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Japanese pressing, comes with Obi and inserts. Cover has light foxing.

Japanese pressing. OBI is missing. With insert. Few paper scuffs.

Record Store Day 2022. 180gr vinyl. Numbered Limited edition. Vinyl is close to NM.

Vinyl with scuffs and hairlines. Cover with ring, shelf wear

Promo copy. Cover with saw cut

Cover has a cut corner.

Japanese pressing without OBI, with insert. Cover with light ring wear Promo copy with white labels

Japanese pressing without OBI, with insert. Cover with light ring wear , closer to VG+

Limited White Vinyl Edition.
Cover with seam split.
Record is close to VG+.

Limited White Vinyl Edition.
Cover with seam split.

US original.

Ipek Yolu is the Turkish name for the Silk Road which connected the East and the West. This band does not deal in silk but they connect flavors, smells and sounds from different corners of the globe, connecting the world.
The band merges bass-heavy electro-tinged cumbia grooves, saz riffs and surf guitar into a multicultural melting pot of South American rhythms, Anatolian folk music and 60s psychedelic rock. A unique universe of sound that bridges the tropical jungles and the dusty deserts in a kaleidoscopic blend of music. Ipek Yolu has used 2020 to write their debut album Tropical Anatolia and are ready to hit the venues and festivals.
The members of Ipek Yolu first got together for an improvised jam session during the Aarhus Roots & Hybrid Festival in 2018. The show was set up as a special one-time-only show merging members from the bands Hudna & Junglelyd. The show ended up lasting for almost three hours. It didn’t take them long to discover they were onto something special. If you know any of these bands mentioned you know you’re in for a body-shaking party, characterised by musical curiosity and improvisation.
The three members of Ipek Yolu have all been part of the Danish music scene for several years. The band leader, Orhan Özgür Turan, is a well-known and respected saz player all over Denmark, and has made a name for himself through his efforts in the Anatolian Folk band Hudna. In 2018 he won an award as Global Roots Artist of the year at The Danish World Music Awards. Olaf Brinch and Lasse Aagaard have worked together for many years making high energy cumbia with their band Junglelyd and Afrobeat with their band African Connection. Olaf is also an integral part of the Danish band AddisAbabaBand. In addition, Olaf and Lasse have toured and recorded with great musicians such as CC Yoyo, former drummer of Fela Kuti, in both Ghana and Denmark. All of the past experiences collided to create Ipek Yolu.

Writing on label sticker.

Creole poetry, folk mysticism and heavy-grooving cosmic synths combine on this unprecedented survey of spiritual Martinique polymath Gratien Midonet’s first four albums.



“I always broke free from the rules, from codes being too narrow,” says poet, musician and sonic shaman Gratien Midonet. “I have always had this sense of peaceful knowledge that there is no separation between genres, beings and universal things.”



For Midonet, pushing musical boundaries was less a choice than an extension of his spirit. A self-taught guitarist and composer,



drawing on his childhood memories of bélé and beguine rhythms, Midonet’s musical life developed in parallel to his academic and spiritual pursuits. Studying philosophy and psychopedagogy in France, it was his fascination with pan-Africanism and animism which fuelled the transcendent energy of his music. Although Midonet honed his sound in France, the four albums he released during the



late ‘70s and ‘80s were heavily inspired by diasporic nostalgia, or what he describes as the “smells and colours… subliminal noises… fruity notes, the memories of funeral wakes, the bombastic organ of the cathedral and the gasps of the drums” of his childhood home on the Caribbean island of Martinique.



Fittingly, it’s there that Midonet achieved cult status for the title track of his 1979 debut, Van An Lévè, which became a protest anthem for the island’s independence movement, and was briefly censored by the French authorities. Look no further than ‘Mari Rhont Ouve La Pot’, which opens this collection, to hear the propulsive mix of cosmic synths, acoustic folk, and Creole lyricism that became the essence of Midonet’s sound. Released on Martinique label Touloulou, Van An Lévè was followed in 1980 by L’inité, whose tropical acid folk (‘M’en ka Monté Mon’) and majestic, violin-led melodies (‘Kannaval Sakré Pou Tout Z’Heb Poussé’) confirmed Midonet’s unique and intuitive approach to composition.



