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Artists like Jalen Ngonda come around once in a lifetime, so it is our privilege and distinct pleasure to announce the release of his debut album Come Around and Love Me. Anyone who has had the pleasure of seeing Jalen perform live knows that he is one of the most captivating performers on today's soul scene. His voice, equal parts raw feeling and elegance, exudes confidence and charm-disarming packed rooms of rowdy concert goers, leaving them silent as they hold fast to every syllable sung. Plans for the album were struck just months before the Covid 19 pandemic shut the world down. Notwithstanding, Jalen eventually made it to Hive Mind Studios in Brooklyn, NY where he began writing and recording with the help of producer/arrangers Mike Buckley and Vincent Chiarito (both members of Charles Bradley's Extraordinaires) and a crack team of a-list musicians from the Daptone family. The team skillfully blends heavy arrangements and introspective lyrics with motown sophistication, leaving the listener in a blissful wash of wonderment. Jalen has been writing songs since he was 14, and his compositions are also very much of these times. He explains, "I love music from the 20th century- I listen to it all the time, but I?m in this world and the 21st century. ...to a stranger, I?d describe my music as modern soul and R&B, while trying to fit in the Beach Boys and the Beatles somewhere in between." Come Around and Love Me reveals how he creates a classic approach that is rooted in the sounds of revered pioneers, without falling into imitation-leaving no doubt that Jalen will continue to shine within the superlative, timeless musical tradition that is Daptone?s hallmark. Now it's your turn to come around and love one of the finest soul albums of the decade.

Why you'll love it...
With the ’60s coming to an end, the revolutionary spirit of the times was so ubiquitous that it simply demanded more from its artists. We started to see this shift in rock ’n’ roll (The Beatles, The Rolling Stones) and in jazz (Lee Morgan, Miles Davis, Herbie Hancock); it was time that pop and soul music followed suit. Marvin Gaye would release the seminal What’s Going On in May 1971, and while What’s Going On was pivotal in allowing Black artists to deliver popular music with a message that spoke to the times, There’s a Riot Goin’ On followed Gaye’s lead, but pushed the boundaries further. Sly Stone challenged what was possible for a Black artist in popular music, both lyrically and sonically.

Sly & The Family Stone’s There’s a Riot Goin’ On was synonymous with the anxiety felt by all alive at that time — how to navigate this new decade, after all the turmoil experienced in the last one. It’s a bit of a “purple haze,” really. Artistically, Sly managed to harness the confusion that not only he felt, but that most people were feeling then.

This is the very first reissue of the much in demand double sided killer single released in 1970 on the Upsetter label. Both tracks were produced by Lee Perry. The A side is a beautiful yet wicked cover of LET IT BE by the Beatles, produced by Lee Perry and performed by the Soulettes. The B side is BIG DOG Bloxie, an even wackier version of the A side by Lee Perry!

Donda Deluxe, das 10. solo Studioalbum von Kanye West, ist nun endlich auf Vinyl (4lp) erhältlich! Das hoch antizipierte Album erscheint somit knapp zwei Jahre nach seinem Grammy ausgezeichneten Album „jesus IS King“, das mit #1 Debüts in den Rap-Album-, Gospel-Album- und Billboard 200 Charts Geschichte schrieb. Außerdem übertraf er damit die legendären Beatles und zog erneut mit Hip Hop Schwergewicht Eminem gleich, der mit neun aufeinanderfolgenden #1-Albumdebüts in der Geschichte der Charts an der Spitze steht. „Yeezus“ bezieht u.a. auf „Donda“ erneut Bezug zu seiner Religion, wobei er wieder zu seinen anfänglichen Wurzeln à la „My Beautiful Dark Twisted Fantasy“ Inspirationen zieht. Donda enthält Beiträge von der Crème de la Crème der Musik-Welt, wie Jay-Z, The Weeknd, Chris Brown, Ty Dolla $ign, Pop Smoke, Young Thug, Playboi Carti, Travis Scott, Lil Baby, Roddy Ricch, Kid Cudi und viele mehr.

