Back catalogue: Rock (All)

Review: This is one of those raw soul sounds that never goes out of fashion, and thankfully neither does it often disappear from availability. It features two r&b classics, the dancefloor-ready 'Last Night' and the soulful 'Don't Break Your Promises', both originally released on the Rainbow label in the UK and a long-time bastion of Aitken's mastery of blending Jamaican and British influences. The opener draws from The Mar-Keys and Georgie Fame, showcasing r&b's imprint on Aitken's style. 'Don't Break Your Promises' is a Milson Luce cover that gained fame in Jamaica before inspiring numerous versions.

Review: The Scepters, formed in 1967 in Paraiso by guitarist Celso Spencer, were a popular Panamanian band known for their energetic performances across military bases and high school dances in the Canal Zone. Alongside Lionel Best and Jose James, they covered Top 40 hits and iconic rock bands like Santana and Jimi Hendrix. They released two 45s, including 'Message,' which debuted at Panama's first National Soul Music Festival in 1971 and features next here to a jam from Conjunto Raza, another project led by Agustin Leiro, this one with rotating musicians. They released a single 45 on Onda Nueva in the mid-70s and it blends Zonian and Panamanian talent with aplomb.

Review: Discodelic and Groovie Records unveil a pair of rare 1970s Panamanian gems here with forgotten tracks from The Meditators, and Los Misticos. Originally recorded for radio and left in storage, these Latin psych funk bombs capture the underground spirit of Panama's vibrant music scene from more than 50 years ago. Licensed through Tamayo Records, these songs have been beautifully mastered and now the long-lost recordings, which barely made it to vinyl the first time around, become available for all who are keen to drop the heat and learn about Panama's hidden musical treasures at the same time.

Review: Soul Junction revisits the Scot-Tees Capri master tapes here to unveil two previously unreleased tracks. First is 'My Sweet Polly' by The Scott Brothers, a late 60s dance tune inspired by Howard Scott's former girlfriend. Coupled with this is a studio version of Judson Moore's "Everybody Push & Pull," a crossover hit influenced by Rufus Thomas. The Scott Brothers evolved from the 'Elpeccios' in 1958 to the Scott Brothers Band in 1963 and were instrumental in Chicago's music scene. Their label, Capri Records, produced hits like 'We Like Girls' and worked with legends like Garland Green. Judson Moore was a veteran singer who thrived under their mentorship and went on to leave a lasting legacy.

Review: These two Mirwood classics are well-known and well-loved so don't need much hype, but having both tracks on the same 45 is a true treat. 'That Beatin' Rhythm' epitomises the Northern Soul dance scene and is still drawing dancers to the floor all these years on. The instrumental flip is credited to the singer of the A-side and was also hugely popular back in the day but has received less attention in recent years with the vocal version dominating DJ spins. This pairing is a potent one that still very much gets us up and going.

Review: Malian singer-songwriter and multi-instrumentalist Ali Farka Toure's self-titled album is a cornerstone of African music. It's a perfect example of his unique fusion of traditional Malian sounds with blues influences and is one of many albums of his that remain favourites with collectors. Released in 1984, this iconic long player captures Toure's intricate guitar work and ability to blend hypnotic rhythms and soulful melodies that reflect the rich heritage of the Sahel. His deep, resonant voice conveys a sense of spiritual depth, with lyrics often rooted in Malian culture and folklore and the whole thing is a masterclass in understated artistry, where each track is a meditative journey.

Review: Originally released in 1996, October Rust would serve as the fourth full-length from gothic metal legends Type O Negative, as well as the highly anticipated follow up to their 1993 career-height Bloody Kisses. Known for its markedly less gloomy doom metal approach when compared to prior and subsequent projects, the album has grown a devout cult following due to the extensive number of unabashed ballads and compositionally accessible goth rock bangers (reliably shrouded in their own sonic malaise). Boasting the hit single 'My Girlfriend's Girlfriend' as well as their much-adored cover of Neil Young's 'Cinnamon Girl', many could consider October Rust to be the most accessible entry point to those intimidated by the prowess, hair or jawline of the incomparable visionary Peter Steele. Now almost 30 years young, this long overdue reissue comes spread across a limited green & black marbled vinyl 2xLP pressing.