Not content to skip effortlessly between genres and influences, Midonet also began pushing the boundaries of the album form itself. His third album, Bourg La Folie, released in 1984, was a soundtrack for a lost film about the mysticisms of carnival, while his fourth, Fô Ou Tchimbé, took the form of a ‘conte musical’ (a narrated story accompanied by music) presented at the Pompidou Centre, and spoke to Midonet’s literary prowess as a fierce proponent of the Creole language.

180 gram vinyl.

Cover as new with slightly dented corners.
Includes original insert.
Records are close to VG+

Garrett III is more of a swan project. A final installment, if you will. Garrett is now retreating more deeply, as evident by the album cover by @GangCulture into obscurity. The time has come for a landing via this 3rd installment of his ‘private life’. After surviving a lockdown x worldwide pandemic in 1 piece, without going insane, he has finally decided 2 conclude this phase of his tightrope walk between lush Ambient touched Modern-Funk & the choice of no vocals / strictly instrumental aural experiences, for listeners of all hues, backgrounds & taste. The hope is that it’s enjoyed in whatever way feasible for all human (& alien) kind.

Official remastered reissue from the original tapes of The Fresh Band's highly sought-after 1984 classic 'Come Back Lover'. Produced by The Strikers' Darryl Gibbs and mixed to maximum effect by the one and only Tony Humphries, this super cool disco boogie floor-burner made it big in the Underground dance clubs of Chicago & New York, receiving heavy rotation from legendary DJs like Mancuso, Larry Levan and Ron Hardy. This special re-release from Best Italy contains for the first time all the four versions mixed by the legendary Tony Humphries : including the astounding Tony Humphries Vocal, Dub, Remix and the rarest Dub Remix which moves towards a deeper, headier groove, with atmospheric echoing vocals and mind-blowing piano breaks.

Vinyl close to VG+. Cover with ring wear

With insert. Stained back cover.

Vinyl is close to NM.

Ring wear.

single sided White vinyl is close to NM. Label cover.

With insert. 1975 reissue. OBI is missing. Slightly stained cover. Vinyl is close to NM.

Price tag.

Afrosound's Mission Was To Emulate The Guitar-Heavy Tropical Sounds Emanating From Perú And Ecuador At The Time. To Add To The Hippie Vibe, There Were Plenty Of Whacky Improvised Vocal Asides (Called 'Inspiraciones'), Plus Custom Fuzz, Wah-Wah, Flange And Echo Effects Boxes For The Guitar And Keyboards. A Barrage Of Odd Sounding Synths, Drum Machines And Other Electronic Flourishes Were Also Sprinkled In To Spice Up The Proceedings. The Dozen Tracks On Afrosound's Debut Long Play Make For A Surprisingly Diverse Palette From Which These Colombian Musicians Painted Their Daring Portrait Of Peruvian Cumbia, Returning The Favor In Bold Colors That Still Resonate Almost 50 Years Later. "La Danza De Los Mirlos" Kicks Off With Most Famous Afrosound Hit Of All, 'Caliventura', A Genius Blend Of Funk And Cumbia. Aside From The Cumbia Amazónica Title Tune, There Are Several Other Covers Including Three Popular Songs By Nelson Y Sus Estrellas, Plus Radically Reimagined Versions Of Various Colombian Costeño Classics Published By Fuentes. Mario "Pachanga" Provides A Sad But Still Groove-Oriented Christmas Son Montuno / Cumbia Hybrid While Fruko Brings Us The Bomba-Funk Ditty 'El Chorrillo' And The Rocking Cumbia Andina Gem 'Cabeza De Chorlito' Where Sepúlveda Channels Enrique Delgado. Fruko Collaborator Hernán "Hercovalle" Colorado Vallejo Rounds Things Out With The Melancholic Psychedelic Cumbia 'Esperando Por Ti', Proving That Every Tropical Party Has To Have Its Down Side As Well. The Record Was Also Released In The Us, Ecuador, Perú, Panamá, Mexico And Venezuela, And Probably Had An Influence Of Its Own, At Least In South America. The Cover Of This Lovingly Restored Reissue Features The Artwork For The Peruvian Edition, Which Was Licensed And Issued By Lima's El Virrey Label In 1974. The Original Fuentes Artwork, With A Far More Outrageous "Cheesecake" Image, Can Be Seen On The Back Cover.