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Modern Classics Vinyl, CD & Tape 14 Items

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Digable Planets - Blowout Comb Black Vinyl Edition.
Digable Planets
Blowout Comb Black Vinyl Edition.
2LP | 1994 | US | Reissue (Modern Classics)
30,99 €*
Release:1994 / US – Reissue
Genre:Hip Hop
The album is named for the combs used to maintain an Afro hairstyle, and that’s significant. The group’s Ishmael “Butterfly” Butler said it summed up what they wanted to do with it: ""It means the utilization of the natural, a natural style,” he has said.

Like with 1993’s debut Reachin’ (A New Refutation of Time and Space), ‘utilizing the natural’ meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig ‘Doodlebug’ Irving and Mary Ann ‘Ladybug Mecca’ Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr’s Guru, Jeru the Damaja, and Jazzy Joyce.

Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics – and its original inner sleeve was modeled on the newspaper of the Black Panther movement.

Its instrumentation includes sax, vibraphone and flute. Its samples – gathered from global cratedigging trips while touring the first album around the world – included Grant Green, Eddie Harris, Shuggie Otis and jazz-funk pioneer Roy Ayers (whose “We Live in Brooklyn, Baby” became “Borough Check” here). And yet at the same time its beats are infectious and its spirit undeniable.

This is an album firmly rooted in Brooklyn. “Growing up hearing and cherishing this album, it created a textured soundscape of a mythical world of rhymes, jazz, breakbeats, culture, art and urban ambiance,” says DJ and fan Mick Boogie in the liner notes. “When I moved to Brooklyn years later, I found that the world I imagined while listening to this classic LP actually really existed…”

Though Digable Planets have reunited on occasion since – and though their influence endures in every top-shelf rap act with a jazzy sensibility – the trio parted ways after Blowout Comb, citing that old favorite ""creative differences”. Sometimes, the most volatile combinations create the best art.
Digable Planets - Reachin' (A New Refutation Of Time And Space)
Digable Planets
Reachin' (A New Refutation Of Time And Space)
2LP | 1993 | US | Reissue (Modern Classics)
31,99 €*
Release:1993 / US – Reissue
Genre:Hip Hop
This is the blue & lavender (formerly exclusive to LITA) colored edition of this classic. First vinyl reissue. Expanded as a double LP for improved sound. Deep liner notes by Larry Mizell Jr. interviewing Ishmael “Butterfly” Butler Lyrics included for the first time 2xLP housed in a deluxe wide spine jacket with booklet and inner sleeves. At a time when hip-hop was determined to snap your neck, a young, hip trio from Brooklyn (by way of Seattle, Philly, and Brazil) conspired on an uncommonly smooth new sound and freaky way of speak, a titanically chill expression of Black bohemia loaded with jazz idiom and a subversive Marxist bent—and pushed it worldwide via an undeniable crossover hit.

Digable Planets’ 1993 debut, Reachin’ (A New Refutation of Time and Space), unexpected to all involved, produced a massive radio hit in “Rebirth Of Slick (Cool Like Dat)”, which won the 1994 Grammy for Best Rap Performance by Duo or Group. Unduly lumped into an “alternative rap” subgenre they chafed at, the Dig Plans were dismissed by some as one-hit wonders, coming out of nowhere; but the Digable Planets concept, and what became Reachin’, had been in the works for close to five years, as group leader Ishmael “Butterfly” Butler wrote music and soaked up game in multiple cities, navigating the industry of hip-hop’s golden age.

In the end, Butler, Mary Anne “Ladybug Mecca” Vieira, and Craig “Doodlebug” Irving came together to create a seamlessly articulated vision of urbane hiphop cool with an uncommonly literary bent that subtly pushed the hip-hop genre’s frames of reference and added breadth to rap music’s burgeoning political philosophy. Drawing on inspiration from Butler’s jazzbo father, the Black Panthers, Jose Luis-Borges, the Last Poets, and Jimi Hendrix, Reachin’ posited a theory of “universal beats”, narrated by three unearthly MC’s that had “split to Earth to resurrect the funk”, assuming curious, arthropodic aliases—a nod to the natural collective action of the insect world. In just four years the crew would record two beloved and ambitious LPs before disbanding.

