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Available on super ltd edition pink vinyl with obi strip & download code. Only 300 copies pressed.

London based shoegaze three-piece Holy Springs are Neil Atkinson Jr, Maria Bellucci and Suzanne Sims. The band blend psychedelic influences with their love of lo-fi guitars and keyboards. In 2020 they self-released the cassette mini album 'Indoor Tapes'. Shortly after the incredible EP 'Camera' and, we are delighted to be releasing their debut full length E.A.T on ltd edition vinyl.

Debut albums can sometimes feel a bit disparate as bands fling all the songs they’ve been working on together with no real thought as to how they all hang together as an album. Not so with E.A.T. The effort and thought that has gone into writing a cohesive and well-structured album is evident on every note played. I particularly enjoyed the instrumental interludes which play a pivotal role in neatly segueing between tracks. If this is the band just starting out imagine what their next album will sound like, and the one after that. I hope Holy Springs are ready, because this album is about to blow up.’ Static Sounds Club

The Stanford Family Band release their debut EP "For Your Listening Pleasure" via Goo Records on 5th April 2024. Fronted by the captivating lead vocals of Elliot Stanford, the EP's six songs captures a vintage pop aura whilst retaining a fresh indie and garage rock edge.

Offering a sound which journeys through bittersweet memories, nostalgia, and the warmth of sunlit days, The Stanford Family Band have started to make a name for their unique sonic approach - drawing inspiration from iconic acts such as The Beach Boys and The Modern Lovers, built around complex four-part harmonies and irresistibly memorable melodic hooks.

Speaking about the EP, Elliot Stanford (lead vocals, piano, guitar and songwriter) said: "When we were first signing with Goo, we really had no idea what we would release or how it would end up looking. We have a lot of songs, old and new, some of which have been floating around for many years. In the end we just really wanted to put out a body of work that really encapsulates everything we are about! We love big dramatic songs and arrangements, but at the same time, a little cheeky country/garage rock beat has always tickled us so we just really wanted to capture everything that we love in one concise record. It’s been an absolute pleasure to work on this with our friend Harry Hayes (Producer) and we are mega proud of how it all came together!"

Having already garnered tastemaker press coverage (Earmilk, Fame Magazine among others), a whole host of radio play (John Kennedy - Radio X, RTE 2XM), The Stanford Family Band have quickly started to gain critical acclaim. This EP showcases the outfit’s uncanny ability as songwriters, creating memorable, charming and beautifully constructed melodic tracks.

What a difference a year makes, right? HOUSE Of ALL's follow-up to their self-titled debut came about at some risk to band and label . . . so absolutely sure of their debut, Martin Bramah asked for an advance on recording costs for the follow-up before their self-titled album had even been released. Needless to say, things went pretty well with the debut, which led to a few sold-out tours, wildly enthusiastic press and great sales. Follow-ups do come with perils, but perhaps Bramah's presumption was the very thing which has allowed CONTINUUM to escape the dread second album syndrome, because . . . it's fantastic! Whatever initial re-establishment of synaptic connection was needed to get things grooving on their debut, after many years since they'd last played together (excepting Peter Greenway, whose genuine bravery in joining four former members of The Fall whom he alone had never played with before) is history now. The grooves are bigger, the lyrics brilliant, Tomos Williams' production is top-notch and the necessity sitting on this album while the first one kept on rolling offered the advantage of allowing Dave Trumfio (of The Mekons and Pulsars) time to fine-tune the mixing and mastering . . . and it sounds HOT.

11 Years Voodoo Down Records celebrates a decade-plus milestone of music from the titular label, which was launched by three friends in Brooklyn in late 2012 and later split across both sides of the Atlantic.
Their 17th vinyl release is their first double 12”, compiling tracks from a selection of the artists that helped them hone their sound: STL, who featured on the first release on the label; October, a recurring favorite who came out of a techno hiatus to cut demos for this release; Tobias., who first appeared on the label in 2015; JXTPS, the recent roster addition from Melbourne; MadderModes, the Manchester duo who debuted on the Empirical Evidence EP; and as always, the label founders themselves: L’estasi Dell’oro, 12 x 12, and N’conduit.
These tracks run the gamut of sounds that have been a staple of the label over the years: upbeat drone techno from L’estasi Dell’oro leading off the release with “Get GOO ing”, dusty dub techno courtesy of STL on “Dungeon CeLL”, head-trip hypnotic techno from Tobias. on “Public Eye”, downtempo melodic from 12 x 12, punchy peak-time techno from JXTPS and N’conduit, and a raw acid techno groover from October.

