazing LP, which in their wisdom RCA rejected, and of which 40 years later only these three tracks remain, rescued from an acetate.
April 8 street date. Lost Stories is a collection of 18 beats from the archives of English producer Jim Coles, best known today as Om Unit, and released by Justin "Kutmah" McNulty’s IZWID label. The album is both a portrait of the artist as a young man, and the completion of a circle, ten years in the making, that stretches from London to Los Angeles.
November 8 street date. On "Tweets For My Sweet", Switzerland's garage rock sensations 45 Rally have taken all of their song titles from presidential tweets. But in keeping up with their Swiss heritage, they have decided to remain politically neutral. The music here, a combination of bubblegum, garage rock, country and punk was created for everyone's listening pleasure. So to all of our Conservative, Liberal and Moderate fans, it's time to unite! 6 songs.
July 22 street date. First official vinyl reissue since its original release in 1969! LP limited to 500 copies. One of the top Canadian rock albums of the psychedelic era. Comes with color insert with band history and photos. In the spring of 1969, 49th Parallel had a hit in with ‘Twilight Woman’, a lovely song that sounds like a poppier version of what bands like Tomorrow were doing in England. That success led to the release of 49th Parallel’s only album. All hyperbole aside, it is easily one of the top Canadian rock albums of the psychedelic era. The album is strong throughout - from the pulsating psychedelia of ‘Lazerander Filchy’ and the ultra-strange ‘(The) Magician’, the shimmering beauty of 'Twilight Woman', to the quintessential slashing guitars punk edginess of ‘Now That I'm a Man’ and ‘(Come On Little Child &) Talk To Me’. Dan Lowe's blazing fuzz guitar work stands out on ‘Missouri’ and also when matched by organist Jack Velker's brilliant work on ‘Eye To Eye’, ‘Talk To Me’ and ‘(The) People’.
November 17 street date. A Cat Called Fritz is back on another journey through space and sound. His sample-based trademark productions, using crispy samples and heavy drums, again lay the foundation for an allstar cast of feature guests on the mic including like-minded cats like Sach of The Nonce, Audessey, Glad2Mecha, Black Josh, Pete Flux, Pseudo Slang and others.
January 25 street date. Limited extended re-edition of 400 copies on triple vinyl of Fritz' album debut on vinyl due to strong demand. Includes the original album with features by Audessey (of Soundsci fame), T-Love, Chaotik Stylz, RepLife and others plus 10 bonus tracks!
June 8 street date. A Guy Called Gerald has spent the last couple of years flitting through shadows, turning up on labels like Perlon, Beatstreet and Sender like a peripatetic prophet of the Berlin underground, seeding the scene with cryptic singles that return to the past to suggest alternate futures. Now he returns to Berlin's Laboratory Instinct label with the follow-up to 2006's "Proto Acid: The Berlin Sessions" (LI 011CD/LP). "Tronic Jazz: The Berlin Sessions" builds upon the foundation established by its predecessor to create an even more powerful statement of intent, one that communicates more persuasively than ever Gerald's vision for techno. Where "Proto Acid" offered a seamless mix of 24 cuts, recorded in one epic session, "Tronic Jazz" collects 13 stand-alone tracks. That's welcome news to DJs. But there's something else: freed from the flow of the mix, the
tracks go deeper into themselves, even while contributing to the overall shape of the album as a single, coherent form. They're more varied in tone and mood, and even tempo. Gerald is a master ofconcision, and he manages to express everything he needs in five-minute chunks -- inside which time stops still, arrested by the interplay of deftly-programmed machine rhythms, carefully arranged chord progressions, and a masterfully intuitive sense of sound design.
September 14 street date. This is part 2 in a 4-part series of limited edition 12"s from "Tronic Jazz: The Berlin Sessions" (LI017CD). A Guy Called Gerald has spent the last couple of years flitting through shadows, turning up on labels like Perlon, Beatstreet and Sender like a peripatetic prophet of the Berlin underground, seeding the scene with cryptic singles that return to the past to suggest alternate futures. The three tracks included here are "Nuvo Alfa," "Flutter" and "Wow Yheah".
September 14 street date. This is part 3 in a 4-part series of limited edition 12"s from A Guy Called Gerald's "Tronic Jazz: The Berlin Sessions" (LI017CD). This stuff is wide-eyed and full of life. When it funks, it funks hard, and when it smoothes out, it can be as intimate as a hand-written note left on a lover's pillow. These four tracks include "Illand," "Just Soul," "Round Eco" and "The Dip".
September 8 street date. Japanese saxophone transgressor Akira Sakata meets with his long-time collaborator and Fender Rhodes virtuoso Giovanni Di Domenico, Portuguese guitarist Manuel Mota, and drummer Mathieu Calleja for a session recorded at Les Ateliers Claus in Brussels. Named after the Jomon period of the Japanese prehistory -- when Japan was inhabited by a hunter-gatherer culture rich in tools, clay pottery, and jewelry made from bone and stone -- the record features three tracks: "Jomon" (??), "Kaen" (??), and "Dogu" (??). The Dogu (literally: "clay figures") were small humanoid and animal figurines made during the Jomon period for religious purpose: it may have been believed that illnesses could be transferred into the Dogu, which was then destroyed, clearing the illness, or any other misfortune. The record itself is a musical healing ritual invoking a powerful demon with Sakata's throat singing, unleashing then slowly hypnotizing it in the second half of the album, putting it back into its vault before it's too late. Beautiful artwork made with Sakata's hand-painted Kanji characters. Edition of 250.
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