Buscar:big m

Detroit producer Apollo Brown has made a name for himself as one of Hip-Hop’s most legendary new producers while maintaining a golden era sound. His production credits are a who’s who of Hip-hop greats from Danny Brown to Ghostface Killah, Ras Kass to Westside Gunn. Even Chance the Rapper used a pair of Apollo beats on his debut mixtapes. Known for bringing the best out of musicians, Apollo has a knack for making timeless classics. Brooklyn’s Joell Ortiz started on none other than Dr. Dre’s Aftermath label and built a huge buzz in the industry. He’s worked with legends like Just Blaze among others. He then signed to Shady Records as ¼ of the supergroup Slaughterhouse. He’s worked with Hip-Hop titans Eminem, Busta Rhymes, Jadakiss, Akon, and Big Daddy Kane. Now the pair of Hip-hop luminaries are celebrating the 5 year anniversary of their first collaborative album on Mello Music Group with a deluxe edition including 2 new songs. It’s nothing short of a masterpiece: Mona Lisa.

In the year 2000, I had gone to the Toad in the Hole basement pub to ask the some members of a local band called the Pets if they could help me record some of my music, in the same way they had recorded their album “Love and War”. In regards to my passion for recording, Love and War remains one of my biggest inspirations of all time. There’s hardly a style of music they don’t try to explore. To my surprise, they had recently lost a member and planned to ask me to start a new band, which we named the Waking Eyes. We spent the next 14 months or so building a sonic landscape in Matt’s parent’s basement in Steinbach, Manitoba. In proper daydream and full-fantasy mode, we prepared for a future vinyl pressing by making the album have seamless song transitions, except for between songs 6 and 7 (or side A and side B). I really never thought this day would come, but I can honestly say it’s a bit of youthful dream come true, and is incredibly rewarding. While I’ve had lots of music pressed to vinyl, never has such a formative part of my songwriting life been etched into that big beautiful disc. - Rusty Robot, The Waking Eyes

“Incident At a Free Festival” is a tribute to the mid-afternoon slots at Deeply Vale, Bickershaw, Krumlin, Weeley, and Plumpton – early 70s festivals that don’t get the column inches afforded the Isle of Wight or Glastonbury Fayre, but which would have been rites of passage for thousands of kids. Bands lower down the bill would have been charged with waking up the gentle hippies and appealing to both the greasy bikers and the girls in knee-high boots who wanted to wiggle their hips. And the best way to do that was with volume, riffs and percussion.

Compiled by the venerated Bob Stanley and Pete Wiggs of Saint Etienne, this is the heavier side of the early 70s they summarised on the acclaimed “English Weather” collection. There’s an air of menace and illicit thrills among tracks by Andwella, Stack Waddy and Leaf Hound (whose “Growers of Mushroom” album is worth well over £1,000). Bigger names include the rabble-rousing Edgar Broughton Band and kings of the festival freakout, Hawkwind. They are represented by their rare version of ‘Ejection’

For every mystical Tyrannosaurus Rex performance there was something like Atomic Rooster’s Tomorrow Night or Curved Air’s Back Street Luv to capture the spirit of the day and stir the loins of festival goers; the tracks on “Incident At a Free Festival” were inspired by both Chicago’s percussive wig-outs and the Pink Fairies’ anarchic spirit. The sounds were heavy and frequently funky, with a definite scent of danger. Their message was clear and simple: clap your hands, stamp your feet, hold on to your mind.

So, put on your wellies in your living room, drop the needle and enjoy...