This release celebrates a decade plus of music on the label. It also marks the return of STL, Tobias., and October to the label with all original material. October coming off a long hiatus, and will follow up with a mini-album later on the label.
The first 2x12” compilation released on the label, and along with the release we will be adding the label’s back catalog on major digital streaming platforms.
Touring by 12 x 12 and L’estasi Dell’oro planned in Sydney and Melbourne, Australia during the last weeks of 2024, and in LA, NYC, Denver following later in the year.

"Joe Pernice has been writing for a long time—most of his life, in fact—and has crafted a remarkable catalog that boldly reinterprets and recasts classic American pop. Who Will You Believe may be his most moving and nuanced album yet; it’s certainly his timeliest. “These songs were all written during the same time period,” he says, “and they all seemed to tap into a mood I was in at the time. I go through spells where I’m a certain way for three or four months. I might be more reticent than usual, or more outgoing. With all of my records—and especially with this one—the songs all feel like they belong together, probably because they all arrived during the same stretch of time.”

In a single six-month stretch he was left reeling from the deaths of three close friends, including David Berman, poet and songwriter for Silver Jews and Purple Mountains, and Gary Stewart, the Rhino Records co-founder and tireless Pernice Brothers supporter since their first album in 1998. “That was such a bad patch when David and Gary both took their own lives. And my cousin Joe Harvard, who started Fort Apache Studios in Boston and was like a brother to me—he died, too. It was such a tough year. I was thinking about them a lot and watching how divided America had become. I was doing my best to try and take nothing for granted.

”

Pernice has been releasing albums for over 25 years. And with age comes a greater patience and an immense appreciation for the act of creation. Who Will You Believe showcases a beautiful balance between such sadness and moments of solemnity with warm humor and camaraderie."

Bartees Strange has been one of the most significant indie artists to break out in the post-Pandemic era. He debuted with ‘Say Goodbye to Pretty Boy’, an album length collection of The National songs released in March 2020, on the cusp of the Pandemic. Later that year came his first LP, ‘Mustang’, which was named in endless year-end Best Of lists, including those from Pitchfork, Stereogum, Rolling Stone and NPR Music. He quickly signed to 4AD, and his debut for the label, ‘Farm To Table’, turned him into a club headliner and an arena-sized opening act with genre-defining artists such as The National, boygenius, Phoebe Bridgers and Courtney Barnett. The vinyl-exclusive release, ‘Magic Boy’, represents the Bartees story before this story began -33 1/2 minutes of recordings created before he entered the public eye, with eight out of ten never previously released. It finds his ever-malleable sound touching on genres like coffee house folk (‘IDK’, ‘Best Of You’, ‘You’re Here’), emo troubadour (‘Count It Back’, ‘Little Brother’), and wigged-out experimentation (‘Eat Your Heart Out’). Appended with two tracks previously available only as digital Bsides from ‘Say Goodbye’ (‘HAGS’, ‘Going Going’), ‘Magic Boy’ reads as a kind of ‘lost’ album for someone shaping up to be a major voice in indie music.

Locked Down And Stripped Back Volume Two features home recordings of Wedding Present classics along with a previously unreleased song: 'That Would Only Happen In A Movie'. The first volume in the series came about when David Gedge's annual festival At The Edge Of The Sea went 'virtual' in 2020 and the band recorded semi-acoustic versions of songs to be streamed. An album of the tracks was compiled and released due to popular demand. The same thing happened the following year and so Volume Two features tracks initially recorded for 2021's online festival. There's a bevy of guest stars on this second album! Jon Stewart of Platinum-album-selling Sleeper fame reprises his new role as Wedding Present guitarist but is joined here by some Wedding Present members of old. Peter Solowka, from the band's first line-up appears on 'Nobody's Twisting Your Arm' playing his second instrument, the accordion, while Hit Parade guitarist Paul Dorrington contributes to a re-working of the Top 30 single 'Blue Eyes'. Long-time Wedding Present bass player Terry de Castro returns to infuse the album with her own unique style, while current Wedding Present bass player Melanie Howard takes over the lead vocal duties on a beautiful version of 1986's 'At The Edge Of The Sea'. Last, but certainly not least, Amelia Fletcher - backing vocalist on George Best and Bizarro - also returns to the party! As on the first volume, each musician recorded and filmed their parts at home and, as before, it is fascinating to see how stripped-back arrangements bring out different aspects of these brilliant songs.

