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"No Control" is one of the albums that helped bridge the band"s more reckless earlier direction with their more focused (but just as pissed-off) "90s-era. The strength of such cuts as "Big Bang," "Automatic Man," the title track, and "I Want to Conquer the World." No Control is one of the bands best all-time albums and an archetypal blueprint for the genre.

Formerly known as James Lascelles’ Quartet, Talking Spirits present a unique blend of world jazz. These highly respected London based session musicians - with a very mixed repertoire - have touched audiences wherever they play. The quartet mixes up world music, folk, jazz and Anglo/Caribbean grooves, inspired by influences from all over the world.

They have honed their skills over the decades working with some of the biggest names in music, including Frank Zappa, Joan Armatrading, Lee ‘Scratch’ Perry, L Shankar, Ginger Baker, Jeff Beck, Steve Winwood, Incognito, Van Morrison, Billy Ocean, Mick Taylor and Steve Harley & Cockney Rebel.

The new Talking Spirits album ‘Hands’ will be released on Zephyrus Records early June. Tracks feature regular band members James Lascelles (various keys and percussion), Tim Herniman and former bandmates from the legendary Breakfast Band Richard Bailey (drums and percussion) and Kuma Harada (bass and guitar). Guests appearances by Tony Maronie on congas, Didier Malherbe (once of “Gong”) on duduk and sax, and the wonderful Mongolian group Andaunion, for whom James specially wrote Grasslands to feature the haunting morinhuur (horse-hair fiddle) and hoomei or overtone singing.

Few bands have as enduring a legacy in the acoustic/newgrass/jam band
scene as Colorado-based Leftover Salmon
Carrying the torch passed down by the progressive bluegrass pioneers, The
Seldom Scene and Newgrass Revival, Leftover Salmon are true architects of the
contemporary jam grass scene, inspiring the careers of a generation of artists
including Billy Strings, Greensky Bluegrass and Yonder Mountain String Band.On
'Grass Roots', Leftover Salmon reflect on its bluegrass and festival campground
origins with a set of songs that draws from the repertoires that The Salmon
Heads and The Left Hand String Band played when they first jammed in a
Telluride Bluegrass Festival campground. Collaborating with jam scene icons Billy
Strings, Oliver Wood, and Darol Anger, and with the recent addition of Jay Starling
on resophonic guitar, lap steel and keys to the band's official line, Leftover Salmon
have all the instrumental firepower needed to deliver hard driving versions of
bluegrass standards and grassed- up versions of songs from Bob Dylan, David
Bromberg, and The Grateful Dead.
Featuring special guests BILLY STRINGS, OLIVER WOOD and DAROL ANGER

“Are we having fun yet? Living in the grey zone”? The Toads ask the question and already know the answer. There’s many a wry smile, often packed with gallows humour, shared on the Melbourne groups’ debut album “In the Wilderness” (out June 9th on Anti Fade and Upset The Rhythm). Navigating the dross of modern life, whilst keeping one foot in a dream is the key to their nervy post-punk scuffle. Featuring members of The Shifters, The Living Eyes and Parsnip you’d be forgiven for guessing what The Toads sound like, but their mordant step and minor-key enchantment makes for an intriguing parry.
The Toads hatched after a short period of domestic readjustment mid-2021. Billy Gardner (guitar) found himself in need of a roof after his home was consumed by fire, and was kindly hosted by friend Stella Rennex (bass). Elsie Retter (drums) was a regular visitor to the house and after seeing Miles Jansen (vocals) tear it up with his other band at the local bowls club, they invited him along to sprinkle his deadpan musings across their fledgling sound. Pretty quickly they hit on their direction; a savvy, snappy lo-fi pop as openhearted as it is brooding.
After playing some formative shows, including a debut at Jerkfest in 2022, The Toads set about recording five songs mid-year for a tentative EP. Realising the songs were too long to fit on a 7”, they booked in another recording session the following September to extend the EP to 12”. Two tracks’ chords structures were fleshed out with new melodies and arrangements, and by this point The Toads were surprised to find they had an album’s worth of material. ‘In The Wilderness’ is a beguiling record, full of twists and turns. It’s arch, resilient, thoughtful and straight-at-your-head catchy to boot.

It’s fitting that the title track “In The Wilderness” draws this record to a close, being the peak of their invention so far. Drums pound and tumbling bass-lines sprint among the crisply stabbing guitar phrases and soaring horns outro. It’s a survivalist epic of hard-worn wisdom, ambling and restless. “I open up the door trying to get all of us through” sings Miles, becoming progressively more dizzy and despondent. There is a sense of toughing it out that never falters though and this is the essence of what The Toads do best. They push onwards into the darkness and keep their appetite, pulling us all into the light.

"The Gold Experience" ist das erste vollständige Album, das Prince unter seinem unaussprechbaren Symbol als Pseudonym veröffentlichte. Mit dem Wort "SLAVE" auf einer Wange geschrieben, glänzte Prince mit den opulenten Balladen "The Most Beautiful Girl in the World" und "Gold" sowie der provokativen Single "Eye Hate U".

