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The eponymous Sun Cutter debut album, released via Bronzerat Records (Gemma Ray, Jon Spencer Blues Explosion, The Still).

 Sun Cutter (real name Kevin Pearce) hails from Colchester in Essex, England. Three years ago, at the age of 33, Kevin suffered a heart attack (on a golf course). As well as having to redress some lifestyle
habits, his rehabilitation involved writing and recording the Sun Cutter project. It is an album of driving, harmony-drenched indie-soul folk-pop / rock that looks to the light for reflection.

 Songs of love and protest befit the man, and his politics of empathy, evident in his lyrics, are also demonstrated by his day job as a mental health worker. His tone and delivery sometimes reveal John Lennon, Tim Buckley and Bob Dylan as an influence.

 Co-produced with pal Dean Honer (Moonlandingz, Eccentronic Research Council, Pins). Dean is also one half of I Monster, and Kevin lent his voice and guitar to the acoustic version of ‘Daydream In Blue’, which soundtracked the Magnum ice cream ads in 2020.
They have also collaborated and created ‘The Sounds of Science’, a collection of science songs for kids, released in April 2022 on Castles in Space.

 Previously he has released (under his real name) the album ‘Matthew Hopkins & The Wormhole (AWAL)’, a concept record about the Witchfinder General who lived in the same village (Mistley in Essex).

 Kevin Pearce is currently on tour with Turin Brakes

Whether it be on the banks of the Mississippi River or deep in the heart of the English countryside, rock 'n' roll lives, breathes, and burns on the outskirts. Hailing from Rome, GA, at the foothills of the Appalachian Mountains, The Georgia Thunderbolts rise up with a scorching signature style steeped in soulful southern swagger. On, Can We Get A Witness, their full-length debut for Mascot Records, the quintet—TJ Lyle vocals, harp, piano, Riley Couzzourt [guitar], Logan Tolbert [guitar], Zach Everett [bass, keys], and Bristol Perry [drums]—conjure a tried-and-true spirit through a fresh fire.
“We all grew up on rock music,” Riley says. “Rock ‘n’ roll comes back around, but longevity depends on grinding it out. That’s what we want to do. We try to put in the work our favorite bands did. If I could think of three words to describe us, they would be ‘Hardworking, Determined, and Humble’.”




Gigging tirelessly, they cut their teeth by playing with Black Stone Cherry, The Kentucky Headhunters, Blackberry Smoke, Tyler Bryant & The Shakedown, Atlanta Rhythm Section, Molly Hatchet and The Cadillac Three. The band began when Bristol and Riley initially bonded over rock ‘n’ roll in high school. By sophomore year, they had a regular jam schedule, and eventually joined up Zack, TJ, and Logan to round out the group. They share a wide swath of inspirations, ranging from southern gospel to Hank Williams, Jr., Neil Young, Little Feet, Waylon Jennings, Ray Charles, Merle Haggard to the hard rock of Ozzy Osbourne, Audioslave, Bad Company and of course, The Allman Brothers & Lynyrd Skynyrd.
The band recorded at the iconic Barrick Recording Studio in Glasgow, KY, with producer Richard Young. The album comprises of thirteen undeniable anthems, beginning with opener “Take It Slow.” Distilling whisky-soaked riffs, wild harmonica, and pulse-pounding drums into a simmering groove, it struts out of the gate with confidence and charisma. “There’s a message to what we’re doing,” Bristol leaves off. “It’s okay to be yourself. If you’re going through hard times, the music will always be there. We’d love to remind everyone of that.” The Georgia Thunderbolts embody the blue-collar working man who has put their foot down on the accelerator towards the rock ‘n roll American dream.

Infamous Southern wrecking crew return with an all country & western album, marking their 25th anniversary. Features numerous guest legends from the Grand Ole Opry along with Jello Biafra. Join those Legendary Shack Shakers as they mark their 25th anniversary as a band on Planet Earth to celebrate the occasion, they’ve invited former members to help them record an all country & western album! From spaghetti western to bluegrass, western swing to rockabilly, Tex-Mex to country folk, the variety of the genre is on full display. Always ones to respect their history, the Shack Shakers have also included some Kentucky local legends to “pick and grin”. Hotshots such as Stanley Walker (Grand Ole Opry band leader for Jean Shepard and guitarist for Sun Studio’s “Rockin’ ” Ray Smith) and Jack Martin (dobro-player for Lester Flatt) really give those “young ‘uns” a run for their money. And the always-ornery “Hillbilly” Bob Prather (Louisiana Hayride fiddler and running buddy of Opry star Onie Wheeler) pitches in too. Just add The Dead Kennedys’ Jello Biafra, hillbilly royalty Chris Scruggs and an Old Crow Medicine Showman and you’ve got a recipe for what could only be a Legendary Shack Shakers masterpiece. Titling it Cockadoodledeux was done, admittedly, to bookend 2002’s Cockadoodle-Don’t, an album by which many fans were first made aware of the group. However, it also serves to signal the start of another twenty-five years! Just as the plucky, two-headed chick emerges from the egg on the cover, so too begins a fresh start for the band’s creative energies. Once again, generations of fans both young and old get to lean in, listen and expect the un-expected.

Es kann schon einem ganz schön erdrückenden Rucksack gleichen, wenn man als blutjunge Newcomerin mit dem Debütalbum plötzlich ins Rampenlicht rückt, zur Stimme ihrer Generation und von Kritikern wie Fans gleichermaßen gefeiert wird, weltweit ausverkaufte Shows und auf immer größeren Festivals vor immer größeren Menschenmengen spielt. Lindsey Jordan ist es so ergangen und auch wenn sie auf ihrem 2018-Debütalbum Lush sang "I'm in full control / I'm not lost / Even when it's love / Even when it's not", brachte das Ende einer Beziehung sie letztlich an den Rand eines Nervenzusammenbruchs. Sie entschloss sich für einen 45-tägigen Rehab-Aufenthalt in Arizona und begann bereits dort, Songs für das Album zu schreiben, das nun unter dem Titel "Valentine" veröffentlicht wird. Mit ihrer gesundeten Seele und einer Grundidee des Albums zog es Jordan nach Durham im Staate North Carolina, wo sie sich mit Brad Cook (Bon Iver, Waxahatchee) Anfang 2021 in dessen kleinem Home Studio verkroch. U.a. mit dabei waren die langjährigen Bandmitgliedern Ray Brown und Alex Bass, sowie der Techniker Alex Farrar. Nachträglich wurden lediglich die Streicherarrangements in den Spacebomb Studios in Richmond aufgenommen. Es ist eine finstere Momentaufnahme ihrer dunklen Zeit geworden und gleichzeitig ein Abschluss, der die Tür zu diesem Lebensabschnitt endgültig zuschlägt.

