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Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include "Son Of A Preacher Man," "So Much Love," "Breakfast In Bed," "Just One Smile," "I Don't Want To Hear It Anymore" and "Just A Little Lovin'".

Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians — collectively known as the Memphis Cats — include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

Analogue Production's reissue here is perfection. Mastered by Kevin Gray from the original analog master tape. Double LP cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a Stoughton Printing tip-on old style gatefold jacket.

Repress!

Emotional Rescue and Utopia Originals join forces to release the pop, new wave, funk of Obscure Desire, a one-off project and EP from effervescent 80s Auckland, New Zealand that saw three friends come together to make a perfect piece of club pop history.

Revolving around the musical talent of Andrew Waldergrave, a trained pianist, music degree drop-out, who moved to the island’s cultural centre of Auckland and emersed himself in the arts and nightlife scene the city had to offer.

Working at Obscure Desire, a Fashion Boutique meets Salon, he became friends with Grant Mitchell and Giselle Trezevant, together forming not a band, but as they saw it, a project to make a record for their scene and beyond.

Coming from outside of the established band route of endless rehearsals, local gigs, growing a fan base and home recordings, they fell did not have the support network of indigenous New Zealand labels. As so often the case in unearthing these lost reissue gems, the artists took matters into their own hands, seeking to write, record and release themselves.

After meeting Trevor Reekie, head of the local Pagan Records label, he took on production duties. Collating the necessary musicians, the project grew from the one song to become a full EP, recording between a home 16 track studio and a full 24 track desk at Harlequin Studios.

Centred around the title song, it is a perfect pop moment. Waldergrave’s piano leads into an infectious groove of slap bass, gated drums, Reekie’s acoustic guitar and cut vocals, before Trezevant’s vocals propel the song to an 80s swing out vibrations. Coming in Extended, Harlequin and Instrumental (digital only) mixes, this was an overload of White Funk.

Here reduced to the best two versions, more room is given to let the other recordings breathe, first the gloriously anthemic instrumental Bullet. Intricate programming and production, lead into the pop sensibility of I Wonder, some kind of wonderful antipodean reimagining of Chris & Cosey finest pop moments, an optimistic paene that permeates the whole EP. Closing 4A, espouses the Jazz Funk, with Trezevant’s simple French lyrics telling of dreams of a lover’s image.

Released in 1986 with no local support from radio and TV, it became something of a “hit” record in New Zealand’s more discerning clubs, however the members soon moved to London and the project remained a one-off moment. Over time the EP has gained cult status to become globally desired that sees copies of the original 12” selling for $000s. Now at last available for a global reach, while remaining a personal, uplifting moment of time.

m Herbst 2022 reiste Jerome Reuter, der luxemburgische Singer-Songwriter und Kreativkopf von ROME, erneut auf die grüne Insel, um dort einige entspannte Wochen mit seinen irischen Freunden zu verbringen. Wie nicht anders zu erwarten war, wurde viel getrunken und gelacht. Es entstanden aber auch Songs. Und am Ende der Reise erblickte eine weitere, faszinierende "Dublin Session" das Licht der Welt.

Wurden die Tracks der ersten Dublin Session noch im legendären "Sonic Studio" in der irischen Hauptstadt aufgenommen, zog man sich für die zweite Session bewusst in die grünen Hügel von Wexford County zurück, um in Brian Brodys "Ballycale Studio" vollkommen ungestört und ganz ohne Zeitdruck musizieren zu können. Alle daraus entstanden Lieder der "Dublin Session II" sind unveröffentlichte Neukompositionen, denen Dank renommierter, irischer Musiker der landestypische Folk-Sound innewohnt.

Auf "The Dublin Session II" verbindet sich auf fast schon ganz natürliche und vor allem sehr harmonische Art und Weise ROMEs ureigener Stil aus Proto-Folk mit dem Klang des Traditional Irish Folk. Hierfür rekrutierte Co-Produzent, langjähriger Freund und musikalischer Mitstreiter Brian Brody (Rack & Ruin) kurzerhand das Who-is-Who irischer Musiker wie Ronan O Snodaigh (Dead Can Dance, Kíla) am Bodhran, Eoin O Cionnaith (Van Morrison, Christy Moore) an den Uilleann Pipes, Matthew Hanaphy am Banjo und den Tin Whistles, Goshia Gasior auf der Violine und Andy Slowey am Bass.