For fans of: The Menzingers, Green Day, The Lawrence Ams, Joyce Manor, Teenage Bottlerocket, The Flatliners, Pop-Punk. Broadway Calls begins their 2024 campaign with another big support tour and more new music to go along with it. This time we've packaged it with their other recent singles to make a nifty 4-song 7" EP. These Oregonian lumber-punks live in the woods and probably eat squirrels, so they thought it would be funny to put a mom with a machine gun on the cover. Uhhh, try that in a small town?

Second studio album from this Doom metal supergroup! Steeped in purest old school metal and the dirtiest doom. Featuring members of Impaled Nazarene, Nifelheim, Electric Wizard and Mystifier.
Heavy metal has a long history and profound connection with devilry, deviance and the dark side. The ignominious return of Friends Of Hell can only strengthen that bond.Are you ready to feel the flames?


The long-awaited follow-up to Friends Of Hell’s demonically thrilling debut, God Damned You To Hell is a scorched earth campaign against all that is holy. Even more defiantly old school and obnoxious than its predecessor, its primitive barrage of horrified heaviness owes a ghoulish debt to the greats of heavy metal and doom, while summoning some abominable demons of its own.

Now joined by Hellbutcher (Nifelheim) on vocals and bassist Beelzeebubth (Mystifier), Friends Of Hell are ready to take this rotting world into even lower depths of hell than previously imagined

Following 2021’s Cape Cod Cottage — Eder’s concept album under the guise of Edward Blankman, a retired dentist who wrote elegant jazz in the1970s — on Therapy, Eder drops the alter ego and the drumset (almost entirely) and explores more reverberant sounds with his ensemble of woodwinds. The result is a distinctive take on new-age ambient music subtly interwoven with Eder’s affinity for 20th century classical and jazz. The quest for Therapy came during a period of deep spiritual curiosity. Eder was avidly watching testimonies of near death experience survivors (NDEs), pouring over books of Theosophical artwork and philosophy, and processing experiences of grief, uncertainty and spirituality. Eder wanted to explore the threshold between the spiritual and physical dimensions, and create music that could evoke its shape and texture — a theme further illustrated in the original album artwork and single covers by Adam Rabinowitz. Eder felt he must be on to something when, on a whim, he looked up the tempo of a piece he was calling “137 Riddle.” Turned out to be “the most important number in the world” in theoretical physics, as well as a provocative number in Jewish mysticism. Maintaining his track record of recording the best musicians Eder can find, Therapy features special guests Nailah Hunter (harp), Henry Solomon (saxophone), and Ethan Haman on The Newberry Memorial Organ at Yale University.

, Old fat furry cat-puss , Wake up and look at this thing that I bring, Wake up, be bright , Be golden and light , Bagpuss, Oh hear what I sing. 12th of February, 1974, and for an audience of small children at 1:45pm, a life irrevocably coloured by the wayward wonderings of one saggy cloth cat. Some 44 years later and Earth Recordings opens the door to Bagpuss & Co. once again, revealing for the first time the original music in all its newly-mastered splendour. The 32 tracks that make up the main body of the compositions are – like all good folk music – a patchwork of traditional pieces, half-remembered tunes and pure improvisation. It's testament to Sandra Kerr and John Faulkner's musicianship that the recordings work so well, not only within the context of the television episodes, but as an album in its own right. Of the recording, Oliver Postgate (in his exquisite autobiography 'Seeing Things') says: "Between them Sandra and John could play every sort of instrument from a mountain dulcimer to an Irish fiddle. They knew and could sing every tune in the world and didn't bother with written music, except as a last resort. They were exactly suited to Gabriel the Toad and Madeleine the Rag Doll and in those roles were happy to play whatever music and sing whatever songs would be needed." Those songs manifested themselves as reworkings of familiar tunes ('I Saw A Ship'; 'Row Your Boat'; 'Bucket's Burning'), takes on traditional ballads ('Brian O'Lynn'; 'The Frog Princess'; 'Weaving Song'; 'The Old Woman Tossed Up in a Basket') and delicious flights of fancy ('The Bony King of Nowhere'; 'Turtle Calypso'; 'Uncle Feedle'). The counterpart to Madeleine and Gabriel's more polished ditties are the interludes from the mice; a raggle-taggle chorus that accompanies the creatures' efforts of help (with the mice once famously going on strike when they were not permitted sang as they worked). Again, Postgate muses: "Once I had worked out a few episodes I would make a very rough list of the bits where I though music would be appropriate. I would send it to Sandra and John to think about. Then we would borrow a fairly silent room in a remote house and, taking the various articles that we intended to celebrate with us, would spend a happy day with a tape recorder, thinking up and recording whatever songs and tunes came to mind." The outtakes provide an intimate – and often very humourous – insight into the trio's work ethic, if it can be called such a thing. (By all accounts they sound as though they're having a very jolly time indeed.) Highlights include alternative opening words and end music, as well as Postgate sound-checking in character as Bagpuss. This never-before heard audio provides a real treat for fans (and indeed those new to the Smallfilms stable) – affirmation again to the enduring quality of these special recordings, and the beloved programme that inspired them. "An accidental classic of the folk-roots underground that we never dared hope we’d hear with such clarity."Stewart Lee