Out of print on wax domestically since 1993, Reachin’ captures one of the last gasps of rap music’s jazzy, upbeat adolescence in the early 90’s—those warm, blissed-out grooves every bit as slick as when they were laid way back when. Put this on, roll up with your crew and bug out again with the insect tribe.
Digable Planets - Reachin’ (A New Refutation of Time and Space) - 25th Anniversary Edition Black Vinyl Edition
Digable Planets
Reachin’ (A New Refutation of Time and Space) - 25th Anniversary Edition Black Vinyl Edition
2LP | 1993 | US | Reissue (Modern Classics)
31,99 €*
Release:1993 / US – Reissue
Genre:Hip Hop
Last copies back in.

Limited 25th Anniversary Edition on double vinyl!

At a time when hip-hop was determined to snap your neck, a young, hip trio from Brooklyn (by way of Seattle, Philly, and Brazil) conspired on an uncommonly smooth new sound and freaky way of speak, a titanically chill expression of Black bohemia loaded with jazz idiom and a subversive Marxist bent—and pushed it worldwide via an undeniable crossover hit.
Digable Planets’ 1993 debut, Reachin’ (A New Refutation of Time and Space), unexpected to all involved, produced a massive radio hit in “Rebirth Of Slick (Cool Like Dat)”, which won the 1994 Grammy for Best Rap Performance by Duo or Group. Unduly lumped into an “alternative rap” subgenre they chafed at, the Dig Plans were dismissed by some as one-hit wonders, coming out of nowhere; but the Digable Planets concept, and what became Reachin’, had been in the works for close to five years, as group leader Ishmael “Butterfly” Butler wrote music and soaked up game in multiple cities, navigating the industry of hip-hop’s golden age.
In the end, Butler, Mary Anne “Ladybug Mecca” Vieira, and Craig “Doodlebug” Irving came together to create a seamlessly articulated vision of urbane hiphop cool with an uncommonly literary bent that subtly pushed the hip-hop genre’s frames of reference and added breadth to rap music’s burgeoning political philosophy. Drawing on inspiration from Butler’s jazzbo father, the Black Panthers, Jose Luis-Borges, the Last Poets, and Jimi Hendrix, Reachin’ posited a theory of “universal beats”, narrated by three unearthly MC’s that had “split to Earth to resurrect the funk”, assuming curious, arthropodic aliases—a nod to the natural collective action of the insect world. In just four years the crew would record two beloved and ambitious LPs before disbanding.
Out of print on wax domestically since 1993, Reachin’ captures one of the last gasps of rap music’s jazzy, upbeat adolescence in the early 90’s—those warm, blissed-out grooves every bit as slick as when they were laid way back when. Put this on, roll up with your crew and bug out again with the insect tribe.
This first vinyl reissue comes as an expanded double LP for improved sound including deep liner notes by Larry Mizell Jr. interviewing Ishmael “Butterfly” Butler.
The 2LP is housed in a deluxe wide spine jacket with booklet, printed inner sleeves and lyrics included for the first time!
This Heat - Repeat / Metal
This Heat
Repeat / Metal
LP | 2018 | US | Original (Modern Classics)
29,99 €*
Release:2018 / US – Original
Genre:Rock / Indie
Aufgenommen von 1979 –1980 ist ,Repeat / Metal" im Wesentlichen das dritte richtige Album von This Heat, obwohl es erst 1993 posthum veröffentlicht wurde. Ihre wohl radikalste Arbeit beinhaltet zwei Tape-Experimente, jeweils in Länge einer LP-Seite.
This Heat - Made Available