Tenor saxophonist Ben Webster (born Kansas City, 1909) needs little introduction, Webster is regarded as one of the three foremost swing era tenor saxophonists - the two others being Coleman Hawkins and Lester Young. His ballad playing and sound inspired such later fellow saxophonists as Archie Shepp, Sonny Rollins and John Coltrane. Webster became famous for his unique sound, quick tempos, his solos that contained great virile rhythmic momentum, a rasping timbre and an almost brutal aggressiveness filled with growl, while his ballad playing was breathy, tender and sensual. The list of his collaborations is long, Ben Webster worked, recorded and played with legends from the likes of Art Tatum, Count Basie, Cab Calloway, Roy Eldridge and Dexter Gordon_but a dream came true when he was offered a permanent job in Duke Ellington's orchestra where his personal style matured. Webster stayed with Ellington until 1943, after which he formed his own groups and played with other small ensembles. From 1952 on he spent his time between Los Angeles and New York playing, freelancing and recording with a variety of soloists, among them high-profile singers like Billie Holiday, Ella Fitzgerald, Carmen McRae and Frank Sinatra. Despite excellent reviews of his albums, it was difficult for Webster to find steady work in the US during the early 1960's, and when in 1964 he got offered to play for a month in London he accepted and sailed to England. Webster never returned to the United States. In Europe he found plenty of work, playing residences in Scandinavia, settled in Amsterdam (1966-69) and then in Copenhagen (where he even has a street named after him). He toured frequently, playing in clubs and at big festivals with local bands or with visiting American musicians. Ben Webster suffered a stroke in Amsterdam in September 1973 following a performance in Leiden and died on September 20. Even when his health started to decline during his last years, his playing never did. To the last day Webster played with passion and intensity, delivering weight on every note. Webster is the subject of two renowned documentaries and two extensive biographies have been published about his legacy. Responsible for a plethora of excellent recordings he remains THE best-selling tenor saxophonist in jazz. Ben Webster was one of those unique jazz musicians whose presence came through on every recording (He recorded for prestigious labels including Verve, Impulse!, Prestige, Reprise, Blue Note_and countless others. On the album we are proudly presenting you today (Wayfaring Stranger recorded in 1970 by the NPS Radio network in The Netherlands) you will find mind-blowing high-quality Dutch sessions that were left dormant on a shelf and weren't commercially released for over 30 years! On 'Wayfaring Stranger' the listener is treated to no less than nine sublime tracks that document Webster's trademark relaxed-swinging but imaginative playing style that never gets boring. The album features an all-star line-up from the likes of Rob Langereis (Toots Thielemans), John Engels (Chet Baker, Dizzy Gillespie) and Cees Slinger (Dexter Gordon, Slide Hampton). Expect a 61-year-old Ben Webster in excellent form giving a warm, dusky, gritty yet funky performance where he delivers everything from up-tempo material, 12-bar blues jams to soulful expressive ballads. Webster's quartet is in constant musical dialog with each other, creating a unique back and forth between musicians at the top of their game. Tidal Waves Music now proudly presents the FIRST EVER vinyl release of this fantastic album (originally released as a limited Compact Disc edition back in 2000). This unique record comes as a deluxe 180g DOUBLE vinyl edition (strictly limited to 1000 copies) with obi strip.

Heavenly Cream 'An Acoustic Tribute To Cream' features Ginger Baker, Cream lyricist the late Pete Brown, Free front man Paul Rodgers, Bernie Marsden, Joe Bonamassa, Bobby Rush, Malcolm Bruce (son of Jack Bruce), Debra Bonham, Maggie Bell and others.

For a band that only existed for two and a half years, the influence and fame of Cream seems to have only grown and grown over the decades.

One of the highlights of this project was the participation of Cream's original drummer Ginger Baker. It turned out, sadly, that these were the last recording sessions he ever did.

Another big plus was getting the great Bobby Rush. The 85 year old blues/ funk master verve and energy is spectacular.

Joe Bonamassa didn't quite realize that we were all- acoustic, but plugged in for his slide work on "Sunshine" to great effect.

The powerful vocals of Deborah Bonham gracefully shook the walls of Abbey Road studios when she came in to lay down a couple of tracks. Her husband Peter Bullick also added to the mix, displaying his guitar finesse with great ease.

Maggie Bell's performances were a welcome reminder that she is still one of the greatest British blues/ soul artists of our time. And multi- instrumentalist and singer Malcolm Bruce, who played on every track, did some magical work that his late father Jack would surely have been very proud of.

If that wasn't enough, the phenomenal voice of Paul Rodgers puts the sweetest icing on this fine collection of tracks with his unmistakable presence.

In 2006 Cream won the Lifetime Achievement Award at the Grammys. Features Joe Bonamassa 3 times Grammy Nominee, Bobby Rush 2 time Grammy Winner, Son Of Jack Bruce, Malcolm Bruce, plays on every track.

Produced by Rob Cass, also producer of Silver Rails, Jack Bruce's final album.

Lucky Pepper is a spicy french old school rock"n"roll band led by Geoffrey Lucky Pepper. Add some mississippi/swamp bluesflavor, a spontaneous big energy and a vintage SciFi comicsaesthetic to the meal and there it is! After the release of his EP "Rock"n"RollAttack!" in 2019, Lucky Pepper releasesits new album "Easier Said Than Done"in 2023. 12 original tracks with raw energy,mixing swamp blues and rock"n"roll.