"60 Years of cult and classic soundtracks presented on 2 x 180g

Featuring Bernard Hermann, John Barry, Thomas Newman, Giorgio Moroder, Isaac Hayes, Lalo Schifrin, Mike Oldfield, Vangelis...

60 Years of cult and classic soundtracks presented on 2 x 180g

Featuring Bernard Hermann, John Barry, Thomas Newman, Giorgio Moroder, Isaac Hayes, Lalo Schifrin, Mike Oldfield, Vangelis...

500 double lps ON BLUE / GREEN VINYL
VOLUME 1 IS sea blue
VOLUME 2 IS army green

Recorded between 2011 - 2020 by King Gizz

Mastered by Joseph Carra
Cover design by Jason Galea

When hearing Anna Gréta at the piano, you become witness to an
astonishingly mature artist, with absolutely profound technique, a
complex understanding of style and harmony and an impressively
wide range of musical expression, who has made an extraordinarily
good name for herself in just a few years on the Scandinavian scene.
Over a period of two years, partly influenced by isolation, the twelve
compositions of ‘Nightjar in the Northern Sky’ emerged, for Anna
Gréta not only as a pianist but also as a singer.
 The album title ‘Nightjar in the Northern Sky’ sets the tone for the
world of the album: A metaphor for the Scandinavian expanse,
tranquility and the close connection between people and nature, a
theme that runs through the songs in many pictures. “Nature is just an
enormous force in life. It is so much bigger than most of the other
things that otherwise seem so significant to us. And it is, in its infinite
facets, perhaps the greatest inspiration for my music. A place where
the noise falls silent and you can feel and hear yourself again,” before
adding: “Recently I have been developing a passion for bird-watching
- something that I reflect on in the title track. When you observe
nature carefully you can experience or see something unique. Sort of
like searching for love. The nightjar is a bird that is rarely seen flying
across the sky in Sweden and has been observed in Iceland less than
five times. I feel that everyone is looking for something unique in their
lives. And that nature can offer that to the ones open to see it.”
 With each of the tracks on the album she creates little, self-contained
worlds that fit into a bigger picture. Light-footed, relaxed, reduced,
concentrated. An art that required a great deal of work and attention
to detail. Together with pop-experienced producer Albert
Finnbogason, Anna Gréta chose the perfect, hand-picked line-up and
sound for each of her extraordinarily refined - harmoniously and
rhythmically - compositions.
 Although always in a coherent framework, Anna took elements from a
very diverse range of musical styles, alternating between jazz
elements and influences from pop music to excerpts from classical
and folk. All these elements create a remarkably multi-layered album,
which at the same time tells a coherent, bigger story.
 CD in 4-page digipack with 12-page booklet.
 180g vinyl with digital download code

Complet label owner and Berlin based DJ and producer Ray Kandinski has been making serious moves over the last few years, both through his ear for curation and his rich, intricate sound design. Inspired by a pool of influences, including; jungle, footwork and house - Kandinski believes the beauty of dance music can be found in its subtlety and range; which can be heard deeply running throughout his debut EP for Lobster Theremin.

A ray of sunshine shines through sparse breakbeats in opening track ‘95’, before ‘No Love’ follows with a slightly more clubier affair, while still maintaining it's blissful edge through the use of lush and dynamic synth work. ‘Healing’ then closes the A side with it’s minimal grooves, both hypnotic and understated; light refracting from one medium to another in a colourful display of blue and green.

The B side makes its entrance with ‘Zonin’ a choppy house cut with a point to prove, before demonstrating his artistic versatility in ‘The Mack’ blending his way into an electro mutation laced with ravey stabs and punchy drums, combining various influences from around the globe.

Title track ‘Garant’ takes place in a quasi-rainforest beckoned by nature's call. The type of good-natured music that sounds inspired by the evolving world around us; locking us in a groove that could happily last forever.

While meditating on the concept of our next album, we listened to the soundtracks of our favorite movies and dreamed of composing our music for the films. What could the film be like, what would be the story, what would be the idea? What would we like to say this time? 
 And one day such work appeared and suddenly for us, it was not a movie. The book “Star Corsair” by Ukrainian science fiction writer, philosopher, and dissident Oles’ Berdnyk emerged from our distant memories. We even remembered the original cover of the old edition of 1971, a copy of which was immediately found, as if sanctifying our idea and adding a touch of eternity to the process. We decided to read the book again and right after that make our soundtrack to it. 
 

 
 We began to dive. And it immediately became clear that in the case of Berdnyk it is impossible only to read his works without reading about his life. Therefore, the reading of “Star Corsair” and its sequel “Kamerton Dazhboga” turned into an in-depth study of a unique phenomenon in the Ukrainian spiritual, art, and political space – Oles’ Berdnyk.
 
 From the first pages, the book resonated as much as possible with our ideas about true freedom and personal development. An incredible concentration of powerful ideas, subtly set on multilevel spirals of the modeled future intersected with the myth-created past, in projections of bright explosions and degradations of societies and civilizations, in the unconditional possibility of impossible revolutions and eternal deep struggle with systems, in the fire and explosions of liberation ignited by the freethinkers. 
 
 “Star Corsair” naturally intersected with our feelings and understanding of the interdependence of personal development and inner freedom, with the vision of the world around us and the direct action. It naturally complemented our vision of how, through the inner realization, we can contribute to the implementation of freedom, and then live it in our own lives.
 
