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browse New Releases
week of
...new releases are checked in daily throughout each week
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LP
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CT 084LP
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2026 restock. One of King Tubby's finest works, originally released in 1974. Recorded at Tubby's famous 18 Drummly Ave. studio in Kingston during dub's early development period.
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LP
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FARO 212LP
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2025 repress. LP version. 180 gram vinyl; includes download code. Far Out Recordings present an official reissue of Ana Mazzotti's Ninguem Vai Me Segurar. originally released in 1974. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer, and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1974, Mazzotti recorded her first album Ninguem Vai Me Segurar, enlisting the in-demand arrangement talents of Azymuth's original keyboard maestro Jose Roberto Bertrami. It also features Azymuth's bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it's no wonder the samba jazz-funk pioneer's distinctive aesthetic is present throughout, and Mazzotti's sensational compositions are made even more beautiful for it. Kicking off with the swirling samba-jazz-dance masterpiece "Agora Ou Nunca Mais", the album hosts several groove-heavy Brazilian cult-classics. Deeper moments come in the form of the alluring future soul synth sounds on "Bairro Negro" and "Sou", and Mazzotti's tender, hallucinatory version of "Feel Like Making Love" (made famous by Roberta Flack). Remastered.
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LP
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GGR 2021LP
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2026 restock, 2nd edition. As featured in Now Jazz Now: 100 Essential Free Jazz & Improvisation Recordings (1960-80). "Black Unity Trio - Al Fatihah quite possibly was the first independently released free jazz record ever. Originating in Oberlin, Ohio as the Black Unity Quartet, and ultimately becoming the Trio (Abdul Wadud, Yusuf Mumin, and Hasan Al Hut), the group recorded Al Fatihah in December 24, 1968 at Agency Recording Studio (which was located upstairs in the building housing the legendary Agora Theatre in Cleveland, Ohio). The album ultimately was released in May 1969 in an edition of 500 copies. The album has been legendary among collectors, producers, and DJs in the past several decades, and has been sampled numerous times on other releases. Much mystery surrounded the origins of the album, as well as the status of the musicians, until 2020 when The Wire published an interview with Hasan. Many underground jazz purists know about the intense, though relatively short-lived hotbed of avant-garde jazz in Cleveland, Ohio during the mid-to-late 1960s. Clubs such as Leo's Casino, Jazz Temple, The Doan Club, Le Cave and a few private clubs saw many young avant-garde jazz acts during this time period. I first learned of Black Unity Trio when seeking out tapes of Albert Ayler playing at Le Cave. From that point forward, I had a mission to seek out the members and see if they would be interested in making a vinyl reissue of Al Fatihah. Most of my efforts ran into dead ends, and it did not take very long to learn that the members, perhaps, were content with letting the record fall into the annals of crate digging history. Then in 2019, I received a phone call from someone referring to himself as 'Ron'; who wanted to bring some tapes by the pressing plant. Whenever I get a call on the subject of tapes, my first question is 'how old are the tapes?'. The caller replied 'late 1960's''. Of course, this perked my interest even more, so I asked what sort of material was on the tapes, to which he replied 'Oh, spiritual jazz''. 'Really?'; I replied, even more interested than ever - particularly since the caller id showed a 216 area code phone number. Then he proceeded to say 'it's called the Black Unity Trio''. I about dropped the phone; 'Are you serious, I have been trying to get a hold of you guys for a year!' I replied. Ron (Abdul) was surprised by that statement. But, it led to months of additional conversations with both he and Yusuf about how to get the record back into the world, and eventually I was introduced to Hasan as well. After many phone conferences, we were able to come to an agreement to reissue this seminal free jazz record via Gotta Groove Records' OHWax series. Yusuf personally brought the original 1968 master tapes to Cleveland in early 2020, and we have been working on the audio restoration and package details ever since. We have spared no expense in making this reissue. Our friend Grammy-Award recipient Paul Blakemore's restoration and remastering work cleaned random ticks from the original source, as well as greatly improved the balance to bring out some of the instrument subtleties which were barely, if at all audible, in the original pressing. We also used Gotta Groove's proprietary GrooveCoated stamper plating technology -- This involves an additional electroforming step in the creation of the metal stampers used to press the grooves into the records. GrooveCoated stampers have a lubricious surface which helps high frequencies in particular to be held more intact during the course of manufacturing, verses traditional stampers. This is a record I am truly proud and excited to be working on, and I look forward to a new generation of vinyl listeners to have access to it." --Matt Earley, Executive Producer. The musicians of Black Unity Trio are paid at least 70% of the profits from this release by Gotta Groove Records, Inc.
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LP
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GGR 2022LP
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2026 restock. "This long out-of-print holy grail private press album, originally released by the late Abdul Wadud himself in 1977, is finally being reissued on vinyl. The release date is what would have been his 76th birthday. There really is no easily comparable album in existence. Abdul Wadud used the cello to make music in a way that was never fore-sought for the instrument, and this album was the first physical representation of his genius. Sourced from the only copy of the original master tapes in existence. However, due to severe deterioration of the tape, the vinyl master lacquers were cut from a DSD transfer of the audio tape. Tape restoration and DSD transfer conducted by grammy-award winning mastering engineer Paul Blakemore. Lacquers cut by Clint Holley and Dave Polster at well-made music. Stampers plated with Gotta Groove Records proprietary groove-coated plating technology. Vinyl manufactured by Gotta Groove Records, and packaged in Gotta Groove anti-static dust sleeves. Contains restoration of original jacket artwork with spot gloss treatment, as well as never before-seen photo of Abdul with his children (Raheem and Aisha), along with a digital download code to redeem a high-resolution digital copy of the tape transfer. This reissue was originally sanctioned by Abdul himself. Unfortunately, he passed away on August 10, 2022. We thank his family, and particularly his son, Raheem DeVaughn, in assisting us see this masterpiece through to become available again on vinyl to a new generation."