Long out of print (10 years!), this new edition of Soul Jazz Records' classic Delta Swamp Rock, features a killer all-star line-up of seminal artists who all first blended rock, soul and country together to create a stunning new sound of southern American music in the 1970s.

Featuring the Allman Brothers, Dan Penn, Leon Russell, Tony Joe White, Johnny Cash, Bobbie Gentry, Big Star, Link Wray, Area Code 615 and loads more!

This album comes as a superb limited-edition gold vinyl double vinyl release complete with extensive original sleevenotes, interviews and exclusive photography, all spread over a 12-page full-size magazine and two bespoke inner sleeves. The works!

Delta Swamp Rock is an interstate southern road-trip through the United States of America where country, rock and soul met at the crossroads - an exploration of the musical and cultural links between the cities of Memphis, Muscle Shoals and Nashville in the 1960s and 70s.

At the start of the 1970s, a new type of music emerged out of the southern states of Alabama, Tennessee, Georgia, Mississippi and Florida. Southern rock, the creation of young blue-collar white Americans, blended rock, soul, country and blues music together to present a new vision of the south – a post-civil rights southern identity complete with a celebration of the regions natural landscape and its way of life.

The Allman Brothers and Lynyrd Skynyrd epitomised the definitive southern rock groups – a mixture of blues-rock and country with a southern rebelliousness and attitude. Unfortunately both The Allman Brothers and Lynyrd Skynyrd were to be struck by tragedy, which would affect the movement’s rise and fall.

The backstory to southern rock is the fact that a number of the people involved in its creation had been central to the production of southern soul music in the 1960s mainly in Memphis, Tennessee, and the small town of Muscle Shoals (population around 10,000) deep within the bible-belt, liquor-free, deeply segregated state of Alabama, creating 100s of R&B hits on an almost daily basis.

Here in Muscle Shoals, with its proximity to Memphis and Nashville, an all-white group of in-house musicians, (famously referred to by Lynyrd Skynyrd in the song ‘Sweet Home Alabama’ as the ‘Swampers’), created countless classic soul records for the likes of Aretha Franklin, Wilson Pickett, Etta James, Clarence Carter and more during the 1960s.

This album charts the rise and fall of southern rock from its funky swamp roots in southern soul to its phenomenal success in the first-half of the 1970s, including its influence on Nashville’s ‘outlaw’ country and tracing it right back to the arrival of rock and roll in the 1950s - the first meeting of black and white American music at the crossroads.

Donovan Woods’ album is a study in contrasts, as one would expect from its name: Both Ways. That push-and-pull, especially in relationships, has long been Woods’ stock in trade. As the lead track of Both Ways, “Good Lover” unfolds with acoustic instruments and Woods’ quietly compelling delivery -- not what a listener might expect from the title alone. That masterful perspective has led to nominations for the Polaris Prize and the Juno Awards. In addition, his single “What Kind of Love Is That?” climbed to No. 1 on the CBC Top 20 Chart, while his catalog has accrued over 45 million streams. Woods is also a notable songwriter in Nashville with credits by Billy Currington, Charles Kelley, Tim McGraw and Charlie Worsham. NPR Music stated, "There are very few writers who can make you laugh and break your heart in the same song.” No Depression noted that Woods’ style is “as fresh and captivating as any out there.” Asked if he writes differently for himself than he does for other artists, Woods replies, “I used to think that there was a difference. I know now there's no difference. You just try to write the best thing. Everything I wrote where I said, ‘This is mine and I’m going to put it out’ – every song like that gets recorded by somebody else. I know now that I just try and write a song that I would want to do.”

Pacific Northwestern doom metal monolith BELL WITCH will see the
release of their new album "Future's Shadow Part 1: The Clandestine
Gate" on 2LP/2CD, June 9th.For their new album, bassist/vocalist Dylan
Desmond and drummer/vocalist Jesse Shreibman exploded Bell Witch's
bounds
Like 2017's lauded "Mirror Reaper", "The Clandestine Gate" is a single 83-minute
track -- a composition that pulses and breathes on a filmic timeframe. It
constitutes the first chapter in a planned triptych of longform albums, collectively
called "Future's Shadow." While traces of organ and synthesizer hovered over
"Mirror Reaper" and Bell Witch's 2020 collaboration with Aerial Ruin, "Stygian
Bough Volume 1", "The Clandestine Gate" drew those instruments closer to the
center of its compositions.The band reunited with their longtime producer Billy
Anderson as they began negotiating these new compositional weights. On "The
Clandestine Gate", Bell Witch's twinned voices build off of the chantlike textures
of previous records while steering toward more developed melodic lines,
structured harmonies, and rhythmic death metal growls.
The immense gravity of a work like "The Clandestine Gate", which features
exclusive stunning cover art by Jordi Diaz Alama, allows ideas to simmer in a way
that feels profoundly and somatically intuitive -- not just a philosophical exercise,
but an embodied truth. By slowing down both their creative process and the
tempo of the music itself, Bell Witch digs even deeper into their long standing
focus: the way life spills on inside its minuscule container, both eternal and
fleeting, a chord that echoes without resolution.