 And so, this album became not only music for the novel, but also our reflection of the work, observation of our own transformation in the process, and what new ideas and vectors we will formulate for ourselves and offer to those who want to listen to the album.

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

Norah Jones has been a steady voice of warmth and reassurance for nearly 20 years since her cozy 2002 debut album Come Away With Me became a familiar musical companion for millions of people around the world. Now the 9-time GRAMMY-winning singer, songwriter, and pianist has made her first-ever holiday album with I Dream Of Christmas, a delightful and comforting collection of timeless seasonal favorites and affecting new originals that explore the complicated emotions of our times and our hopes that this holiday season will be full of joy and togetherness. I Dream Of Christmas will be released October 15 on Blue Note Records and can be pre-ordered now on vinyl, CD, and digital download.

“I’ve always loved Christmas music but never had the inclination to make a holiday album until now,” Norah says. “Last year I found myself listening to James Brown’s Funky Christmas and Elvis’s Christmas Album on Sunday’s during lockdown for a sense of comfort. In January 2021, I started thinking about making a Christmas album of my own. It gave me something fun to work on and look forward to.”

The album’s opening track, Norah’s original “Christmas Calling (Jolly Jones)” is available to stream or download today. Over chiming piano chords, Norah expresses a deep desire for holiday cheer and companionship. “I wanna hear the music play / I wanna dance and laugh and sway / I wanna happy holiday for Christmas.”

“When I was trying to figure out which direction to take, the original songs started popping in my head,” Norah explains. “They were all about trying to find the joys of Christmas, catching that spark, that feeling of love and inclusion that I was longing for during the rest of the year. Then there are all the classics that have that special nostalgia that can hit you no matter who or where you are in life. It was hard to narrow down, but I picked favorite classics that I knew I could make my own.”

Among the album’s many pleasures are Norah’s playful reinvention of The Chipmunk’s “Christmas Don’t Be Late” by David Seville (aka Ross Bagdasarian), which is given a languid beat and swaggering horns. Other highlights include sublime versions of “White Christmas,” “Blue Christmas,” “Winter Wonderland,” and “Christmas Time Is Here.”

I Dream Of Christmas was produced by Leon Michels, and features an excellent cast of musicians including Brian Blade on drums, Tony Scherr and Nick Movshon on bass, Russ Pahl on pedal steel guitar, Marika Hughes on cello, Dave Guy on trumpet, Raymond Mason on trombone, and Michels on saxophone, flute, percussion, and more.

Norah Jones first emerged on the world stage with the February 2002 release of Come Away With Me, her self-described “moody little record” that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 GRAMMY Awards. Since then, Jones has become a nine-time GRAMMY-winner. She has sold 50 million albums and her songs have been streamed six billion times worldwide. She has released a series of critically acclaimed and commercially successful solo albums—Feels Like Home (2004), Not Too Late (2007), The Fall (2009), Little Broken Hearts (2012), Day Breaks (2016), Pick Me Up Off The Floor (2020), and her first-ever live album ‘Til We Meet Again (2021)—as well as albums with her collective bands The Little Willies, El Madmo, and Puss N Boots featuring Sasha Dobson and Catherine Popper who released their second LP Sister in 2020. The 2010 compilation …Featuring Norah Jones showcased her incredible versatility by collecting her collaborations with artists as diverse as Willie Nelson, Outkast, Herbie Hancock, and Foo Fighters. Since 2018 Jones has been releasing a series of singles including collaborations with artists and friends such as Mavis Staples, Jeff Tweedy, Thomas Bartlett, Tarriona Tank Ball, Rodrigo Amarante, and Brian Blade, some of which were compiled on the 2019 singles collection Begin Again.

Limited-edition reissue of the classic Johnny Mathis LP ‘Johnny’s Greatest
Hits’ on 180g audiophile vinyl
18 hit-tracks by the star of the romantic song, Johnny Mathis. Including “Chances Are”, “Misty”, “It’s Not for Me to Say”, “Small World”, The Twelfth Of Never,
and many others.







[g] a7. Somewhere My Love [Aka Lara’s Theme]

Nantais by adoption, the Australian Will Guthrie is a discreet star of the international scene of free, experimental and improvised music; over the past fteen years, he has developed an open and personal approach to drums and percussion, skillfully blurring the lines between his brilliant jazz upbringing, his passion for traditional musics, and his inexhaustible interest in experimental and noise creation, with a pronounced taste for a physical and raw approach to sound. With thousands of performances and some fty albums to his credit, the Australian regularly dispenses his vibratory art solo or alongside the best of improvisation; From Oren Ambarchi to Roscoe Mitchell via Jérôme Noetinger, Anthony Pateras, David Maranha, Ava Mendoza, Jean-Luc Guionnet, Keith Rowe or even Mark Fell. In recent months Guthrie has performed with Tunisian singer Ghassen Chiba, toured as part of “All Around”, a performance with Danish dancer choreographer Mette Ingvarsten and founded the Ensemble Nist-Nah, a gamelan orchestra, in the company of eight other percussionists, out of which Black Truf e published an album, with a second on the way. He also found the time to put in shape a second volume of “People Pleaser”, a discographic act between an autographical assessment, the parenthesis and the musical UFO. A singular exercise in Guthrie's discography, “People Pleaser”, a series initiated in 2017, sees the Australian partially put down his drumsticks and wear a producer cap for a result offering a resolutely singular perspective of / on his work with a very personal dimension. On the rst volume, with a cover signed Stephen O'Malley sets the tone by diverting the chamaré Warhol infulenced visual of the album “Unit Structures” by Cecil Taylor. The portrait of the free jazz pianist has been replaced by passport photos of Guthrie. The result is a diversion into a fairly “Pop” aesthetic whose musical content works in a fairly similar way. Four years later, the cover art's undertones are slightly darker and Guthrie hasn't aged a bit on his new passport photo. The twelve tracks of this second “People Pleaser” combine and arrange eld recordings, heady loops, twists, musical quotes stuck on bedside records, recorded moments captured during travels, ghosty voices from low- lands, a police interview tape and imagined exotic sounds ... Guthrie could walk us for hours on his hard drive like looking at a photo album but he chose to build pieces based on this very personal sound material, much like a mixtape, with special care given to how sounds articulate, overlap and collide. He thus invites his heroes and his friends to join him in skilfully chiseled and nely edited imaginary jams. The rst to take pleasure in this “People Pleaser” is undoubtedly its author as some of his nds are enjoyably playful; we are there embarked in an addictive sound patchwork at high speed where a Balinese Squarepusher is propelled via a defective cathode ray tube in a temple where the happy marriage of the saxophone and the gong is celebrated before this too short respite is interrupted by a sustained hip hop rhythm. The multiplicity and variety of sources give the whole a very pop format and the way in which Guthrie combines sounds, textures, rhythms and vocal elements quickly takes on a narrative dimension and poses this exercise between hip hop and a very personal plunderphonic, evoking as much J Dilla or RZA as the irreverent inventiveness of People Like Us or Wobbly. Will Guthrie has never been in as good company as on a solo album, he also lists on the cover the list of friends, heroes, members of his family and countries who inspired him and to whom he pays homage / collage on this new disc; An aesthetic exercise apart in his discography, both in nitely personal and self-centered and resolutely turned towards what animates him, the aptly named “People Pleaser” reveals the music DNA of the Australian and can be listened to on repeat.