This Heat
Made Available
LP | 1998 | US | Reissue (Modern Classics)
29,99 €*
Release:1998 / US – Reissue
Genre:Rock / Indie
,Made Available" versammelt die beiden Peel Sessions von This Heat, die im April und Oktober 1977 für BBC Radio 1 aufgenommenwurden und enthält essentielle Songs der Band, die später auf ihrem Debütalbum ,This Heat" (1979) und dem Nachfolger ,Deceit" (1981) erscheinen sollten.
Camberwell Now - The EP Collection Colored Vinyl Edition
Camberwell Now
The EP Collection Colored Vinyl Edition
2LP | 2016 | US | Original (Modern Classics)
33,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
The Camberwell Now is an experimental rock band formed 1982 by Charles Hayward after the breakup of This Heat. Although they only made one album before dissolving, they did many live gigs showcasing their highly original 'analog sampling' techniques, developed by Stephen Rickard. Taking inspiration from seafaring and imperialism, and the fact that the music was created within close proximity to the meridian line in Greenwich, the Meridian EP was originally intended to be a project for This Heat. The group’s departing member Charles Bullen plays on the opening track, “Cutty Sark”, named for the famed British clipper ship. The second EP, 1987’s Greenfingers, was their final recorded work and, according to Hayward, “it’s possible to hear the group atomising and preparing to go its separate ways” within its grooves. The only This Heat or Camberwell Now recording not to have been produced at Brixton’s Cold Storage studios, it was recorded as a DIY exercise and – unusually for either of the groups – was not pored over laboriously for a great deal of time. The EP also saw the addition of a new member, Maria Lamburn, primarily on sax, whose “Element Unknown” was inspired by her experiences in the nuclear protest camp at Greenham Common. Comprising tracks that overlapped between This Heat and Camberwell Now, the EPs concerned themselves with information technology, surveillance, propaganda and what Hayward describes as “day-to-day, hand-to-mouth survival” – all pertinent concerns in a fractured Britain under the rule of right-wing “Iron Lady” Margaret Thatcher, and perhaps still as pertinent today in fractured, recession-hit, isolationist Britain. The whole recordings have been re-mastered from original analog tapes. The record is housed in an expanded gatefold tip-on jacket with restored art, 8 page booklet with track notes by the artists, lyrics and archival photos and a download card.
Gigi Masin & Charles Hayward - Les Nouvelles Musiques De Chambre Volume 2 Blue Vinyl Edition
Gigi Masin & Charles Hayward
Les Nouvelles Musiques De Chambre Volume 2 Blue Vinyl Edition
LP | 2017 | US | Original (Modern Classics)
31,99 €*
Release:2017 / US – Original
Genre:Electronic / Dance
Track notes by Gigi Masin and Charles Hayward
Restored and remastered audio
LP housed in a deluxe Stoughton “tip-on” jacket
Features the Masin track “Clouds” as sampled by To Rococo Rot and Björk Following the reissue of the entire recorded output of South London-based experimental act This Heat and its successor, Camberwell Now, Modern Classics Recordings holds the lens up to a special split album created by one of the driving forces behind those groups – drummer Charles Hayward – in collaboration with Italian musician Gigi Masin, whose looping, rhythmic, electronic compositions have seen his cult following grow in his four decades as a recording artist.