Unter den Kompositionen befinden sich Lieder wie das eingängige, fast tanzbare "Hold the Line" oder das bitter-böse "The Tsarist Army", die einen Kontrapunkt zu melancholischeren Kompositionen wie "My White Rose" und "Muse of Fire" setzen. Nicht unbeeinflusst vom Kriegsgeschehen in Europa und den Zeichen der Zeit entstand so ein multilinguales Kleinod mit Liedtexten auf Französisch ("La Peau Dernière"), Deutsch ("An der Landwehr"), Englisch und Gälisch ("Eirigh Anois!" u.a.).

Totgeglaubte leben bekanntlich länger und so stellt man mit ROME fest: Der europäische Geist ist wohlauf!

"Change Today? is the third studio album by the American rock band T.S.O.L. (True Sounds Of Liberty), released in 1984. It was the band's first album with singer/guitarist Joe Wood and drummer Mitch Dean, replacing founding members Jack Grisham and Todd Barnes who had left the band in late 1983.

The album was recorded using money loaned to T.S.O.L. by the Dead Kennedys, and found the new incarnation of the band moving away from the Hardcore Punk associations of the original lineup in favor of a traditional Rock and Gothic Rock sound. Over the course of four nights at Mad Dog Studio in Venice, California T.S.O.L. recorded their new songs with recording engineer Stuart Schanwetter and producer Chris Grayson. The album was mastered by Eddy Schreyer. Change Today? is available as a limited numbered edition of 1000 copies on white coloured vinyl and it contains an insert"

Compiled by Bob Stanley to document the acid folk scene, “Gather In The Mushrooms” was first issued in 2004 on Sanctuary as a CD-only release; it proved popular enough for a sequel entitled “Early Morning Hush” two years later.

This new edition of “Gather In The Mushrooms” contains the cream of both long-deleted compilations with a few additions – COB, Roy Harper, Fotheringay – that weren’t available to Sanctuary at the time. Though they aren’t traditional, these songs have an authenticity of their own, an autumnal atmosphere and a naivety which proved influential in the 00s neo-folk boom (Devendra Banhart, Joanna Newsom, Alasdair Roberts, Tuung et al) but impossible to replicate. For many of these acts at the end of the 60s, folk music and the hippy world that surrounded them was a way of life, a way of opting out from the Vietnam war, Angry Brigade and three-day-week early 70s. Anne Briggs lived in a caravan in Suffolk, Shelagh McDonald lived in a tent, Vashti Bunyan eschewed electricity; they weren’t part-timers. Listening to “Gather In The Mushrooms”, we are transported to a time when no one used the term post-modernist.

It may not have resonated with dyed-in-the wool political folkies, but over five decades later this music sounds very evocative of an England of yore – not necessarily one of poachers and pedlars, but one of long-haired youths in tie-dye T-shirts, bikers and hippies, acoustic guitars played in white stone cottages. Groups such as Stone Angel, Midwinter and Oberon made primitive, privately recorded folk albums; today they sound as distant and mystical as the field recordings of Alan Lomax. The sincerity and folk knowledge of a group like Forest becomes irrelevant once you hear something as eerie and evocative as ‘Graveyard’. Home-made, homely, warm as soup or chilling as a hoar frost, this is music of innocence and rare beauty.

Web Web mit ihrem sechsten Album in sieben Jahren und mit einem neuen Touch. Mehr psychedelisch, mitunter krautiger als zuvor.

Dazu haben sich WEB WEB diesmal (wieder) in Originalbesetzung (ohne Max Herre) einen besonderen Gast ausgesucht: JJ Whitefield (The Poets Of Rhythm / Karl Hector & The Malcouns / Syrup), der den fantastischen Gitarrensound beisteuert. Seine Riffs sind manchmal funky wie bei den Poets Of Rhythm oder Syrup, oder psychedelischer wie bei Karl Hector & The Malcouns oder seinen vielen Live- und Studioaufnahmen mit Embryo. Die Soundfarbe seiner Gitarre gibt dem Album den Schub in die wunderbare Atmosphäre spaciger Jazz-Kraut Bands der Siebziger. Das Konzept des Albums sollte das exakte Gegenteil zum vorigen WEB MAX Album (WEB MAX II) darstellen: Wieder zurück zu den (WEB WEB-) Wurzeln, mit spontanen, improvisierten Stücken, Fragmenten, Ideen, die größtmögliche Freiheit und Live Spirit bedeuten. Und genauso unvorhersehbar und improvisiert war auch die Idee, JJ Whitefield mit ins Boot zu holen: Einen Tag vor der Session dachte sich Roberto Di Gioia: "JJ und ich leben seit jeher in München. Wir sind uns aber leider nie wirklich über den Weg gelaufen. Ich bin ein großer Bewunderer seiner Kunst, seiner Musik, seiner Art zu spielen. Er ist so inspirierend, weil er keine Kompromisse eingeht. Er spielt auf seine so eigene Art und Weise, er ist keine Kopie von irgendwem und irgendwas."