Nashville’s Caitlin Rose celebrates the 10-year Anniversary of
her debut album ‘Own Side Now’ with a deluxe, fully remastered
version.
Rose released ‘Own Side Now’ in 2011 to instant acclaim from
critics, who praised her crystal-clear vocals and her ingenious
lyricism - equal parts heartbroken and defiant - and compared
her to her musical heroes Stevie Nicks and Linda Rondstadt.
This deluxe Anniversary edition of the incredible ‘Own Side
Now’ is pressed on cloudy clear vinyl with an embossed
gatefold sleeve including a hologram ‘80s style sticker, a lyric
insert featuring an unreleased photo of Caitlin, plus a bonus 7”
with two unreleased tracks.
Caitlin says of 7” bonus track ‘Whatchoo’: “This album came out
of a city that didn’t need people telling it who it was. ‘Whatchoo’
is the lament over a city that seems to have forgotten itself.”
Album track ‘Shanghai Cigarettes’ is a break-up song featuring
Rayland Baxter, about which American songwriter wrote,
“Rose’s vocals are so sweet and the beat is so contagious, you
might be tempted to break up with your beau just to have an
excuse to listen to it on repeat.”

Pioneering electric bluesman Albert King not only influenced
American guitarists like Robert Cray and Stevie Ray Vaughan, with
whom he played in later years, but made an indelible mark in
Britain. Cream-era Eric Clapton, in particular, was an early devotee
before Albert ever set foot on UK soil, while Gary Moore, who
unashamedly took his cues from Clapton, later shared a stage with
King in his ‘Still Got The Blues’ period. Enjoy his earliest
recordings as all his famous fans would have discovered them –
on vinyl!

This year Music On Vinyl in cooperation with Sony Music and Alex Callier are releasing 4 Hooverphonic remix Eps. Each EP represents a Hooverphonic album; A New Stereophonic Sound Spectacular, Blue Wonder Power Milk, The Magnificent Tree and Presents Jackie Cane. Alex Callier selected the best remixes of their songs for each remix EP. All 4 remix EP’s are scheduled for release in 2021 and are cut on 45 RPM and pressed on 180 gram audiophile vinyl.

Hooverphonic are a Belgian band that formed in October 1995. Though originally categorized as a trip hop group, they quickly expanded their sound to the point where they could no longer be described as a lone genre, but rather encompass alternative, electronica, electropop, rock, and a mixture of others. The band originally called themselves Hoover, but later changed their name to Hooverphonic after discovering other groups were already using the Hoover name and to avoid any legal issues with the vacuum cleaner company.

Since their formation, Hooverphonic’s lineup consisted of bassist Alex Callier, guitarist Raymond Geerts, and various lead singers. Geike Arnaert (1997–2008, 2020-present) has recently re-joined the band. Hooverphonic represented Belgium in the Eurovision Song Contest 2021.

The band achieved international recognition through the inclusion of the Stereophonic track “2Wicky” on the 2000 individually numbered copies of Blue Wonder Power Milk remixes are available on on solid blue vinyl.

Charlie Parr’s album, ‘Last of the Better Days Ahead’, is a collection of
powerful new songs about how one looks back on a life lived, as well as
forward on what’s still to come.
Its spare production foregrounds Parr’s poetic lyricism, his expressive, gritty
voice ringing clear over deft acoustic guitar playing that references folk and
blues motifs in Parr’s own exploratory, idiosyncratic style.
When it comes to what it all means, Parr says it best: “Last of the Better Days
Ahead is a way for me to refer to the times I’m living in. I’m getting on in years,
experiencing a shift in perspective that was once described by my mom as ‘a
time when we turn from gazing into the future to gazing back at the past, as
if we’re adrift in the current, slowly turning around.’ Some songs came from
meditations on the fact that the portion of our brain devoted to memory is also
the portion responsible for imagination, and what that entails for the collected
experiences that we refer to as our lives.
Other songs are cultivated primarily from the imagination, but also contain
memories of what may be a real landscape, or at least one inspired by vivid dreaming. The album represents one full rotation of the boat in which we
are adrift looking ahead for a last look at the better days to come, then being
turned around to see the leading edge of the past as it fades into the foggy
dreamscape of our real and imagined histories.”
“Like John Hartford jamming with St Francis of Assisi, Parr strikes a fine balance between immense generosity toward humanity and barely contained
outrage towards humanity’s tendency towards coldness and conformity.” 8/10
Uncut
“Hypnotic stories of low-key endurance and universal questions, like Raymond
Carver’s fiction set to a louch, crystal-clear soundtrack” **** Mojo

76 is the debut studio album by Dutch trance DJ Armin van Buuren. Named after the DJ’s year of birth, the album was released shortly after he also celebrated the 100th episode of his radio show A State of Trance. Van Buuren was voted the No. 3 DJ in the world by DJ Mag that same year; a chart that he would eventually top five times. 76 contains collaborations with the likes of Scottish singer Ray Wilson, Dutch pop band Krezip, fellow trance DJ Ferry Corsten and others. Two singles were released: “Yet Another Day” and “Burned With Desire”.