Raised amid the rich musical culture and history of the San Francisco Bay Area, Monophonics proudly carry the torch through the generations into today’s musical landscape. Holding on to tradition, but by no means purists of any kind, they play their own brand of music known as “Psychedelic Soul.”

The 2012 release of Monophonics last album In Your Brain saw the band pulling influences from such acts as early Funkadelic, Sly and The Family Stone and the The Temptation's Norman Whitfield produced records. With the new album, Sound of Sinning (April 14, 2015 on Transistor Sound Records), the band has grown in all areas of record making and felt a need to explore other important in- fluences. While the group has come to cherish these inspirations, With Sound of Sinning they started venturing beyond, to the groups that were inspiring those soul acts to embrace the psychedelic sound of the 60's and 70's. Bands such as The Zombies, The Beatles, Beach Boys and Pink Floyd. Even with the experimentation of new musical territory, they display the sound that people know and love about Monophonics. Touching on Northern soul, doo-wop, rock and roll, Psych pop, and cinematic music, Monophonics show off their diversity while remaining true to their roots. Overall it's heartfelt music and old school vibes, without losing sight of the present. This is is music steeped in that timeless feeling when people could write and produce songs that you could listen to over and over again. Sound of Sinning was produced by Kelly Finnigan & Ian McDonald and recorded on an old Tascam eight-track 1/4” tape machine at Transistor Sound Studios in San Rafael, CA.

RSD First, Limitation: 10000

With a million orders for “I Want To Hold Your Hand” in the UK, the single shot to #1 in December 1963 knocking The Beatles’ own “She Loves You” from the top spot. This was to be the first official single for The Beatles on Capitol records and was backed by an extraordinary marketing campaign. With “I Saw Her Standing There” replacing “This Boy” for the other side, the single was rush-released in the USA in January 1964, climbing to #1 on the Hot 100 by February 1st. Remaining on the chart for 15 weeks, it went on to sell more than 12 million copies worldwide, and with that, an unstoppable force was unleashed and Beatlemania had truly arrived. This RSD Black Friday reissue single was cut from the original US version of the master tapes –- the same masters as used for the albums in the 1964 box set -- by Kevin Reeves in Nashville, using an all-analog cutting process and on the same 1970 lathe that was in Capitol and has been used on many classic album cuts over the years.

RSD First, Limitation: 2500

This limited-edition 3” single and Beatles-branded vinyl carrying case celebrates the 60th anniversary of the Beatles’ 1964 American Tour and appearance on the Ed Sullivan Show on February 9, 1964. With the release of "All My Loving," the 3" record set of all five of the songs the band played on the Ed Sullivan Show is complete. Like the previous 3" record releases of "I Want To Hold Your Had," "'Til There Was You," "She Loves You, and "I Saw Her Standing There," this 3” vinyl record is housed in a picture sleeve and includes a limited-edition poster, while the carrying case is made to hold all of your 3" Beatles records.

"Sugar was the fourth album recorded by Nancy Sinatra in 1966, an uncanny feat considering The Beatles were recording around two albums a year at the time. The iconic Ron Joy cover photo of Nancy in a pink bikini (the first on an album cover!) was a daring move in 1967 that helped propel the album to #18 on the charts (Nancy’s second highest charting album after Boots). It is a peculiar record that pairs one of Nancy’s biggest songs, “Sugar Town,” with mostly 1920s compositions recorded in a contemporary Dixieland jazz pop fusion style that could have only been concocted by producer Lee Hazlewood. Equal parts strong, sultry, and savvy, Nancy Sinatra has long been ahead of her time—both in her choices as an artist and as a businesswoman. Unapologetically, she established her own path early on and paved the way for decades of female artists to come—all while firmly maintaining control over her career, her image, and her music. In 1965, Nancy Sinatra changed the face of music, fashion, and culture."