Originally released on Belgium’s Sub Rosa label in 1989, Les Nouvelles Musiques De Chambre Volume 2 is a split LP on which Masin’s eight tracks occupy side A and Charles Hayward’s long-form piece (at 21 minutes long), "Thames Water Authority”, occupies side B. Geography may have separated the two artists, who each recorded their pieces in isolation from the other, but there’s a commonality to their approach. Previously, Masin had released the inspired 1986 album Wind, while Hayward’s music had long been influenced by the landscape and society of London and the UK.

For this album, the label challenged the two musicians to write about the waterways of their respective cities, Venice and London. For Masin, that meant describing the human interactions related to the Italian city’s famous landmarks. “Places, faces, memories… that’s what most of the people love to find when they travel to Venice – some kind of magic that’s deep in the city,” he writes in the new liner notes accompanying this new re-release.

For Hayward, it meant describing the physicality of water, the “densities and energies” as he puts it, and the politics of it too. Writes Hayward: “Water was being privatized at the time, the profit margin had been factored in, cost-cutting was implicit, people were being poisoned. Water was a political thing; it still is.”

Dive in.
This Heat - Live 80 - 81
This Heat
Live 80 - 81
LP | 2018 | US | Original (Modern Classics)
29,99 €*
Release:2018 / US – Original
Genre:Rock / Indie
Bisher gab es kein offizielles Dokument über die Live-Auftritte der Gruppe. Zusammengestellt von Charles Hayward und Charles Bullen aus Kassettenaufnahmen europäischer Gigs in Tilburg, Nijmegen, Ärhus, Apeldoorn, Wien und Reims zwischen April 1980 und Juni 1981, ist Live 80-81 ein wesentliches Dokument der kraftvollen Live-Auftritte von This Heat.
Camberwell Now - The Ghost Trade Black Vinyl Edition
Camberwell Now
The Ghost Trade Black Vinyl Edition
LP | 2016 | US | Original (Modern Classics)
26,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
The Camberwell Now is an experimental rock band formed 1982 by Charles Hayward after the breakup of This Heat. Although they only made one album before dissolving, they did many live gigs showcasing their highly original 'analog sampling' techniques, developed by Stephen Rickard. Arriving in 1986, The Ghost Trade, the group's sole full-length LP, was what existed at the confluence of live performance and studio experimentation. Similar to This Heat’s process, the group spent two years in Cold Storage experimenting with the studio and assembling finished songs from vast quantities of tapes. The tracks that eventually formed “The Ghost Trade” were songs forged in the bleak beauty of Thatcher's London. "To me, the sounds invoked humanity trapped behind and inside a world constructed of glass, steel, and concrete, frozen inside the textures like prisoners of the twilight zone, humanity haunting a landscape it had made for itself," says Hayward. This is the first ever official vinyl re-issue in collaboration with original members, that includes the bonus track “Daddy Needs A Throne". The whole recordings have been re-mastered from original analog tapes. The record is housed in an expanded gatefold tip-on jacket with restored art, 8 page booklet with track notes by the artists, lyrics and archival photos and a download card.
Camberwell Now - The EP Collection Black Vinyl Edition
Camberwell Now
The EP Collection Black Vinyl Edition
2LP | 2016 | US | Original (Modern Classics)
26,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
The Camberwell Now is an experimental rock band formed 1982 by Charles Hayward after the breakup of This Heat. Although they only made one album before dissolving, they did many live gigs showcasing their highly original 'analog sampling' techniques, developed by Stephen Rickard. Taking inspiration from seafaring and imperialism, and the fact that the music was created within close proximity to the meridian line in Greenwich, the Meridian EP was originally intended to be a project for This Heat. The group’s departing member Charles Bullen plays on the opening track, “Cutty Sark”, named for the famed British clipper ship. The second EP, 1987’s Greenfingers, was their final recorded work and, according to Hayward, “it’s possible to hear the group atomising and preparing to go its separate ways” within its grooves. The only This Heat or Camberwell Now recording not to have been produced at Brixton’s Cold Storage studios, it was recorded as a DIY exercise and – unusually for either of the groups – was not pored over laboriously for a great deal of time. The EP also saw the addition of a new member, Maria Lamburn, primarily on sax, whose “Element Unknown” was inspired by her experiences in the nuclear protest camp at Greenham Common. Comprising tracks that overlapped between This Heat and Camberwell Now, the EPs concerned themselves with information technology, surveillance, propaganda and what Hayward describes as “day-to-day, hand-to-mouth survival” – all pertinent concerns in a fractured Britain under the rule of right-wing “Iron Lady” Margaret Thatcher, and perhaps still as pertinent today in fractured, recession-hit, isolationist Britain. The whole recordings have been re-mastered from original analog tapes. The record is housed in an expanded gatefold tip-on jacket with restored art, 8 page booklet with track notes by the artists, lyrics and archival photos and a download card.
This Heat - This Heat
This Heat
This Heat
LP | 1979 | US | Reissue (Modern Classics)
26,99 €*
Release:1979 / US – Reissue
Genre:Pop
Their debut album had – for the time and for the DIY scene – an unusually long gestation, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did – including gigs – and tracks such as “Water” were entirely improvised in the studio. Given the difficult, abrasive, and involved nature of their sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience – whether that audience was ready for them or not.
Stone Roses, The - The Stone Roses
Stone Roses, The
The Stone Roses
2LP | 1989 | US | Reissue (Modern Classics)
35,99 €*
Release:1989 / US – Reissue
Genre:Rock / Indie
Some albums hold the blueprint for something bigger than can be contained on twelve inches of vinyl; the self-titled debut album by The Stone Roses is one of them. Despite clocking in at less than fifty minutes long, it’s a record that shaped the next two-and-a-half decades of British music.