Lewis Brooker: A Collaboration between Andy Lewis and Hugh Brooker. Andy Lewis was one of the founding fathers of legendary Camden night Blow Up and was recruited by Blur to DJ on their Parklife tour. Always a musician as much as a DJ, Andy played bass for Pimlico, Spearmint and later spent eight years performing with Paul Weller. He also signed to Acid Jazz Records in 2002 for whom he’s recorded a number of albums and singles. Hugh Brooker founded The Night Trains in 1987, who became one of the first acts signed to Acid Jazz records. He also formed The Humble Souls with UK rapper and Fatboy Slim cohort MC Wildski and released the all-time classic single “Beads Things And Flowers”, still played on the jazz dance scene to this day.

Second in a series of reissues from Pierre Jaubert’s Parisound studio archive on Strut Record IS Lafayette Afro Rock Band's elusive funk/Afro original album, 'Soul Makossa' originally released in 1973. Transparent blue colored LP

In 1971, an undocumented seven-member Afro-American ensemble known as the Bobby Boyd Congress made a transformative journey from the United States to France. Bandleader Frank Abel recollects, "We sensed that the soul and funk market was saturated back home, and our original plan was a brief 6-month stint in Paris. Surprisingly, we ended up staying for a decade." Upon lead singer Bobby Boyd's return to the U.S., the group rebranded as Ice and crossed paths with independent producer Pierre Jaubert, a seasoned studio professional with credits on groundbreaking recordings alongside Charles Mingus, John Lee Hooker, and Archie Shepp, among others.

Drawing inspiration from Motown's work ethic, Jaubert initiated regular rehearsals with Ice. He recalled, "I didn't want to mimic Berry, but with seven talented musicians collaborating daily, something unique emerged." The band, residing in Paris and immersed in the African-dominated Barbesse district, began infusing African elements into their music frequently performing with Paris-dwelling Camaroonian and legendary composer Manu Dibango.

Rechristening themselves Lafayette Afro Rock Band, the group's musical direction shifted towards predominantly instrumental compositions, characterized by a weightier, more intricate Afro-funk sound. Their debut recording under this new moniker, 'Soul Makossa,' made a powerful impact with a dynamic rendition of Dibango's classic, coupled with the intense break of 'Hihache' and the contagious 'Nicky.' Initially released by Musidisc in France and later in the U.S. via Editions Makossa, the album omitted the title track due to publishing clearance issues.

Despite modest sales upon its initial release, the album's enduring influence became evident as hip-hop culture surged in the '80s, establishing it as a primary source for samples and riffs. The iconic 'Hihache' break found fame in Biz Markie's 'Nobody Beats The Biz,' and tracks from the album were lifted by LL Cool J, The Beatnuts, Kruder & Dorfmeister, and numerous others.

First in a series of reissues from Pierre Jaubert’s Parisound studio archive on Strut Record IS Lafayette Afro Rock Band's elusive funk/Afro original album, 'Malik,' originally released in 1974. Transparent blue colored LP

In 1971, an undocumented seven-member Afro-American ensemble known as the Bobby Boyd Congress made a transformative journey from the United States to France. Bandleader Frank Abel recollects, "We sensed that the soul and funk market was saturated back home, and our original plan was a brief 6-month stint in Paris. Surprisingly, we ended up staying for a decade." Upon lead singer Bobby Boyd's return to the U.S., the group rebranded as Ice and crossed paths with independent producer Pierre Jaubert, a seasoned studio professional with credits on groundbreaking recordings alongside Charles Mingus, John Lee Hooker, and Archie Shepp, among others.

Drawing inspiration from Motown's work ethic, Jaubert initiated regular rehearsals with Ice. He recalled, "I didn't want to mimic Berry, but with seven talented musicians collaborating daily, something unique emerged." The band, residing in Paris and immersed in the African-dominated Barbesse district, began infusing African elements into their music frequently performing with Paris-dwelling Camaroonian and legendary composer Manu Dibango.