This 2-LP package comes in a gatefold with a spot varnish. It contains an insert and features secret inscriptions in the run-out groove. It is released as a limited edition of 2500 individually numbered copies on transparent blue vinyl.

Guitarist Kenny Burrell debuted on Blue Note Records in 1956 and over the following seven years made a series of excellent albums for the label that culminated with his masterwork Midnight Blue. Recorded in 1963, the album waded deep into the blues, conjuring an alluring late-night vibe with a profoundly soulful cast including tenor saxophonist Stanley Turrentine, bassist Major Holley, Jr., drummer Bill English, and Ray Barretto on congas. Burrell originals including “Chitlins con Carne,” “Midnight Blue,” “Saturday Night Blues,” and the stunning solo guitar piece “Soul Lament” set the tone for this timeless classic adorned by one of the all-time great Reid Miles cover designs This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Double 12” Vinyl (L12MUTE629)

Side AB transparent orange vinyl

Side CD transparent blue vinyl

Packaged in a sleeve with artwork by Pockets Warhol and 3 complimenting metallic inks.

Includes high definition audio download code

The Debut Album From The Helicopter Of The Holy Ghost - Mark Morriss
( The Bluetones ) Billy Reeves ( theaudience ) Crayola Lectern ( Lost
Horizons / Departure Lounge ) Mark Peters ( Engineers ) Co-produced by
Richard Archer of Hard-Fi Feat. Simon Raymonde ( The Cocteau Twins ) &
Thomas Anderson ( Gazpacho )
In 2001 Billy Reeves, fresh from introducing the world to Sophie Ellis-Bextor
(via their band theaudience) was smashed to bits by joyriders whilst in his Morris Minor - resulting in a two-week coma and a year in and out of hospital. In
2017 his brother gave him two mini-discs that had been saved from the wreckage, including demos of songs he had forgotten - due to crash-related amnesia.
Mark Morriss of chart-topping Hounslow janglers The Bluetones agreed to sing
them, so with the assistance of Richard Archer (Hard-Fi), along with Crayola
Lectern (Zofff / Departure Lounge), and Mark Peters (Engineers), these songs
would form the debut long player from The Helicopter of The Holy Ghost.
The original concept for the material was probably while Billy was signed to
Sony, which pointed toward a more commercial sound, however Crayola Lectern’s involvement on piano help send the recordings into a more ‘Canterbury’
direction, taking influence from Caravan, Robert Wyatt & the like.
Featuring a groovy guest line-up including Simon Raymonde of Cocteau Twins,
Dale Davis from Amy Winehouse’s band, Andy Lewis from Paul Weller’s group,
Smiley from Joe Strummer’s Mescalaros and Thomas Anderson of fellow Kscope
signees Gazpacho, the wide-ranging influence herein is evident throughout a
very sweet, gentle, calming album of originality and versatility.
The Vinyl LP edition of this album will be especially printed in an eco-friendly
manner, with no shrinkwrap being used, the record itself pressed on 100% recycled records and the board made up of FSC certified climate-friendly recycled
material. The whole package itself will be Climate neutral, having all its carbon
offset with ClimatePartner.

Walter Lure, best known as co-frontman and songwriter of the Heartbreakers, also led his own band, The Waldos. Their debut ‘Rent Party’ LP has been unavailable on vinyl since 1994. This limited edition in blue vinyl has two bonus tracks, from the 'Crazy Little Baby' 7" of 1991.

Sadly, Walter died in August 2020, the last of the ‘L.A.M.F.’ Heartbreakers. His memoir "To Hell And Back: My Life In Johnny Thunders’ Heartbreakers - In The Words Of The Last Man Standing" will be published by Backbeat in paperback edition on July 1, 2021. Upon the original ‘Rent Party’ release, AllMusic said - "The long awaited Waldos album proved to be a big success, at least artistically ... the Waldos tear through a set of tunes that are as much fun as a CD can have with its clothes on."

Walter Lure’s guitar-sparring partner in The Waldos in place of Johnny Thunders is Joey Pinter, whose self-titled solo album was released in 2015. The rest of the band is the late Tony Coiro on bass and Jeff West on drums except on the bonus 7” tracks, the late Charlie Sox.
The album features six Walter Lure originals, plus covers of Jerry Nolan, Gary US Bonds, Claudine Clark and Ray Charles songs. A limited edition in transparent blue vinyl, with inner bag.

The debut album of the singer-composer Rita Ray from Estonia packs powerful, warm vocals and crisp production to go with it. "Old Love Will Rust" contributes 8 soul-heavy cuts to the current scene: it's got that slower, classic R&B side of affairs, as well as an uptempo disco delight, that keeps things tight. While miss Ray herself has credits in almost all aspects of the LP, it's a certified Solid Gold Production, led by Martin Laksberg of Lexsoul Dancemachine. Blue-eyed soul hasn't sounded so strong in ages! Rita Ray is a small-town girl whose vocal chords are hardened by a decade in choir singing, spirit toughened by the city life and a foundation built in jazz studies. She's the first contemporary soul diva to rise from the post-Soviet state. Her soul-stirring shows have yet to leave a heart cold - she'll have you in her palm to deliver tender melodies, irony-filled lyrics, catchy riffs and disco-stomping sessions.