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2LP
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GR 026LP
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2026 repress. Ignacio de Loyola Rodríguez Scull, aka Arsenio Rodríguez, was a Cuban musician, bandleader and prolific composer who developed the son montuno and other Afro-Cuban-based rhythms. Today, he is seen as one of the most important figures in Latin music, with his influence reaching beyond the Spanish speaking world to also include African popular music of the 20th century, though when he died he was not widely known by the public for his contributions and influence. He is also recognized (along with Israel "Cachao" López and Dámaso Pérez Prado) as one of the creators of mambo, what Rodríguez himself often referred to as "ritmo diablo". Some of his best-known, and most-often covered recordings from the '50s and early '60s are included here, among them "Dame un cachito pa' huele'," "Dundunbanza," "El reloj de pastora," "Cambia El Paso," and "Hay Fuego En El 23". Never one to stand still creatively, by the early 1960s Arsenio began introducing other experimental modes of expression taken from his new adopted home (jazz, r&b, rock) into his conjunto, incorporating saxophones and "walking" bass, as well as amplifying his guitar and even singing a few tunes himself (in a jocular, gruff tone). True to his racial pride, he often utilized African religious terms, melodies, rhythms and sonorities. Leaving New York and moving to Los Angeles in 1969/1970 to try his luck on the West Coast, Rodríguez unfortunately remained relatively unknown in California, and by most accounts audiences were indifferent to his by now old-style Cuban music, especially with the rise of Latin rock. In the late '60s and early '70s, Johnny Pacheco, the Dominican bandleader and musical director of Fania Records, had been recording versions of the conjunto and son montuno sound that Rodríguez and others like La Sonora Matancera had pioneered decades before, complete with trumpets and tres, and similar arrangements. Arsenio's innovative techniques, arrangements and compositions have had far reaching consequences because not only was the rise of salsa in the late '60s and '70s fueled in part by his Afro-Cuban son conjunto aesthetic, but one could argue that his pioneering influence can still be felt today through the edgy deconstructionist jazz and punk inflected music of Marc Ribot's Cubanos Postizos and Jacob Plasse's thrillingly eclectic ensemble Los Hacheros. The tracks here have been remastered and restored and some are presented on vinyl after many years. 350g cardboard printed on the reverse side.
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LP
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JRLP 069LP
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2026 repress; LP version. What two great producers other than Lee Perry and Bunny Lee would be best suited for a Dub Soundclash? Both producers were integral at the birth of dub music and would share many rhythms and sessions -- their musical paths would cross all through their careers. It was in fact Bunny Lee's rhythm that provided the back drop to Lee Perry's "Shocks Of Mighty" cut. Jobs were passed from one to the other, Bunny Lee taking over Lee Perry's position at WIRL Records. Yes, two producers whose paths always seemed to cross as it does with this release. Jamaican Recordings have selected some of Lee Perry's rhythms, the first half of this set, against some Bunny Lee rhythm on the second half. You can hear the distinctive sound of Lee Perry's Black Ark studio with his echoplex giving his trademark whirling sound against Bunny Lee's rhythms cut at many different studios. The winner of the Soundclash? That is up to you the listener... But in this dub session there is no loser...
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MR 329LP
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2026 restock. LP version with a 12-page full-color booklet with extensive notes and unseen photos. "With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s." --Lindsay Hutton
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POTOMAK 826141
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2026 restock; LP version. This is the third album by Einstürzende Neubauten, also known as Halber Mensch, originally released in 1985. The album opens with the startlingly oppressive, almost fully a cappella title track, with contrapuntal, atonal, en masse chanting. The album progresses to include quite a repertoire of electronically-generated sounds, finding the band developing their mishmash of industrial experimentation matched by terrifying clangs, stomps, and of course, the theatrical, poetic vocal delivery of Blixa Bargeld. An incredibly aggressive album, with insistent, pounding rhythms and razors on metal, and Bargeld's voice dominating your dreams for a month after listening.
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LP
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VAMPI 325LP
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2026 repress! This compilation brings together for the first time the best songs by Los Zheros, one of the most renowned cumbia bands to emerge in the early 1970s in Iquitos -- alongside groups like Los Rogers and Los Wemblers -- in the heart of Peru's Amazon capital. The unique Amazonian sound blended fast, percussive cumbia rhythms with electric guitars in a surf style -- a distinctive fusion that came to define Peruvian-recorded cumbia, markedly different from the traditional cumbia styles that developed in other cumbia-producing countries like Colombia. The album includes their psychedelic rock hit "Cuarto Oscuro," a highly sought-after track not only by cumbia collectors but also by garage and psychedelic DJs. This song also marked the beginning of their recording career in 1973. This compilation is a joint release with the Peruvian label Rey Record and comes with an insert featuring never- before-seen photos of the band, as well as liner notes by genre expert Víctor Zela (the mind behind the prestigious project La Cumbia de mis Viejos).
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