An album crammed full of rare & unreleased tracks from the vaults of swell map founder Jowe Head. o Swell Maps formed out of various bedrooms in the mid -70s and became the pioneers of DIY punk. o Swell Maps founding members were Nikki Sudden, Epic Soundtracks, Jowe Head & Phones Sportsman o Includes demo versions of 2 of the bands Singles "Dresden Style" & "Read about Seymour". o Exclusive Liner notes by Jowe Head o Exclusive artwork originally designed by Epic Soundtracks & Jowe Head in 1977 o 2 Lps with printed inner bags in extra wide spine LP sleeve with cover sticker

For years Feeling Figures have tinkered away at the edge of the Montreal scene, never fitting neatly into the ebb and flow of the city's cultural trends or its more traditionalist camps. A geographer, a music therapist, a writer, and an underground arts biz maverick, the four Figures have long been friends and collaborators in various musical formations and continue to propel multiple projects. At the core of Feeling Figures is the Zakary Slax and Kay Moon songwriting partnership, which itself stretches back a decade, the pair first crossing paths in a vibrant period of musical upheaval in Sackville, NB - a college town on Canada's East Coast. In the big city, a series of self-releases, shifting monikers, and revolving live lineups eventually coalesced with Thomas Molander & Joe Chamandy as the ultimate rhythmic vehicle and spiritual consorts for Slax & Moon's unconstrained syntheses of multiple eras of indie rock, punk, psychedelia, folk, and outsider pop. Their debut 7" of 2021 was an early entry in Montreal upstart label Celluloid Lunch's catalog. We're nearly 3 years past the debut 7" from Montreal quartet Feeling Figures and in some ways it feels like 300, Such are the seismic changes that have occurred during that spell. But enough about Feeling Figures' musical depth and laser-like lyrical focus, I understand some things have happened in the real world, too. 'Migration Music' is not this generation's first ramshackle-as-fuckk art punk album and I'm not sure it's even the 30 thousandth. But I do know Feeling Figures have arrived fully formed, with a real voice of their own (several in fact, that must be a really good microphone). This album is simply too much fun to have been the product of years of serious study, though I'm told students occasionally have fun, too. I wouldn't know, i'm a university drop out. I did once see an episode of the television adaptation of "The Paper Chase" where one of the new Harvard Law hopefuls had a Kiss poster over his bed and that seemed highly implausible. The utter lack of affectation on 'Migration Music' may or may not be considered a selling point (affectation seems pretty huge — almost always) but Feeling Figures' rock'n'roll atom smashery is nothing short of astonishing. Maybe there will be a better record in 2023 perhaps two or three, even. But for now, this is the band to beat. 10 tracks 33RPM

repress !

Since bursting onto the scene with their multi award-winning compilation ‘The Stanton Sessions’ back in 2001, the Stanton Warriors irresistible and inimitable sound has consistently remained the soundtrack to some of the world’s biggest and best parties; from East London warehouses, Miami boat parties and illegal Detroit raves, to smashing up the stages of Coachella, Glastonbury, Burning Man and Ultra, selling out global tours, topping DJ lists and arguably having the largest number of band logo tattooed fans in the world!!

In the studio, Bristol’s Mark Yardley and Dominic Butler have honed a trademark, uncategorizable sound that is at once all their own, but also utterly indefinable, leading to high-profile releases on XL Recordings, Fabric, Cheap Thrills, Central Station and Universal, alongside official remixes for everyone from Daft Punk and Fatboy Slim, to MIA, Gorillaz and Danny Byrd. This phenomenal output and remarkable longevity have ensured the Stanton Warriors legendary status amongst not only their fans, but also their peers.

Stanton Warriors 2015 album ‘Rebel Bass’ featured a host of new & exciting bass artists such as Cause & Affect (aka Chris Lorenzo & Kane), which went to #1 in the Apple Music general album chart and Top 10 in the iTunes dance album charts in eight countries.
They also continued their sold-out tours across the USA, Europe, Australia and the Far East, collaborations on Claude Von Stroke’s Dirtybird label and a slew of exciting releases on their own tastemaker label Punks.