This album shows Alisters multi range for urban dance music working with John F.M. Mitchell Yoshida,Super Cool Wired, Troi Alexis,Tyesha Blount and Many More!!!

Produced, Lyrics, Mixed and Engineered by Omar S.

First repress since its original release in May 1998

Celebrating twenty-five years since its release as rgirl2 – the label’s first LP – Rocket Girl is reissuing its seminal compilation A Tribute to Spacemen 3 on double vinyl with spot varnish sleeve in May 2023.

Widely acclaimed at the time of its release (garnering rave reviews in the UK, US, Canadian and European music weeklies and monthlies), the collection sounds as fresh and inventive as it did three decades ago. Launched at a time when tribute albums were prevalent, A Tribute to Spacemen 3 stands apart from other covers albums in that it not only redecorates S3’s songs in a bold new palette of colours, but also acts as a time capsule documenting a very specific wave of 90s US and UK bands that shared many sensibilities – ‘post-rock’ might be the catch-all genre, but their music also encompassed psych, slowcore, analogue electronica, dream pop and space rock to varying degrees – and many of whom (Mogwai, Low, Arab Strap, Bardo Pond) have gone on to reap major critical and commercial success, and are still thriving today. In 1998 the LP was a gateway for fans of Spacemen 3 to discover these relatively unknown experimental artists operating on small independent labels either side of the Atlantic – today it is a celebration of the timeless innovation and longevity of that scene.

As author Richard Milward states in Rocket Girl 20, the 2019 book illuminating the history of the label: ‘In no way is the LP a collection of imitators simply regurgitating Spacemen 3’s songs sound-for-sound – rather, the compilation celebrates the purity and bravery of Pierce’s and Kember’s song writing (themselves never averse to a transformative cover version) while showcasing the originality and diversity of those bands they have inspired.’ It is the simultaneous simplicity and otherworldliness of S3’s songs that make them perfect fodder for reinterpretation, the band’s ‘three chords good, two chords better, one chord best’ mantra providing a solid, tantalising foundation for these bands to experiment with freely. Throbbing and humming with equal parts euphoria and melancholia, over the course of the album’s 69 minutes the tracks slide from slithering stoner psych (Asteroid #4’s ‘Losing Touch With My Mind’) to hymnal delicacy (Amp’s ‘So Hot (Wash Away All of My Tears)’ and Mogwai’s crisp, glockenspiel-chiming ‘Honey’) to zero-gravity lounge jazz (Transient Waves’ closer, ‘Billy Whizz’). There are radical reworkings: the oozing fuzztone lava of Bardo Pond’s ‘Call the Doctor’, and not least Arab Strap’s startling take on S3 live mainstay ‘Revolution’, replete with aggressive, crunching drum machine and the lyrics delivered down the telephone in Aidan Moffatt’s laconic Falkirk drawl – ‘a change, a solution, a wee… a wee revolution’ – before its explosive climax.

Since 1999, Gogol Bordello has been bringing their unique fusion of punk rock and Eastern European influences to the world, including their legendary theatrical and rambunctious live shows. From its inception, Gogol Bordello has been a band of immigrants, with members hailing from Ukraine, Ecuador, Russia, and Ethiopia. With their upcoming eighth studio album and first in five years, Solidaritine, they are going back to singer, Eugene Hutz's more punk rock roots as heard on the new single "Focus Coin" While finishing up the new record, the world turned upside down for Hutz and other members as the war in Ukraine started. With his mind now on helping out his homeland, Hutz has used his influence and art to raise money and awareness. He's collaborated with everyone from Les Claypool to Billy Strings in recent months, to putting together benefits featuring Patti Smith and more. Now Gogol Bordello is ready to bring their new album to the masses, and use their art to help end the war and bring Solidaritine to the world.

Since 1999, Gogol Bordello has been bringing their unique fusion of punk rock and Eastern European influences to the world, including their legendary theatrical and rambunctious live shows. From its inception, Gogol Bordello has been a band of immigrants, with members hailing from Ukraine, Ecuador, Russia, and Ethiopia. With their upcoming eighth studio album and first in five years, Solidaritine, they are going back to singer, Eugene Hutz's more punk rock roots as heard on the new single "Focus Coin" While finishing up the new record, the world turned upside down for Hutz and other members as the war in Ukraine started. With his mind now on helping out his homeland, Hutz has used his influence and art to raise money and awareness. He's collaborated with everyone from Les Claypool to Billy Strings in recent months, to putting together benefits featuring Patti Smith and more. Now Gogol Bordello is ready to bring their new album to the masses, and use their art to help end the war and bring Solidaritine to the world.