The debut album of the singer-composer Rita Ray from Estonia packs powerful, warm vocals and crisp production to go with it. "Old Love Will Rust" contributes 8 soul-heavy cuts to the current scene: it's got that slower, classic R&B side of affairs, as well as an uptempo disco delight, that keeps things tight. While miss Ray herself has credits in almost all aspects of the LP, it's a certified Solid Gold Production, led by Martin Laksberg of Lexsoul Dancemachine. Blue-eyed soul hasn't sounded so strong in ages! Rita Ray is a small-town girl whose vocal chords are hardened by a decade in choir singing, spirit toughened by the city life and a foundation built in jazz studies. She's the first contemporary soul diva to rise from the post-Soviet state. Her soul-stirring shows have yet to leave a heart cold - she'll have you in her palm to deliver tender melodies, irony-filled lyrics, catchy riffs and disco-stomping sessions.

Tones 1.0 is a record specifically made for the purpose of melodic scratching, although it is not limited to just that; it can be also used as a production tool.

Think of Tones 1.0 as a synthesized toolkit that blurs the lines between live performance and production.



Side A consists of 16 locked modulating tones (8 bass tones and 8 lead tones) that have been recorded from various analog synthesizers. They were recorded live while manipulating cut-off frequencies, resonance and LFOs to a click track at 133.33 BPM. This gives the tones extra rich sonics and more depth while being scratched. Each bass tone is recorded at middle C (C3) while each lead tone has been recorded an octave higher (C4).



Side B consists of musical phrases, chords, drums, experimental tones and skip-proof atonal scratch sounds, all of which have been recorded at 133.3 BPM.



You’ll find a rich tapestry of ideas to choose from ranging from funk basslines/chords and licks, soul chords and licks, drums, atonal scratch sounds and experimental tones that create futuristic atmospheres. Major and minor 7th chords follow the circle of 5ths so that they are all relative to each other, perfect for creating music quickly. Once you’ve created a beat/sketch you can then jump to the skip-proof atonal scratch sounds and solo over the top. Enjoy.

180g Coloured Vinyl Series. Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz’s Writer Brian Morton And By Paris’ Prestigious Jazz Magazine. “....The mood of their Verve recording together, though, was deliberately gentler, less taxing, more intimate. These tunes, light in their way, almost homespun, are invested with an extraordinary humanity. There isn’t an ounce of sentiment in “Under a Blanket of Blue” or “Isn’t This a Lovely Day?”, but there is deep feeling and a profound sense of human solidarity. They were not singing about civil rights, there is no erotic charge in the encounter; when they sing about breaking hearts, it’s clear that everything is mendable. The challenge of bebop had been met and quietly negotiated. Here was jazz with its original message: the individual matters, but others matter, too. The mutual respect with which Ella Fitzgerald, Louis Armstrong and the other four exceptional musicians go through a repertoire of unforgettable standards selected by Granz is readily apparent. Songs like “They Can’t Take That Away from Me”, “Tenderly” and “April in Paris” make Ella & Louis a jewel of simplicity and timeless humanity.” Vocals; Louis Armstrong, Trumpet & Ella Fitzgerald Vocals; Oscar Peterson, Piano; Herb Ellis, Guitar; Ray Brown, Bass; Buddy Rich, Drums Hollywood, August 16, 1956. Original Session Produced By Norman Granz. *Bonus track: Ella Fitzgerald (vc), Louis Armstrong (tp, vc) with Bob Haggart & His Orchestra. New York, January 18, 1946. 5 Stars - Down Beat Magazine Ella & Louis is one of the very, very few albums to have been issued in this era of the LP flood that is sure to endure for decades.” (Nat Hentoff)

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 1, Running Down A Dream: A Tribute to Tom Petty, features songs from the namesake's celebrated career and is scheduled for an April 16th, 2021 street date.

Discos Transgénero re-issue the Marnie Weber classic first solo LP, “Songs Hurt Me” originally from 1989. This seminal record was an important part of the Los Angeles post-punk performative art rock scene. Brooding synthesizers, heavy bass, strange melodies, and poetic lyrics lead you through an industrial journey. These songs were born from Weber’s earliest performance art characters: a deer, an old woman, a manic courtesan, and a butterfly. Songs Hurt Me was originally co-produced by Phillip Drucker AKA Jackson Del Ray of Savage Republic and 17 Pygmies fame.

Marnie is a pioneer in art rock from the 80’s in Los Angeles. She emerged early in the music scene as the bass player in the Party Boys, a formative and important Los Angeles post-punk downtown art scene band. During this period, the Party Boys performed shows with The Minute Men, Savage Republic, The Red Hot Chili Peppers, Fourwaycross, The Blue Daisies, Perry Farrell’s first band Psi Com, Camper Van Beethoven, and many more. Bruce Licher of Independent Project Records, whom Marnie met in art school, released the first Party Boys record. After performing with the Party Boys, Marnie went on to become a noted solo performative art musician in her own right. She has released five solo records and numerous group album releases.

As a visual artist Marnie created the cover of Sonic Youth’s A Thousand Leaves album – interesting to note Marnie is the hamster girl on the cover. She also designed posters for Sonic Youth and did a co-release of her second album with Thurston Moore on his label Ecstatic Peace. Expanding from her musical roots, Marnie exhibits artwork, films, sculptures, collages, sound installations, and costumes internationally in museums and galleries. She has had two extensive survey exhibitions of her artwork ­– most recently at the Museum of Contemporary Art in Geneva.

Songs Hurt Me was remastered by Mark Wheaton at Catasonic Studios Los Angeles using the original tapes for an unprecedented restoration of this historic album. Discos Transgénero has thoughtfully designed and pressed the reissued LPs in Germany. This unique edition of Songs Hurt Me is a limited release of 400 copies distributed worldwide.

Re-mastering by: Cicely Baston at Alchemy/Air Mastering, London

Electric blues guitarist Melvin Taylor had been sporadically recording solo albums for 20 years when Dirty Pool arrived — and was somehow just beginning to find fame. Already a hit in Europe, it had taken a steady run of performing in Chicago’s famed blues clubs to slowly earn Taylor a well-deserved reputation as an equal talent among the giants before him, such as Otis Rush, Albert King and Stevie Ray Vaughan.