‘Rise’ is Stanton Warriors strongest album to date, with all twelve tracks ready to set dancefloors alight. Stanton Warriors have called on some of the scene’s most exciting and diverse artists to collaborate with – across hip-hop, grime, house, dancehall, drum’n’bass. Featured artists include Foreign Beggars, Stush, Taiki Nulight, Sian Evans, Ami Carmine, Keith Thompson, Lily McKenzie, Danny Dearden and Scarlett Quinn. Each track on ‘Rise’ showcases Stanton Warriors’s trademark rolling breakbeatbass sound.

Also included in the package on disc 2 is their ‘Rise DJ Mix’ that contains a selection of new remixes of tracks from their previous albums, releases from their own label Punks artists inc Plump DJs, Chris Røyal, Cosella & Vanilla Ace & tracks from Rise, remixed by the Punks family, plus an unreleased Stanton Warriors remix of Danny Byrd – Salute.

The vinyl format is a double LP cut onto heavyweight vinyl.

They remain fresh, original and relevant, obstinately dancing to the beat of their own drum, helping to pave the way for new talent, proudly ploughing their own genre for twenty years and as the new album title points to, still continuing to rise.

Collecting orders for repress!

Afro Dub Funk & Punk Of Recreational Records '81-‘82

Emotional Rescue returns to what it does best by unearthing musical gems of the British post punk scene with a double pack compilation of Bristol's short lived Recreational Records.

Teaming up with Bristol Archive Records, 10 songs are remastered, reissued and cut loud for DJs and collectors. What is most striking is, although created in the space of just two years, with a disparate collection of artists, musicians and producers coming together, the music holds a considerable cohesive sound.

Set up in 1981 by Bristol based shop, Revolver Records, Recreational was formed as an independent label with its own distribution, as part of the co-operative, Cartel. The label was a natural progression from the shop's punk's DIY aesthetic, acting as a hang out and inspiration for local artists from Mark Stewart to later staff member, Daddy G.

'Get It Right' starts with a one-off project in Scream + Dance, who similarly, alongside local bands Glaxo Babies, Maximum Joy and Rip Rig & Panic, explored post-punk with funk and jazz all underpinned with heavy tribal and dub influenced rhythms. 'In Rhythm', with its infectious groove, acts as a call to arms for the compilation, coming in two parts, the latter dropping away to explore the links with dub.

Next is possibly the label's biggest band in Talisman, going on to be active up to today, their release 'Run Come Girl / Wicked Dem' are both featured in long 12" mixes that explore the classic 'discomix' of vocal and dub in longform.

Animal Magic lead with the pack's title, 'Get It Right' a short-driven punk funk burst that captures the label's sound to perfection. However, much of the compilation is given over to the more experimental side of the bands, with a high percentage the B sides where they headed to the mixing desk for echo chambered dub inspired versions.

X-Certs' 'Untogether; Electric Guitars' 'Don't Wake The Baby' and Animal Magic's 'Trash The Blad' are culled from the flips of various 7" singles and all are a fusion of percussive rhythms, studio trickery and dub inspired techniques, played out against the "Do it Yourself" aesthetic of the time.

To complete is London based, soukous, kwela and afrobeat inspired collective, Ivory Coasters' 'Mungaka Makossa' and two rhythmic curveballs by Scream + Dance in 'Giocometti (Wicked Mix)' and their riotous (and short) closer, 'In Pink & Black'. "Get it right this time, get it right!".

Summer's Mine is the third studio album from acclaimed Detroit legend and rapper, Babyface Ray. After an enormous 2022 that saw the release of two full-length studio albums, getting named to 2022's XXL Freshman Class & YouTube Music's Black Voices Fund, and a sold out nationwide headlining tour, Babyface Ray returns to bless the streets with something fun for the summer. The 16 track album showcases a side of Ray that fans have become familiar with, and features appearances from fellow Motor City peers Veeze and Los & Nutty, King Hendrick$, Vory, & Hip-Hop luminary Westside Gunn. Never afraid to make a bold statement, Ray is here to say that in 2023, Summer's Mine.