Under the new moniker Lafayette Afro Rock Band, the group's music transitioned to predominantly instrumental compositions, featuring a denser Afro-funk sound. Their inaugural recording with the new name, 'Soul Makossa,' included a compelling rendition of Dibango's classic and the impactful break in 'Hihache.' The subsequent release a year later, 'Malik,' refined their sound with the percussive Afro party jam 'Conga,' the atmospheric vocoder and piano-led piece 'Djungi,' and the robust funk of 'Darkest Light.' Despite a limited impact upon its initial release, 'Malik' found appreciation as hip-hop culture flourished in the '80s, establishing itself as a rich source of samples and riffs. 'Conga' was featured in the 'Ultimate Breaks And Beats' series, while the opening horn line from 'Darkest Light' became a pivotal hip-hop motif, employed by Jay-Z, Public Enemy, Wreckx 'N' Effect, and many others

'Alma EP' came to life when Jacob played in Havana in 2019.

Joined by Bocarriba, they blended the city's soulful energy with Jacob's signature warmth, crafting these romantic groovers. YokoO works his remix magic on Katai, delivering a stripped-down psychedelic mood setter.

Gatefold Sleeve / 180g Vinyl

Returning to the well of Roger Doyle once again, his “Babel” project spans a decade of composition work before its’ initial release in 1999 as a 5CD set. Over 100 pieces and almost 50 collaborators it marks a journey through a virtual tower of Babel with each piece corresponding to a room within an imagined giant tower city. For the 25th Anniversary vinyl edition Doyle has revisited it- remastering it and providing its first vinyl edit - 80 minutes spread across two 180gm LP’s - rounding out the package with extended liner notes and a download code to the full 6 hours.

We’ve previously explored Roger’s Operating Theatre days and the idea for this project came in the early nineteen eighties while Doyle was heavily involved with the experimental theatre group. Working with emerging technologies and across a variety of genres he realised that he would be unlikely to achieve an overarching compositional style. Instead deciding to make a virtue out of the fact that he composed so schizophrenically, he wished to create a musical alphabet out of short abstract sounds with these sounds being analogous to phonemes in speech. With Blade Runner and sci-fi embedded in the zeitgeist of the times he came to the idea of the Tower of Babel as both a futuristic skyscraper and also an embodiment of language.

In the spring of 1990 Babel was finally begun and kept growing until it reached over 6 hours of music and was released in 1999.A large-scale musical structure making use of many technologies and music languages, with each piece of music being thought of as a 'room' or place within an enormous tower city. Each track in the main section corresponds to a virtual sonic architecture. The pieces are divided into two kinds: aural representations of actual spaces like The Dressing Room, The Stairwell and Mr. Brady's Room alongside internalised dream spaces like the Room Of Rhetoric, the Spirit Levels and the Mansard childhood memory room. Listeners can navigate their way differently through this virtual building at each hearing. As a supplement to the Babel Tower KBBL - the fictitious radio station – broadcasts a number of shows. Each has its own style and atmosphere. Collaborating with DJs, actors, writers and singers, KBBL is made to sound like a real radio station with ads, traffic reports and phone-ins.

Examples of the connections within the project can be found via the architecture were the saxophonist in the off-stage dressing room is rehearsing for her solo in the concert-hall (heard in Pagoda Charm) or the room off the stairwell, where the sounds of piano lessons and apartment life can be heard and the apartment where a muffled KBBL can be overheard At a molecular level The Iron Language Alphabet is a sound alphabet containing tiny fragments of sound representing letters or characters of an alien alphabet. This sound alphabet can be heard scattered through other pieces like The Room of Rhetoric, Pagoda Charm and in KBBL in Johnny’s Body at 002. Other molecular scatterings can be found in Cantilena where two songs sung by Operating Theatre’s Elena Lopez in KBBL are exploded and re-arranged to form new entities.