Benny The Butcher blazed a trail as an elite voice in rap’s underground to become a top artist in all of music. The prolific Buffalo, New Yorker has established two legendary (and concurrent) album series, broken bread with industry leaders, and twice reached the Billboard Top 40 albums chart as an independent. Now Benny sets the table for a definitive 2022. Soon, he will unveil his highly-anticipated Tana Talk 4. By 2004, Benny combined these experiences to launch the Tana Talk series while on house arrest. As TT3 promised, Benny delivered two volumes of The Plugs I Met, in 2019 and 2021, on his Black Soprano Family imprint. In between, Benny inked with Roc Nation management and made songs with Drake, Lil Wayne, Black Thought, and Freddie Gibbs. He also partnered with Grammy-winning producer Hit-Boy to flaunt his range on 2020’s acclaimed Burden Of Proof. If the third installment of Tana Talk made Benny a formidable presence in Rap, Volume 4 propels him to stardom. Debut single “Johnny P’s Caddy” partners The Butcher with J. Cole over The Alchemist production. Al’ and Daringer handle the album’s music, just as they seamlessly did on TT3. Conway, Westside Gunn, 38 Spesh and more guest on TT4, as does Stove God Cooks. Benny’s skills and authenticity have cemented his place in the game. However, in a career defined by will and perseverance, The Butcher’s blade keeps getting sharper.

The Undertones um Sänger Feargal Sharkey wurden 1975 in Derry, Nordirland, gegründet und veröffentlichten 1979 ihr Debütalbum "The Undertones", das auf Platz 13 der britischen Charts landete. John und Damian O'Neill verbanden ansteckende Gitarrenhooks mit 60er-Jahre-Garage und 70er-Jahre-Glam-Rock mit Feargal Sharkeys unverkennbarem Gesang. Diese Qualitäten kamen in ihrem Durchbruchshit "Teenage Kicks" zusammen, dessen Schlichtheit an die Ideale der 60er Jahre erinnert. Dieses klassische Debütalbum versprüht so viel unverhohlene Freude in zweiminütigen Drei-Akkord-Popsongs. Es gibt wenig Anmaßung in ihrer kompromisslosen Teenager-Weltanschauung, dass selbst die dunkleren Andeutungen des Lebens in Songs wie dem Selbstmord-Thema "Jimmy Jimmy" mit einem Optimismus vorgetragen werden, der im Gegensatz zu so
vielen ihrer Zeitgenossen steht. Limited Edition Repress auf transparent-grünem Vinyl.

First-ever reissue of the 1988 album. Gatefold LP includes new and restored artwork and a chapbook, featuring forty-eight pages of lyrics, essays, photographs, and Gordon's extraordinary drawings for each song. The Choctaw, Assiniboine, and Texan poet, journalist, visual artist, American Indian Movement activist, and musician Roxy Gordon (First Coyote Boy) (1945-2000) was above all a storyteller, known primarily as a writer of inimitable style and unvarnished candor, whose wide-ranging work encompassed poetry, short fiction, essays, memoirs, journalism, and criticism. Over the course of his career he recorded six albums, wrote six books, and published hundreds of shorter texts in outlets ranging from Rolling Stone and The Village Voice to the Coleman Chronicle and Democrat-Voice, in addition to founding and operating, with his wife Judy Gordon, Wowapi Press and the underground country music journal Picking Up the Tempo. Along the way he cultivated close friendships with fellow Texan songwriters such as Lubbockites Terry Allen, Butch Hancock, and Tommy X. Hancock, as well as Ray Wylie Hubbard, Billy Joe Shaver, and, most famously, Townes Van Zandt, whom he called his brother. Although his work covered a vast array of topics exploring strata personal, local, global, and cosmic alike, Gordon's primary subject as a writer, musician, and visual artist was always American Indian culture, specifically the ways it collided and coexisted with European American culture in the South and West-and within the context of his own life and braided identity. The ten songs on Crazy Horse Never Died, his first officially released and distributed album, were recorded in Dallas in 1988. "Songs" is perhaps an imprecise taxonomy for what Roxy captured on this and his other albums, all of which remain out of print or were released in instantly obscure limited editions of homebrew cassettes and CD-R's. (Paradise of Bachelors plans to reissue remastered, expanded editions of his catalog; Crazy Horse is the first.) He only occasionally attempted to sing, and his musical recordings are primarily corollaries of, and vehicles for, his poems. His sharp West Texan drawl, tinged by formative years of reservation living in Montana and unmistakable once you hear it-high, lonesome, flat, and cold-blooded as a bare rusty blade-instead patiently unfurls in skewed sheets of anecdotal verse and discursive narrative rants. Although Gordon's music at times incorporated powwow style drumming, fiddling, or unaccompanied ballad singing, the majority of it hews to an idiosyncratic spoken word style, accompanied by atmospheric, sometimes synth-damaged country-rock that skirts ambient textures and postpunk deconstructions. His songs are essentially recitations over backing tracks of finger picked guitars, rubbery washtub bass, and buzzing, oscillating keyboards. On the stark yellow and red jacket of Crazy Horse, which he designed himself, Gordon describes these recordings as innately ambivalent in terms of form, content, and identity: These are poems and/or songs about the American West, white and Indian. My life has been Indian and/or white. Maybe there's not a lot of difference-maybe. I guess that's mostly according to which white person or which Indian you're talking about. That's probably what this album's about. Crazy Horse Never Died comprises songs that span the personal and political arcs of his writing practice and the poles of his native and white ancestries.