While early records like Melvin Taylor Plays the Blues For You show off an equally amazing jazz side, Taylor traded away his Wes Montgomery-inspired runs for more Luther Allison/Jimi Hendrix attacks with the formation of the trio Melvin Taylor and the Slack Band in the mid ’90’s.

The title song of the second album by that outfit, “Dirty Pool,” is actually more the balls-to-the-wall, no-compromise, hard-rockin’ electric Texas blues of Vaughan and Johnny Winter than the sweet Chicago soul of Buddy Guy.

Indeed, three tracks on this 1997 release, including “Dirty Pool,” were SRV tunes. Other standards, like “Kansas City” and “Floodin’ in California” also have more of a Lone Star State approach to them. But the Jackson, Miss.-born Taylor’s guitar is cleaner than his forebears and technically, he even surpasses them, yet the anger and sorrow of the blues is readily evident in his playing.

This rare combination of qualities really comes out in a slow blues tune like his solo in “Dirty Pool,” which after repeated listens, still makes me head shake in disbelief when I hear it.

“Too Sorry” is a good example of how well Taylor fares when he treads in Jimi Hendrix territory, whereas his rhythm work is the best I’ve heard from a lead guitarist since Vaughan; listen to “I Ain’t Superstitious,” “Born Under A Bad Sign” and the funky “Telephone Song” for your proof.

It also helps that Taylor’s drummer James Knowles is well in synch with him, while Ethan Farmer completely owns the low end of the sound. Farmer’s peppering bass lines in and “Floodin’ in California” is the textbook way electric blues bass should be. Overall, a tight little band.

Taylor’s vocals certainly won’t draw any comparisons to the Wide-Brimmed–Hatted One but he holds his own just fine until it’s cuttin’ time. This is right at the top of my list of best blues guitar playing on record over the last couple of decades. If you decide to give this one a listen, prepare to be blown away.

Psychedelic Percussion definitely sticks to his title. With the help from Paul Beaver of Beaver & Krause (famous keyboard wizard and sound engineer for the likes of Stevie Wonder), vibe master Emil Richards (check is two fantastic album on Impulse! with The Microtonal Blues Band featuring Joe Porcaro, father of the famed Toto brothers) and Gary Coleman (percussionist in the famous Wrecking Crew), Blaine goes wild in the studio with drums, gong, xylophone, organ, bongos, congas and timpani. Unusual textures and tones lead the way to 12 instrumental exotic numbers similar in a way to Raymond Scott most visionary experiments. This is pure madness, a record full of breaks and still unsurpassed in many ways. Blaine was an American drummer and session musician, estimated to be among the most recorded studio drummers in the history of the music industry, claiming over 35,000 sessions and 6,000 singles. His drumming is featured on 150 US top 10 hits, 40 of which went to number one, as well as many film and television soundtracks. He became one of the regular players in Phil Spector's de facto house band, which Blaine nicknamed "the Wrecking Crew". Some of the records Blaine played on include the Ronettes' single "Be My Baby" (1963), which contained a drum beat that became widely imitated, as well as works by popular artists such as Frank Sinatra, Elvis Presley, the Beach Boys, Simon & Garfunkel, the Carpenters, Neil Diamond and the Byrds.

A stunning collaboration, this is Ray Charles' second "true" studio album for Atlantic, after The Great Ray Charles. While he released R&B singles for the pop market during his time with the label, he used his LPs to explore modern jazz. Here he is heard both on piano and alto sax.
The mono version is available on vinyl for the first time since release date with lacquers cut straight from the original master tapes.

Raymond Charles Robinson was not just a legend, “the genius”, a “force of nature” and “a presence”. He was also pure energy, the source of a radiant glow that dazzled everyone who ever came near him. His passion for music, women, and rhythm, coupled with his love of life and laughter, were ingredients that made his work a monument of 20th century culture. He left essential traces – in jazz, blues, soul and R&B – because music is something inseparable and Ray lived its rhythms from the inside.

Born in poverty, raised in America’s racist South, blind at seven and an orphan at 15, Ray had all it took to be a success… Those attributes, plus a few titles in his case that he’d recorded for Swing Time, made such an impression on Ahmet Ertegun that he signed Ray to Atlantic in 1952. The next ten years forged the legend of Ray Charles. And now, six decades later, the tracks on this album are still hits hummed by all generations.

Known for the soulful jazz-grooves of their self-titled 2020 debut album, Matti Klein’s Soul Trio actually began as an idea rather than a group.
However, in early 2018 three master musicians met in Berlin’s Lovelite Studio with producer/engineer Jochen Str h (Tony Allen, Ebo Taylor, Pat Thomas, Jimi Tenor) and recorded a set of well-planned and even better executed live sessions, each finding their desired space live and direct, locking into the immediacy of the groove. ‘Soul Trio Live On Tape’ contains these very first sessions of the Matti Klein Soul Trio and comprises new arrangements of songs that had primarily been composed for Klein’s band Mo’ Blow; favourites already back then, timeless classics now thanks to these exciting ‘deep-fried contemporary soul jazz’ versions.
Their leader, known for his work as musical director for the Brazilian superstar Ed Motta as well as Mo ‘Blow, can be heard on Wurlitzer and Rhodes Bass; Lars Zander (The Ruffcats, El Cartel, Lucasonic, STEREOFYSH) not only proves he is the most soulful tenor saxophonist in Berlin, but also why he has earned kudos for a bass clarinet sound that is enhanced with analog tape delays, Wah-Wah and Harmonizer-sweetenings; and drummer Andr Seidel also shows his chops, incorporating elements of rock, hip-hop, odd meter fusion and the sound of New Orleans into his own unique groove jazz style.
As for the music, ‘Rocket Swing’ is a tenor sax feature in which a hip-hop vibe meets a jazzy fifth fall, while ‘Ray’ (dedicated to Mr. Charles) is a Meters-inspired shuffle in 7/8 time. ‘No Particular Way’ showcases the funky side of the band, with singer Pat Appleton in top form over a wonderfully creaky Rhodes bass. ‘Sunsqueezed’ is created in a wide compositional arc, evoking a ray of sunshine peeking through the clouds during a long and grey 10-month Berlin winter, giving hope for the next two months.
‘Eleven Feels Like Heaven’ is a joyful, uproarious gospel blues with a brilliant odd meter drum solo. ‘Grandpa’s Fairytale’ is a hitherto unreleased piece that is dedicated to the bandleader’s grandfather, a former school headmaster who loved to read him stories and is a Wurlitzer-warmth meets bass clarinet groove in an atypical dynamic arc. Summarising their efforts, Klein states somewhat cryptically that “the band rolls in a warm, soft couch whenever there is a risk of having to sit between the chairs.”
Initially available as a limited fan item only at live shows, this document is now being released officially with the addition of ‘Grandpa’s Fairytale’. It is a journey through time, absolutely contemporary and yet wonderfully back to the future.