Doyle’s Babel celebrates language - a slight variation on the Biblical morality tale - and musical expression in all its variety.

limited repress available! *gatefold sleeve + insert, regular 120g black vinyl!0 Through the recent years of lockdowns and silence and having too much time to think, Tex Perkins always found solace in the company of song. Having his friend Matt Walker as a co-writer-conspirator, Perkins revelled in the experience which prompted the forming and recording of the first Fat Rubber Band album at Walker & #39's Stovepipe Studios with bassist Steve Hadley, drummer Roger Bergodaz and percussionist Evan Richards. After such an affirmative and creative experience Perkins was itching to commence work on what has become the band's second album, Other World. "The first Fat Rubber Band album was kind of deliberately a little ragged. A bit fuzzy around the edges" said Perkins. "There is a certain maturity that we now possess where ideas can be realised and take form very quickly. We've become a real band. I think what you heard on the first album is the band being formed." While he's played with many musicians, finding true collaborators is something that Perkins treasures. During the lockdowns, he pondered whether he would ever have that day-to-day musician experience again. With The Fat Rubber Band it's not just another grouping of musicians playing music together, but a gathering that is very much about the head, heart and soul and something he is clearly grateful for. "Roger Bergodaz was incredible. His drum kit was in the control room and he engineered the record and played drums pretty much at the same time! He constantly created the surroundings where an enthusiastic and positive atmosphere always prevailed. We never came away empty handed. I loved making this record so much," Perkins says, "because fucking magic happened. Yes, that's right, magic or how about alchemy? (A medieval science with a mysterious process that seeks to turn base metals into Gold.) Well, I dunno about gold, but I witnessed ideas, thoughts, whims and imaginings transmute almost effortlessly into living breathing songs with a soul and a heartbeat and even their own private history every time we went into the studio for this recording. Actually, no, magic is better." Perkins explains "This magic came about with the help of over 4O years of experience from each of the Fat Rubber band members. They're all truly great players and they're all really generous collaborators, so I guess what I'm saying is, it doesn't matter what happens from here. I'm very aware these days, with 100s of new releases each week, it's harder than ever to get people to give a shit about a new album from anybody, let alone from a bunch of hairy blokes in their 50s from Australia fronted by a dude that's been around since the early eighties named Tex. Actually, I can't believe you're still reading this! But you know it doesn't really matter, I've seen the magic."

Die neunfache Grammy-Preisträgerin Sheryl Crow veröffentlicht ihr elftes Studioalbum “Evolution“. Erst dieses Jahr wurde Sheryl Crow in die Rock and Roll Hall Of Fame aufgenommen. Das Album kommt als willkommene Überraschung, nachdem Sheryl Crow öffentlich erklärt hatte, dass sie nach “Threads“ (2018) kein weiteres Album in voller Länge veröffentlichen würde. Die Lead-Single des neuen Albums ”Alarm Clock”, ist Sheryl Crows wahrscheinlich radiotauglichster Popsong seit ”Soak Up The Sun”. Auf dem Album “Evolution“ ist Sheryl Crow in ihrer authentischsten Art und Weise zu hören. Selbst sagt die Künstlerin über das Album: „ This music and these lyrics came from sitting in the quiet and writing from a deep soul place. I said I’d never make another record, thought there was no point to it. But this music comes from my soul. And I hope whoever hears this record can feel that.” Das Album „Evolution“ umfasst insgesamt neun Songs, die sowohl auf Vinly als auch auf einer CD erhältlich sind.

A showcase for Peter Frampton’s growth as a songwriter and guitar player, Frampton’s Camel is named after his touring band, honouring the groove this collective had reached in 1973. Prominently featuring Mick Gallagher’s superlative keyboards, the hard-rocking hooks and catchy melodies here lay the foundation for the superstardom that would come just a couple albums and tours later with Frampton Comes Alive. Camel includes the smash hits “Lines On My Face,” “Don’t Fade Away” and a majestic cover of Stevie Wonder’s “I Believe (When I Fall In Love With You It Will Be Forever).” Camel also introduced the world to the all-time classic rock anthem “Do You Feel Like We Do,” with a songwriting credit to the entire band. This fan favourite has remained a highlight of Frampton’s legendary live performances for decades.

Recorded in a castle in England, Frampton is the breakout album where it all came together: Peter Frampton’s penchant for writing catchy songs with irresistible hooks, superlative guitar playing, and soulful, evocative vocals. Frampton is also the album in which Peter introduced one of his signatures in the “talk box” for his guitar break on “Show Me the Way,” which became iconic during the tour supporting this album and the live time capsule Frampton Comes Alive. In addition to “Show Me the Way,” ”Baby, I Love Your Way” and “(I’ll Give You) Money” have dominated the airwaves and Frampton’s live shows since this album’s release in early 1975. Frampton is arguably the high-water mark of Frampton’s early studio work and a showcase for an artist who had found himself as a singer/songwriter, and guitar player and was on the way to becoming a household name around the world.