Though the trio of John
Medeski, Billy Martin, and
Chris Wood had already
expanded the jazz genre with
their first three records (two
of which we have reissued
here at Real Gone Music),
it was this 1996 album that
really crossed over and won
the ensemble a whole new
legion of listeners in the “jam
band” camp. Recorded in a remote, solar-powered plywood
shack in Hawaii (hence the title), Shack-Man brought the ‘70s
soul-jazz beloved by the band firmly into the ‘90s, propelled
by Medeski’s simultaneously nostalgic yet forward-thinking
excursions on the Hammond B-3. A masterpiece of groove, out
on vinyl for the first time!

2022 marks the 100th birthday of Charles Mingus, renowned American composer and bassist in the jazz genre. After his death in 1979, he was acknowledged as one of the most important jazz composers, alongside Duke Ellington and Billy Strayhorn. Mingus was innovative in his use of melody, rhythm, harmony, and form, and his compositions have become a core part of jazz repertoire.
This boxset includes his final studio recordings for Atlantic Records, spanning from the 1970s, featuring previously unreleased outtakes of “Big Alice”, “The Call” and “Music For Todo Modo”. Mingus had two periods of recording with Atlantic Records, the first being in the 1950s and 1960s, and the second in the 1970s, which marked his last phase of music

Back on vinyl for the first time in since its original 1976 pressing, 2nd Resurrection by Stairsteps will be reissued on gold vinyl for RSD on Dark Horse Records, the label founded by George Harrison. Originally discovered by Curtis Mayfield, the band was previously known as The Five Stairsteps - famous for their hit song “O-o-h Child,” which saw new life recently after appearing in Marvel’s Guardians of the Galaxy. Stairsteps were introduced to George Harrison by Billy Preston, who produced and played keyboards on 2nd Resurrection. The album also features contributions by Robert Margouleff and Malcolm Cecil, known for their innovative synthesizer work with Stevie Wonder.

Pablo Arrangoiz, a man of many monikers, has quite a few experimental releases as well as some dance floor treasures under his belt. His work navigates unholy experimental sounds, spooky atmospheric endeavors, clownish takes on Bach’s canons and much more. The Gurner, released under his new alias Baüzer Vep, fits the bill perfectly: it induces you in a dream-like, slightly nightmarish state, but does so with irony and without neglecting grooves.

180g Black Vinyl. Limited to 100 Copies

Formed in Cardiff, Sock make guitar-driven alternative rock, taking inspiration from psychedelic music. Known for their creative melodic arrangements and blending of genres, the band describe their music as “a rather progressive affair”.

Following on from the bands debut album ‘Fresh Bits’, in 2018, this is Sock’s much anticipated self-titled follow up. The album features Jacob on Rhythm Guitar & Vocals, Billy on Lead Guitar, Sam on Bass & Keys, and Simon on Drums & Percussion. Produced by the band, the album was recorded during the pandemic and sees the music move into a heavier and more refined sound.

Tommy Emmanuel ist ein australischer Gitarrist, Schlagzeuger, Bassist und Songwriter. Er wurde bisher zweimal für den Grammy nominiert und gilt als einer der weltbesten Vertreter des sogenannten Fingerstyle, einer speziellen Spieltechnik insbesondere für akustische
Gitarre.
Tommy Emmanuels Duett-Album "Accomplice Two" bietet eine erstaunliche Vielfalt an Künstlern und Stilen. Es gibt Songs mit den Rocklegenden Michael McDonald, Jorma Kaukonen und Little Feat; lassen Sie sich von Bluegrass-Superstars wie Billy Strings, Molly Tuttle, The Del McCoury Band, Sam Bush, Jerry Douglas, Sierra Hull
und David Grisman überraschen. Außerdem sind die Country-Ikonen Nitty Gritty Dirt Band, Jamey Johnson und Raul Malo sowie die Gitarren-Schwergewichte Yasmin Williams, Larry Campbell und Richard Smith mit dabei.

In 1998, New West Records was in its infancy - The label had only
released a handful of records before becoming fortunate enough to work with Shaver, a duo consisting of Billy Joe Shaver and his son, Eddy Shaver - The guitar virtuoso son and the outlaw-country hit-songwriter formed an incredible pair that would go on to release 6 critically acclaimed albums.

In 1999 the duo released Electric Shaver and the title says it all. Billy Joe had made a career out of playing acoustic country songs but with Electric Shaver, he and Eddy plugged in and delivered an outlaw country record with blues licks and rock solos.

In celebration of 25 years working with this amazing catalog, New West Records is proud to release Electric Shaver on vinyl for the first time.

This is a one-time color pressing. These will not be pressed again.
Each record is packaged in a colored foil paper sleeve with foil stamped sequential numbering 0001-2000. This record is limited to 2000 copies

The first reissue of seminal early 1980's electronic recordings from the British Electric Foundation (B.E.F.), aka HEAVEN 17 / ex-THE HUMAN LEAGUE's Martyn Ware and Ian Craig Marsh, with Adi Newton (CLOCK DVA / THE FUTURE), and John Wilson (HEAVEN 17), originally a cassette-only release (1981).