American blues guitarist Buddy Guy released his eighth studio album Feels Like Rain in 1993. It was produced by John Porter, whom had previously worked with The Smiths, Bryan Ferry and Killing Joke. The album features Guy’s take on songs written by the likes of John Hiatt, John Fogerty, James Brown, Ray Charles and Guy’s frequent collaborator Junior Wells. He also collaborated with some renowned musicians: John Mayall, Bonnie Raitt, Paul Rodgers and Travis Tritt can all be heard on this album.

‘Sharecropper’s Son’ is a soulful masterpiece and career-defining album
from Robert Finley, “the greatest living soul singer”, written by Finley and
co-written and produced by Dan Auerbach.
With songwriting by Finley, Auerbach, Bobby Wood, and contributions from respected country songwriter Pat McLaughlin, ‘Sharecropper’s Son’ also features
an all-star band, who have worked with everyone from Elvis to Wilson Pickett,
including guitar expertise from Auerbach himself.
Recorded at Easy Eye Sound studio in Nashville, Finley’s formidable vocals and
lyrical stylings take centre stage, sharing personal stories inspired by his Louisiana country childhood during the Jim Crow era south. His tales of pain and joy
uplift as Finley reflects on his belief that you are never too young to dream and
never too old to live.
The fire behind the conflagrant performances on ‘Sharecropper’s Son’ is ignited by 67 year old Finley, who has cited a range of vocal influences, including
Al Green, Jimi Hendrix, Ray Charles, Elvis, James Brown and The Beatles, all
inspiring his genre diverse approach. Finley stated, “I want people to understand that I can’t be kept in a box. I like to do all kinds of music - everything that
means anything to me, from gospel to blues to soul to country to rock ‘n’ roll.”
“A blind carpenter and army vet is revealed, belatedly, to be a herculean soulman.” – UNCUT

The Place Beyond the Pines is Derek Cianfrance 2012 crime drama film. The critically acclaimed film reunites Cianfance and Ryan Gosling, whom had previously collaborated on 2010’s Blue Valentine. It also stars Bradley Cooper, Eva Mendes, Rose Byrne and Ray Liotta.
The daring movie is a sweeping emotional drama powerfully exploring the unbreakable bond between fathers and sons. It tells the story of a motorcycle stunt rider (Gosling), who considers committing a crime in order to provide for his newborn child, an act that puts him on a collision course with a cop-turned-politician (Cooper).

Mike Patton, American singer-songwriter and multi-instrumentalist best known as the lead singer of the alternative metal/experimental rock bands Faith No More and Mr. Bungle, delivers a sweeping and brooding score. Like a red thread, his music guides the audience through this multi-generational story often linking characters and locations.

On October 12, 1929, Kathryn Culp and Sammie Lee Brown had the idea to name their first-born baby Napoleon. With such a vital beginning, little Nappy was already predestined to hit the mark, so from a very young age he stood out for his vocal qualities, well cultivated in gospel, which he practiced assiduously in The First Mount Zion Baptist Church run by his father.

To Mr. Brown's chagrin, after his first forays into religious music participating in vocal gospel groups such as The Golden Crowns, Golden Bell Quintet and The Heavenly Lights, with whom he recorded his first single for Savoy in 1954, the young Napoleon decided to try his hand at secular music, convinced by Herman Lubinsky, the big boss man of the New Jersey label.

In this way, between 1954 and 1962, Napoleon recorded a total of 28 singles at Savoy, clearly marking the transition from Rhythm & Blues to Rock’n’Roll, and also his subsequent jump to Soul, being the natural link between the late 40s southerners like Wynonie Harris or Big Joe Turner and artists like Jackie Wilson or James Brown, who cemented the black sounds of the 60s.

This LP includes a compilation of some of his best songs at Savoy, high class rock'n'roll, with a lot of dancefloor favourites like DON'T BE ANGRY, compiled in its two versions, or JUST A LITTLE LOVIN ', but also his more Bluesy sides, with songs like the fabulous DOWN IN THE ALLEY, which would be recorded years later by that certain singer born in Tupelo, Mississippi, that many times declared how much he dug Nappy Brown’s Rhythm & Blues.

In the same bluesy way Nappy wrote the iconic THE RIGHT TIME, one of the first stones of the Soul cathedral, originally recorded by Nappy on 1957, and revised one year before by Ray Charles. Ray’s version, renamed Night Time Is The Right Time, would be included as the main theme of the award-winning film IN THE HEAT OF THE NIGHT. We´ve also included Nappy’s own answer to this song, recorded in 1961 and titled as ANY TIME IS THE RIGHT TIME.

Finally can´t avoid to name some of the backing musicians you´ll hear in these tracks, Sam ‘The Man’ Taylor, Mickey Baker, Panama Francis… have a look on notes bellow, oh boy! the A-Team of the mid-century New York Rhythm & Blues!

Nappy disappeared from the music scene in 1962, remaining anonymous until 1969, when he would return to Rhythm & Blues on Elephant Records with an LP whose title could not be more eloquent: THANK YOU FOR NOTHING.

Since then, Nappy was very active until his death in 2008, alternating his love for gospel and Rhythm & Blues, touring the United States and Europe and releasing no less than a dozen LPs.