After a near decade spent in obscurity, Peter Cat Recording Co. or PCRC, emerged from the toxic winter smog of Delhi to enter the global Krishna consciousness with the release of 2019's "Bismillah", the culmination of years of refining their unique vision of 21st century pop music. Seeking a transcultural sound, centered around the song writing of Suryakant Sawhney, PCRC's music mines ideas from both time and space, across centuries and continents, extracting and transforming them into modern hymns and timeless folk, something you could perhaps imagine hearing in the holo-deck of a ship from Star Trek. As the name suggests, Peter Cat Recording Co. is less a band and more of a self-sufficient factory of music and art. With 3 potent song writers in Suryakant, Dhruv & Kartik, the group is building a legacy informed and echoing the spirit of groups like The Velvet Underground and The Beatles. The next chapter of this entity began with the announcement of their new album, "BETA", a name inspired by the birth of Karan Singh's son. PCRC is Suryakant Sawhney on vocals and guitars, Karan Singh on drums, Dhruv Bhola on bass and samples, Rohit Gupta on keys, horns and woodwind, and Kartik Sundareshan on guitars, horns and woodwind.

"Sugar was the fourth album recorded by Nancy Sinatra in 1966, an uncanny feat considering The Beatles were recording around two albums a year at the time. The iconic Ron Joy cover photo of Nancy in a pink bikini (the first on an album cover!) was a daring move in 1967 that helped propel the album to #18 on the charts (Nancy’s second highest charting album after Boots). It is a peculiar record that pairs one of Nancy’s biggest songs, “Sugar Town,” with mostly 1920s compositions recorded in a contemporary Dixieland jazz pop fusion style that could have only been concocted by producer Lee Hazlewood. Equal parts strong, sultry, and savvy, Nancy Sinatra has long been ahead of her time—both in her choices as an artist and as a businesswoman. Unapologetically, she established her own path early on and paved the way for decades of female artists to come—all while firmly maintaining control over her career, her image, and her music. In 1965, Nancy Sinatra changed the face of music, fashion, and culture."

If you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for plants. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back to the dawn of time, but apparently, they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.
Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”
But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed.
“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.
Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia's new renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

Mixed by the man who brought you Wu-Tang vs. The Beatles, Tom Caruana.

"Before he developed into a star composer and arranger, Tom Scott was an ambitious 19 year-old saxophonist looking for his big break in 1967. The opportunity came when legendary jazz label Impulse paired Scott with 9-piece vocal group The California Dreamers and allowed the young musician to take the helm as a band leader, with The Honeysuckle Breeze as the spectacular result. Out of print on vinyl since last reissued in 2018, the album features Scott leading a stellar lineup of sessions players-Bill Plummer (sitar), Glen Campbell (guitar) and Carol Kaye (bass) among them- through warm, smooth versions of songs by The Beatles (She’s Leaving Home), Donovan (Mellow Yellow), Joan Baez (North) and Jefferson Airplane (Today), which many will recognize from its sampling in the Pete Rock & CL Smooth classic T.R.O.Y."

Mixed by the man who brought you Wu-Tang vs. The Beatles, Tom Caruana.

First ever vinyl reissue of this UK prog-psych album from 1971. Recorded at George Martin’s AIR Studios and originally released on the collectable Vertigo label.

A great mix of pastoral prog, hard-rock, blues and West Coast/Americana: long tracks, soft vocal harmonies, dual guitar…

Hokus Poke formed in London in the late 60s, consisting of Clive Blenkhorn of lead guitar & vocals, Roger Clarke on guitar, Smith Campbell on bass and Jonnie Miles on drums.

Managed by Kenny Lynch, they secured a deal with the legendary Vertigo label. "Earth Harmony", their sole album, was recorded at George Martin's AIR Studios. Released in 1971, it was housed in a fabulous die-cut sleeve with photos taken by John Kelly, famous for his work on the Beatles "White Album".

The Beatles’ annual holiday tradition of recording jolly Christmas messages for fan club members was an important part of the band’s relationship with their most ardent supporters, affectionately referred to by them as “Beatle People.” Spanning 1963 to 1969, The Beatles’ holiday recordings were originally pressed on flexi discs and mailed to fan club members each December. Never released beyond the fan club until now, The Beatles’ seven holiday messages have been newly pressed on a rainbow of seven-inch colored vinyl singles for The Christmas Records box set. The limited edition collection presents each vinyl single with its original flexi disc sleeve artwork, accompanied by a 16-page booklet with recording notes and reproductions of the fan club’s National Newsletters, which were mailed to members with the holiday flexi discs.