On their long-awaited debut album Morning Ritual, Chartreuse have found the light in the darkness, sifting through the ruins of an anxious age in order to find the hope in it "There's a strange optimism in pulling all of your negative traits out, revising and reviewing them, and then putting them back, in order," says Mike Wagstaff, of the band's intricate, gorgeous songwriting. Chartreuse resist easy definition. The Black Country four-piece have been close friends since they were at college. In 2013, Mike and Harriet Wilson started playing folk music together ("We were not good at all," laughs Harriet), and a year later, they added a rhythm section, with the addition of Mike's brother Rory on drums and Perry Lovering on bass. Mike and Rory live together in Kidderminster in the West Midlands, while Harriet and Perry live just ten minutes away. They are very close friends and the songwriting is an extension of this intimacy. Their songs might find Harriet singing Mike's lyrics, or vice versa. "It takes a lot of trust, because the songs are not short of emotion," says Harriet. Morning Ritual has been a long time coming, with Chartreuse honing their craft over the course of four well- received EPs and the standalone 2022 single 'Satellites', a collaboration with Orlando Weeks. Having experimented with partly producing their previous EPs, Mike stepped up as sole producer on 2021's 'Is It Autumn Already?'. But they had big decisions to make. Should they build on the tracks from the last EP, and turn it into a full-length album? Would they work with a producer, or would Mike do it himself? They had more than enough new material to start an album from scratch, and Mike was ready to produce it. The framework for Morning Ritual was starting to take shape. "It was a natural progression," says Perry

180g limited edition on high-definition premium vinyl for super fidelity the great Nina Simone's style encompassed a broad range of musical genres ncluding jazz, blues, folk, R&B, gospel, pop, and classical music. This collection ompiles some of her best performances of jazz ballads and blues, the album's A ide programmed to feature the ballads, and the B side for the blues. mong the many highlights are her classic readings of the ballads 'I Loves You orgy', 'Little Girl Blue', and 'Black Is the Color of My True Love's Hair', as well as lues such as 'Trouble in Mind', Billie Holiday's 'Fine and Mellow', and 'Nobody nows You When You're Down and Out'. s a bonus, one of Simone's biggest hits, 'My Baby Just Cares for Me', has been dded to this essential collection.

Saxophonist Alex Hitchcock continues his mission to seek out new sounds and textures at the forefront of contemporary jazz, and to act as a catalyst to bring together some of the finest musical talents drawn to the fervid internationalism of the contemporary London scene His response to the current challenging climate for artistic endeavour is to go big and go bold: Dream Band: Live in London is a truly groundbreaking project presenting three different 'dream bands' of his favourite musicians, captured live over three nights at London's legendary Vortex club performing music specially composed for each ensemble. The extraordinary line- ups he assembled are testament to the respect he has earned among his peers as a composer, player and bandleader with a uniquely inspiring vision. The band for the first night features the frontline of Mark Kavuma's trumpet and Liselotte Ostblom's vocals blending together over the trio of Rob Luft, Rio Kai, and Jamie Murray: the second features James Copus on trumpet with longtime musical partners Kit Downes on piano and Lewis Wright on vibes, and Conor Chaplin and Marc Michel supplying bass and drums, and the third sets Downes' piano alongside the guitar of Ant Law and Alexandra Ridout's trumpet, with the international all-star rhythm section team of Orlando le Fleming and James Maddren. Part of the album's delight lies in the unexpected combinations of these acclaimed players, and the new levels of creativity that they bring forth; the constant presence of Hitchcock's unmistakeable voice on tenor sax and the strength and consistency of his writing gives the project a compelling unity. Each of the three bands brings their own unique blend of voices to Hitchcock's compositions, taking them in directions unforeseen even by their composer.

Rounding up 2023 Emm Gryner releases her version of Bobby Caldwell's classic "What You Won't Do For Love" on 7inch vinyl and digital formats. "A jazzy throwback to Bobby Caldwell's biggest hit," Emm Gryner says. "I've loved so many versions of this song and now, thrilled to release my own version."

The 7inch version is backed by "Valencia", one of the favourites from her latest album "Business & Pleasure". Emm Gryner is an award winning singer, songwriter, actor and best-selling author. "Business & Pleasure" is a celebration of the Steely Dan, Fleetwood Mac and Doobie Brothers softrock era, infused with the sunshine soul and stellar playing of the late 70s and early 80s.