Released in 1989, The Stone Roses was a fusion of rock music and the nascent rave scene in the group’s native Manchester. For a period of a few years, the industrial English city that gave us Joy Division, The Fall, and The Smiths was home to a drug-fuelled, club-based scene that earned the town a new nickname–Madchester. Falling squarely in that point of transition, The Stone Roses created guitar music that made people dance, fostering the baggy scene that paved the way to Britpop and Manchester’s next mega band, Oasis.

The Stone Roses were the full package: they had the tough demeanor and insular mentality of any group of friends from a rugged city, they had a unique look comprised of bucket hats, Adidas sportswear, baggy jeans, and oversized T-shirts, and they talked a mean fight in interviews. But musically they were groaning with talent–Gary ‘Mani’ Mounfied (bass) and Alan ‘Reni’ Wren (drums) made complex rhythms seem effortless, guitarist John Squire could give his beloved Jimmy Page a run for his money, and frontman Ian Brown balanced punk sensibility and hippy mentality.

In the UK, the album is the stuff of legend, its cover still seen on T-shirts in any given gig venue. Around the world, its influence was less tangible, most likely due to the fact that the group was hamstrung by a legal wrangle with the Silvertone label following the album’s release.

Musically, it’s a mix of the grandiose and the intimate, containing songs so forceful and emotive they’ve become terrace anthems (“This Is The One” is Manchester United’s walk-on music) alongside introspective tracks like the anti-monarchy madrigal "Elizabeth My Dear.” In “Waterfall,” there are cascading guitar lines that describe its title like musical onomatopoeia, and in “Made Of Stone” and “She Bangs The Drum,” there are perfect pop songs too. Most significantly, there are songs in which the band etch their own myth in earth-rumbling basslines and grandiose statements: “I Wanna Be Adored,” which opens the album, and “I Am The Resurrection,” which closes.

Reissued on Light In The Attic on deluxe double-vinyl, this is your chance to discover the album for the first time or to own it in its most beautiful presentation yet.
David Kauffman And Eric Caboor - Songs From Suicide Bridge
David Kauffman And Eric Caboor
Songs From Suicide Bridge
2LP | 1984 | US | Reissue (Modern Classics)
26,99 €*
Release:1984 / US – Reissue
Genre:Rock / Indie
Home-recorded on a four-track, Songs From Suicide Bridge was released on the pair’s own Donkey Soul Music in 1984. If this were a movie, the album would have been a huge success. Instead, the 500 copies pressed found their way to few willing ears. Though real life encroached, Caboor and Kaufmann continued to work together, releasing albums as The Drovers in 1989 and 1992. Now, their debut is to be released by Light In The Attic Records with brand new liner notes by Sam Sweet. Hopefully, it will finally find its audience–a listener who can see hope in the darkness. “People would tell us those songs were depressing,” Caboor says in his interview with Sweet, “but it wasn’t depressing to us. In a lot of cases, playing those songs in that little room was one of the only things that made us feel better.
Big Boys - Lullabies Help The Brain Grow
Big Boys
Lullabies Help The Brain Grow
LP | 1983 | US | Reissue (Modern Classics)
29,99 €*
Release:1983 / US – Reissue
Genre:Rock / Indie
Originally released on the Wasted Talent label and reissued last year by Modern Classics Recordings, 1981’s debut album Where’s My Towel was inspired by the group’s growing dissatisfaction with their part in the release of Live At Raul’s. Returning with Lullabies Help The Brain Grow two years later, they were still striking out at situations around them. The opening track, “We Got Your Money” is a sort of rally cry to the misunderstandings of their scene , and to the fraternity boys and girls that came to gawk or cause trouble: “And to all you frat boys/We got your money in our hands!” they shouted, gleefully. Song titles include “We’re Not In It To Lose”, “Fight Back” and “Assault” proved that the gloves were off.
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