Following two groundbreaking albums ('Reproduction' and 'Travelogue'), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company - the British Electric Foundation (B.E.F.) - and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory.

B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled 'Music for Stowaways', with 'Stowaways' being a reference to the original name for the then-new Sony portable cassette player - later renamed the Walkman - of which B.E.F. were great fans. 'Music for Stowaways' was intended to be listened to on such a device. The cassette was followed by a seven song LP, 'Music For Listening To', which had a slightly different tracklisting, while other B.E.F. music was utilised for B-sides of early singles by Heaven 17.

This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as 'Groove Thang' - an instrumental version of the debut single by Heaven 17 - and 'The Old At Rest', which derived from a version of 'Wichita Lineman' by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.'s 'Music of Quality and Distinction, Volume One' covers album in 1982.

Supporting musicians on 'Music For Stowaways' included Adi Newton of Clock DVA (who had been a member of The Future with Martyn and Ian pre-Human League) on the track 'Uptown Apocalyse', with John Wilson (who provided incredible guitar and bass for Heaven 17) appearing on Groove Thang.

The innovative sounds heard on 'Music For Stowaways' were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the '50 Greatest Lost Albums of All Time'.

Puscifer wurde irgendwo in der Wüste von Arizona geboren und ist eine Elektro-Rock-Band, ein Multimedia-Erlebnis, ein Wanderzirkus und Überlebende einer Entführung durch Außerirdische. Der Katalog der Gruppe besteht aus drei Studioalben - V is for Vagina (2007), Conditions of My Parole (2011) und Money $hot (2015) - sowie einer Reihe von EPs und Remixen.
Neben dem Kerntrio, bestehend aus Maynard James Keenan (Gesang), Mat Mitchell (Gitarre, Produktion) und Carina Round (Gesang, Songwriting), umfasst die Gruppe Greg Edwards (Bass, Gitarre, Keyboards), Gunnar Olsen (Schlagzeug), sowie eine Reihe von Charakteren wie Billy D und seine Frau Hildy Berger, Major Douche, Special Agent Dick Merkin und viele mehr. Die Gruppe ist
bekannt für ihre mitreißende Live-Show, bei der die Grenzen zwischen Konzert und Theater verschwimmen.

Das Debütalbum des Electro-Punk Musikerkollektivs aus Teesside im Nordosten Englands um Frontmann Kingsley Hall.
Gegründet 2019, schloß sich die Band - bestehend aus Hall (Gesang und Gitarre), Robbie Major (Synthesizer), Hugh Major (Bass und Sequenzer) und Jonny Snowball (Schlagzeug) - aus "einem kollektiven Misstrauen gegenüber den politischen Entwicklungen" heraus zusammen. Nails ist ein wütendes, an Dringlichkeit kaum zu übertreffendes Statement, brutal und minimalistisch, in dem Hall über Beats, Drone Noises und Gitarrenfeedback mit seinem unverkennbaren Sprechgesang gesellschaftliche Mißstände lauthals anprangert. "a shit-hot artist" (NME). Darüber sind sich auch Anhänger der Band wie Sleaford Mods, Black Francis (Pixies), Steve Albini und Modeselektor einig.

Für Fans von Idles, Sleaford Mods, Divide And Dissolve, Bob Vylan und Billy Nomates!

The Bass Junkie sound spans the old school beats and vibes of the Electro genre’s origins, to the borderline industrial. Phil is a battle hardened Bass Bot from the future armed with his trusty MPC.

The obsession with all things sci-fi continues with this 'Cruising The Bass Nebula' EP. Out this February on my Asking for Trouble label, this is testament to his non-stop love of the genre and keeps on evolving with this funky 10".

Phil Klein aka Bass Junkie has been part of the Bass furniture for decades. I first came across him at my local roller disco somewhere in the 80s where he would flex his early DJ skills. Phil was cutting and scratching on the decks way before anyone I knew.

His history is quite something. In the early 90s he contacted Dave Noller from Dynamix II in Florida and after sending demos (pre-Internet of course). He ended up going there to make some tunes under the name of Cybernet Systems.

Phil has had many monikers and worked with lots of people over the years. Model Citizens with Matt Whitehead, IBM, Gods of Technology and Kronos Device with Si Brown (Dexorcist) and myself both as The Brink and part of The Resonance Committee to name a few. 2021 saw the release of the album Sub Sonic Survivor on Bass Agenda. He's had releases on lots of labels over the years including Control Tower, Firewire, SMB, Ed DMX's Breakin records, Andrea Parker's Touchin Bass label, Billy Nasty's Electrix and his own Battle Trax label.

Throbullating throughout the galaxy since 1986!

The undisputed kings of garage rock are back! It’s been 22 years since the last Headcoats album, but now Billy, Bruce, and Johnny return with a brand-new studio album!

Recorded last year at Ranscombe Studios in Rochester. Billy, Bruce, and Johnny kindly answered some pertinent questions…You got back together recently as Thee Headcoats Sect to make the ‘Tribute to Don Craine’ EP. What was it like working with each other again after all this time? BILLY: It was 'fab' and 'gear.' BRUCE: The weirdest thing for me was how weird it wasn't.