Zum 30-jährigem Jubiläum erweiterte Neuauflage des nächsten Klassikers der Lemonheads aus dem Jahr 1993, inklusive neuem Cover-Artwork. Die bahnbrechende Platte, die auf It's A Shame About Ray und "Mrs. Robinson" folgte, den amerikanischen Alt-Rock weltweit bekannt machte und Evan Dando in die Herzen einer ganzen Generation katapultierte. Mit einer Fülle von unveröffentlichten Demos, alternativen Versionen und Raritäten - darunter Coverversionen von Victoria Williams, Buddy Holly und den Flying Burrito Brothers sowie The Lemonheads' Interpretation des Cole Porter-Standards "Miss Otis Regrets". In den 90er Jahren produzierten Evan's Lemonheads einen Alternative-Hit nach dem anderen, eine Reihe von wirklich guten Singles: 'Big Gay Heart', 'Into Your Arms', 'It's About Time' und 'The Great Big NO'. Pures Genie, das über's Radio ging und die Indie-Herzen eroberte. Heute ist Evan immer noch ein Meister des Songwritings und 'Come On Feel The Lemonheads' klingt nebenbei noch so frisch wie eh und je. Inmitten der Hits der Originalplatte findet sich aber für noch mehr magische Musik, und diese Deluxe-Edition fügt nun eine zweite Disc mit Demos und Akustikversionen hinzu, sowie eine Vielzahl von Tracks aus Sessions und von Compilations, die dem Mythos und seiner Entstehung weitere Farbe verleihen. So covert die Band liebevoll Victoria Williams' "Frying Pan" von ihrem "Sweet Relief"-Album. Dazu gesellen sich eine Reihe von Flipsides und Out-Takes, wie ihre Version des Garagen-Punk-Knüllers "Little Black Egg" von The Nightcrawlers, Evans Hommage an Gram Parsons "Streets Of Baltimore" und Buddy Hollys melancholisches "Learning The Game". Evan erkennt einen guten Song, wenn er ihn hört, und wie 'Come On Feel The Lemonheads' beweist, kann er auch selbst gar keine schlechten schreiben. Unabhängig davon, dass der Vorgänger ,It's A Shame About Ray" als der Klassiker der LEMONHEADS dargestellt wird, hat der Nachfolger ... seine ganz eigene Geschichte. Erneut gab Juliana Hatfield mit den Ton an, ... auch wenn auf diesem Album Nic Dalton hauptsächlich den Bass einspielte. Es geht insgesamt ruhiger zur Sache, orientiert man sich nur an den Singleauskopplungen ,Into your arms", ,The great big no", ,It's about time" oder ,Big gay heart"." - OX 2015 "Dabei hat Evan Dando seine musikalische Palette wieder erweitert: Neben reinen Country-Songs mit Slide-Gitarre und den poppigen Parts, blitzen plötzlich doch wieder nach vorne treibende punkige Tracks auf. Und diese Mischung passt so gut, dass selbst Pop-Göttin Belinda Carlisle (!) mal singen und auch Punk-Ikone Rick James seinen Part beisteuern darf." - Visions 1993

25th anniversary release of the album from 1998 as expanded special limited edition. It is the eighth Dub Syndicate studio album mixed by Adrian Sherwood. Originally released as catalogue number Lion & Roots 002 in 1998 on Style Scott"s own label here"s the expanded and remastered collector"s limited edition as 2LP-set including six additional tracks not available on the original vinyl release and also as 18-track CD release, with the booklet including excerpts from an unpublished interview. Main vocal contributor is the legendary artist Big Youth plus Little David courtesy J.R. Productions (Junior Reid"s camp), backing vocals by Skip McDonald and Style Scott"s inimitable laughter. The basic tracks were recorded in Jamaica, with some of the pals from the Roots Radics days (i.e. Flabba Holt, Steely Johnson) at Studio 2000 (Steely & Clevie"s studio) and the legendary Tuff Gong Recording Studio, followed by overdubbing in the USA at Greenpoint Studios (Bill Laswell"s studio) and Playroom Studios in New York, with additional overdub and final mix at On-U Sound (London) by Adrian Sherwood.

Wild River - the first solo album from David Longdon - the late lead singer of Big Big Train, re-mixed, re-mastered and expanded. Originally self-released in 2004 as a limited edition CD, beyond being briefly available through the BBT site, the album has long been out of
print. Dave Gregory (XTC) guests on guitar and Mellotron. David had always intended to remix and repackage it. However, his sudden death in November 2021 meant that his plan never came to fruition.


In a final act of remembrance by his long-time colleague Rob Aubrey, Big Big Train’s engineer since 1994, David’s wishes have now been fulfilled. Additionally, the album packaging has also been re-designed by Longdon’s friend and collaborator Steve Vantsis.