Just one word to say: Essential!

To say that The Sinseers play oldies would be a misnomer. Fronted by bandleader and son of East Los Angeles Joey Quiniones, the group has quietly chipped away at the sounds of R&B and soul for the last half-decade. Quinones and his crew have continuously created a distinctive vibe that explores all aspects of a timeless genre, bringing together their interpretation of music through an unmistakable modern lens.With their most recent effort, the aptly titled Sinseerly Yours (Colemine 2023), the band recorded most of the album live in the studio. With Quinones on vocals and keys, vocalist Adriana Flores, Christopher Manjarrez on bass, Francisco Floreson on guitar, Bryan Ponce on guitar and vocals, Luis Carpio on drums and vocals, saxophonists Eric Johnson and Steve Surman, and Jose Luis Jimenez on trombone, The Sinseers achieves their most fully realized sound to date.All of the album's stunning tracks were recorded in a converted studio space in Rialto, California, known as Second Hand Sounds. The converted studio space, which used to be a dentist's office, allowed the group to experiment with their sound like never before - this time, the group managed to take a series of big swings, only to emerge with a fuller, more pronounced version of themselves. Despite those new strides, the band remains wholly committed to its sonic aesthetic while injecting its brand of vibrant 21st-century cool.Of course, the group has never been the type to shy away from their influences as they expertly toggle between 60s pop vis-à-vie early Beatles records to obscure dancehall Jamaican tunes - all fully extrapolated and reinterpreted through modern Chicano soul sound that the group has built their everlasting repertoire on.Quinones and bandmates have continued to apply what they've learned from their previous releases and their relentless touring schedule throughout the country. It's clear here that the work is paying off, putting to practice their musical chops thoroughly with all members expertly honing their sound. The m...

For the first time ever on vinyl here are four original Lennon/McCartney compositions which not many people have heard before. All the performaces here were recorded during the January 1969 sessions and were concidered not good enough for the 'Let It Be' and the 'Abbey Road' albums. 1st generation tapes. The first track which spreads all over side 1 is a fine example of how the Beatles could work together, exploring new ideas as this Lennon original devolpes into a jam session around the line of 'I told you before, get out of my door'. In the middle of this track you can hear John discussing accord changes with George while Paul sings this line as a rugh guide. Ringo is in his best form here, you've never heard him using sticks before like that! It's imortant to indicate that this song is NOT 'I found Out' from Lennon's Plastic Ono Band" album of 1970. The opener of side 2, is a also a Lennon track, the longest version ever to appear, a track that could do well along 'Mean Mr. Mustared' and such. Closing the album are two long McCartney Tracks. Fast rockers in the 'Helter Skelter'/I'm Down' tradition. The last one could not appear on any Beatles album as the Feminist Mafia would ban it!

Dark Horse Records and Record Store Day are excited to announce a multi-year partnership to release limited Zoetrope picture disc pressings of George Harrison’s entire studio album catalog. The first two titles in the RSD exclusive series — Wonderwall Music and Electronic Sound — will be available on Record Store Day in April 2024. Limited to 8,000 units globally and exclusive to Record Store Day, each unit is individually numbered in silver foil and includes an insert reproducing theoriginal artwork. As a direct result of The Beatles’ keen curiosity about experimental music and other avant-garde artistic expression, Apple Records launched its short-lived Zapple subsidiary in February 1969 as a forum for unfettered sonic exploration, or, as announced at the time, “more freaky sounds.” George’s Electronic Sound and John Lennon and Yoko Ono’s Unfinished Music No. 2: Life with the Lions, both released in May 1969, were Zapple’s only releases before it was closed down. Electronic Sound’s cover art, painted by George, depicts his Moog IIIp synthesizer (which was later used on four tracks by The Beatles on their album Abbey Road) with the four modules from which the sound was synthesized. Each side of the Electronic Sound LP featured one exploratory long-form work.

Mixed by the man who brought you Wu-Tang vs. The Beatles, Tom Caruana.