It was like time compressed, but to the 'good old days', early on. I was wary that it 'wouldn't be like Thee Headcoats', but it was. JOHNNY: I'm with Bruce and Billy on that one. I think we were all surprised how it all just worked. If I remember correctly, we kicked off role playing like we detested each other. Then we got started and well, you can hear the result.

What were the first songs you ran through when you got in the studio? BILLY: That’s a very good question. No idea. BRUCE: I can't remember. They all sound the same to me. JOHNNY: Bill had stuff on his phone that went “KSSHHCCCKSSHHHH”! So, we did that first. You’ve also paid tribute to Don with a track on the Irregularis album – ‘Oh Leader We Do Dig Thee’.

He was, along with the other members of Downliners Sect, a big inspiration to Thee Headcoats. When did you first become aware of his music and what was he like to work with? BRUCE: We were given (or possibly lent) a reissue of the Sect's first LP around 1977, marketed as 'Punk From The Vaults', which certainly floated our boats and definitely popped our corks, due to the somewhat aggressive yet carefree nature of the tunes and sound in general. Ollie, our old bassist, found an ad in a trade magazine for them with a contact number for a Michael O'Donnell, which I excitedly called almost immediately.

T'was none other than Don his'self and we managed to convince him into venturing down to Rochester to record some tunes with us which became the first Headcoat Sect EP. We were fairly starstruck and presented him with a brand new 'dearstalker' (or 'Headcoat', as they were now known). He was very accommodating and a great laugh and spent the evening with us, regaling us with tales of yore. I recorded a lot of it on cassette, which I may still have somewhere. Gawd bless Don

DIE MITGLIEDER VON CRAZY HORSE KÜNDIGEN "ALL ROADS LEAD HOME" AN, EINE MUSIKALISCHE REISE FÜR DIE HEUTIGE ZEIT

Mitwirkende: Ralph Molina, Billy Talbot, Nils Lofgren
& Neil Young

ALL ROADS LEAD HOME ist ein Album, das gleichermaßen aus purer Inspiration und der veränderten gesellschaftlichen Situation heraus
entstanden ist: Während der Pandemie nahmen Molina, Talbot und Lofgren in regelmäßigen Abständen neue Songs auf, jeweils mit anderen Musikern und an wechselnden Orten - so, wie es die
pandemischen Bedingungen zuließen. Anders als sonst, konnten sie nicht im Trio mit Neil Young arbeiten, was Herausforderung und Chance zugleich war, denn so mussten die Musiker zwangsläufig
schauen, wohin die neuen individuellen Konfigurationen führen würden. Sie führten, wie so vieles in der Zeit, zunächst einmal: nach Hause.

Dort, wo sich für uns alle das soziale Leben der Zeit abspielte. Die drei Crazy-Horse-Mitglieder nahmen jeweils drei Songs getrennt voneinander und mit unterschiedlichen Musikern auf. Und schauten dann, wie sie all das zu einem wundersamen Konsens unvergesslicher Musik zusammenfügen konnten. Das Kunststück gelang. Ein Album wie dieses hat man von der Band noch nie gehört.

Star Funeral is the full-band solo project of Nikki Es- posito. Stepping into the spot light from behind the bass in Secret Tapes, Esposito adds guitar and lead vocals to her list of duties while drums are handled by Ethan Kreidemaker. Sonically, Star Funeral walks a fine line between pleasant and somber tones- dreamy guitars splash through plodding bass and drums with Esposi- to’s vocals driving them forward through a flurry of aching longing and regret. This is indie rock at its finest and Star Funeral feel set to be a standard bearer for a long time. “In the Dark” came together in 2020 after urging from close friends and producer Billy Mannino (Bigger Better Sun, Oso Oso). Singer/multi-instrumentalist Nikki Es- posito built this solo project from the ground up, per- forming all instruments alongside Ethan Kreidemaker’s studio percussion. It’s a lightning bolt of intensity and harrowing growth set to honor and expand upon her primary influences, a flash of self-understanding while re-entering a lightless era. Star Funeral’s debut is a potent discovery of new ways to shoulder old wounds, such as the murmurs of body dysmorphia trailing be- hind double-jaw surgery (“Mouth Bleeder”), the lack of closure in lost friendships (“Outgrow”), and the anxiety of letting others in after these hurdles (“Breather”).

Three-time Grammy Award nominee, songwriter, actor and model Natalie Imbruglia released Male back in 2015 as her fifth studio album. The album is a collection of famous songs by male artists, including Cat Stevens, Damien Rice, Tom Petty, Pete Townsend, and Zac Brown amongst others. The album is produced by Billy Mann, who has also worked with Pink, John Legend, Celine Dion, Martina McBride, and Sting.

The album features the single "Instant Crush", which was her first single in six years and was originally recorded by Daft Punk and Julian Casablancas (The Strokes).

Male is available as a limited edition of 1500 individually numbered copies on translucent magenta coloured vinyl and includes a 4-page booklet.

Das fünfte Album von Laughing Stock ist eine Reflexion über die Magie der Musik und die Art und Weise, wie Musik den Lauf des Lebens in einem frühen Lebensabschnitt verändern kann. Laughing Stock möchte die Musik annehmen die den Musikern Anfang der 1980er eine neue Welt eröffnete - die Songs, die zu Songs für ihre Zukunft wurden. Dafür haben sie eine Vielzahl von Gästen rekrutiert, die in den Achtzigern populär waren. Vocals von Billy Sherwood (Yes), Colin Bass von Camel und sogar Colin Molding (XTC) sind an Bord. Saxofon von Steinar Børve und ein Horn-Trio unter der Leitung von Tobias Gustum Lindstad veredeln das Album zusätzlich. Es wurde von Jan M Sørensen und der Band produziert und gemischt sowie von Jacob Holm-Lupo gemastert. CD und stark limitierte, weiße LP.

Reviews / Features in Eclipsed, Classic Rock, Rolling Stone, Rocks, Deaf Forever, Metal Hammer, Rock Hard, Die Welt, Audio, Piranha, Break Out, Guitar, Legacy, Slam, Rock City News, Rock It, Gitarre & Bass u. v. a.

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of Lee’s drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

LTD. COL. VINYL

Definitive compilation spans solo recordings, rarities and duets with Lee Hazlewood Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin New interviews with the legendary singer, actress, and activist, Nancy Sinatra Extensive essay by Amanda Petrusich Q&A interview with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea Never-before-seen photos from Nancy Sinatra's personal archive Deluxe CD housed in 7"x7" hardcover book w/ 64-pg booklet Beautifully packaged Double LP featuring a 24-pg book 2xLP available on Standard Black Wax plus Summer Wine Sunburst Orange Release coincides with Nancy Sinatra's 80th birthday celebration Release to be supported by international press campaign in cooperation with Nancy Sinatra // Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin' 1965-1976. The definitive new collection surveys Sinatra's most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMYr-nominated reissue co-producer Hunter Lea. The CD edition comes housed in a 7"x7" hardcover book (featuring 64-pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet), with special color editions available exclusively at and independent record stores. Nancy's performance of the Lee Hazlewood-penned song "These Boots Are Made for Walkin'" was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets and singles including "Sugar Town," "Some Velvet Morning," "Summer Wine," "Sand," "Jackson," and the title track to the 1967 James Bond film "You Only Live Twice." Start Walkin' explores Nancy's recordings with Lee, her inspired collaborations with songwriter Mac Davis ("Hello L.A., Bye Bye Birmingham"), producer Lenny Waronker ("Hook and Ladder") and the "should've been hit" song with arranger/producer Billy Strange ("How Are Things In California.") Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song "Bang, Bang" gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino's 2003 film, Kill Bill Volume 1.

Das Duo Dylan Brady und Laura Les , bekannt als 100 gecs , gibt bekannt, dass das mit Spannung erwartete zweite Album der Band, 10,000 gecs , am 17. März 2023 erscheinen wird.

Zusammen mit dieser Ankündigung veröffentlichten 100 gecs auch eine Überraschungs-EP mit dem Namen Snake Eyes . Die EP enthält drei unveröffentlichte Tracks darunter "Torture Me" mit Skrillex und "Hey Big Man" , das als Opener auf ihrer letzten Tournee ein
Publikumsliebling war.

10.000 Gecs kann auf Vinyl, CD, iTunes und als digitaler Pre-Save vorbestellt werden.
Nach ihrem bahnbrechenden Debütalbum 1.000 gecs war die Vorfreude auf das nächste Werk der Band groß. In einer aufschlussreichen Pitchfork Cover Story aus dem Jahr 2021 zeigten sie den frühen Entstehungsprozess von 10,000 gecs, in dem das Duo
ihre Fans zum ersten Mal mit sich ins Studio nahm.
Das kommende Album wird die bereits veröffentlichten Singles
"mememe" sowie das von den 90er Jahren inspirierte "Doritos & Fritos" enthalten.

This 80's 12 Inch Remixes Collected edition is from the decade when the extended remix was an artform. A remix is usually an alternative, and sometimes longer, version of a previous recorded song.

Born somewhere in the Arizona desert, Puscifer is an electro-rock band, multimedia experience, traveling circus, and alien abduction survivors. The group’s catalog consists of three full-length studio albums—“V” is for Vagina 2007, Conditions of My Parole 2011, and Money Shot [2015]—in addition to a series of EPs and remixes. The group will be releasing a special physical version of ssMoney Shot March, 2023.

Beyond the core trio of Maynard James Keenan [vocals], Mat Mitchell [guitar, production], and Carina Round [vocals, songwriting], the group’s ever-evolving ecosystem encompasses Greg Edwards (bass, guitar, keys), Gunnar Olsen (drums), as well as a cast of characters such as Billy D and his wife Hildy Berger, Major Douche, Special Agent Dick Merkin, and many more. Renowned for an immersive live show, the group’s performances blur the lines between concert and theater, traversing the dusty American Southwest with Billy D and Hildy or the sweaty squared circle with Luchadores. They’ve brought this to life everywhere from Coachella to Bonnaroo