Die 14 Kompositionen entstanden an zwei Tagen, aufgenommen von Jan Krause (Beanfield) in München. Die energetische Live-Session ging über zweimal 10 Stunden, und alle - Roberto Di Gioia (Rhodes, Fender Precision Bass, Moog, Mellotron, Percussion), Christian von Kaphengst (Fender Precision Bass, Rhodes), Peter Gall (Drums, Percussion, Fender Rhodes), Tony Lakatos (Tenorsaxophon, Querflöte) - waren bis ins Mark "on fire". Dabei wechselten die Musiker die Instrumente, um einen vollkommen anderen Gesamtklang zu erzeugen: Kaphengst am Fender Rhodes klingt anders als Roberto, sein Spiel hat einen anderen harmonischen Aufbau, und Roberto am Bass kennt man von zahlreichen Max Herre Aufnahmen, oder von Till Brönners Album "Till Brönner", und natürlich auch bei dem von ihm produzierten "Let Yourself Be Loved" von Joy Denalane, das auf Motown Records erschienen ist.

Das vierte Album der schwedischen Blues Rock Freaks featɍ Christian Carlsson (The Quill)
Produziert vom Gitarristen Franco Santunione (Electric BoysɎ Glory Bells Band)
Erhältlich als Digipak und schwarzes Vinyl

Change Today? is the third studio album by the American rock band T.S.O.L. (True Sounds Of Liberty), released in 1984.

It was the band’s first album with singer/guitarist Joe Wood and drummer Mitch Dean, replacing founding members Jack Grisham and Todd Barnes who had left the band in late 1983.

The album was recorded using money loaned to T.S.O.L. by the Dead Kennedys and found the new incarnation of the band moving away from the Hardcore Punk

associations of the original lineup in favor of a traditional Rock and Gothic Rock sound.

Over the course of four nights at Mad Dog Studio in Venice, California T.S.O.L. recorded their new songs with recording engineer

Stuart Schanwetter and producer Chris Grayson. The album was mastered by Eddy Schreyer.

Change Today? is available as a limited numbered edition of 1000 copies on white coloured vinyl and it contains an insert

"Volcanic Tongue" war ein Plattenladen, der von 2005-2015 in Glasgow von David Keenan und Heather Leigh betrieben wurde und zeitgenössische DIY-Musik aus der ganzen Welt in kleinen selbstgemachten CD-R-Auflagen veröffentliche. Parallel versuchte man, vergessene Künstler aus der Vergangenheit ins Rampenlicht zu rücken, die ihre Musik oft als Privatpressung veröffentlicht hatten. Der Laden war für seine wöchentliche Mailingliste bekannt, in der Keenan enthusiastisch über Neuankömmlinge rappte, insbesondere über die Platte der Woche, die den Spitznamen "tip of the tongue" (Zungenspitze) erhielt. Dieser eklektische Sampler mit 20 "tips of the tongue" - von Outsider-Synth über Psych-Folk bis zu kaputtem Rock'n'Roll, aufgenommen zwischen 1968-2013 - ist eine Hommage an eine lebendige und vielseitige Underground-Avantgarde. Black Vinyl 2LP in PVC-Hülle, von Julian House designt, mit bedruckten Innentaschen samt Linernotes von David Keenan zu jedem Künstler.

PS: Gleichzeitig erscheint beim White Rabbit-Verlag eine Deluxe-Ausgabe des gleichnamigen Buches mit einer CD-Version des Samplers, limitiert auf 1.000 Exemplare, und signiert von Autor David Keenan und Designer Julian House.

From the deepest trenches of deadstock 45s and the unsung annals of soft rock infamy, we present SR4HT02: (Till You're) Back In My Arms.

Universal Cave and the Street Road Band cover Dan Strimer with Insured Sound's cult anthem (Till You're) Back In My Arms which was originally released as a 45 in 1977 on Lost Nation Records out of Guysville, Ohio. When Universal Cave featured Back in My Arms on Soft Rock for Hard Times Vol 8 in 2023, we reached out to Dan Strimer to tell him how much we loved his record, and quickly made a friend who helped us release a cover of his song 47 years after it first came out. Dan is still making music to this day and there are even rumors of some unreleased recordings making their way out in the near future.

On vacation in Hawaii when we released Soft Rock for Hard Times Vol 8, Alex Tebbs Mitchell of Universal Cave kept coming back to Dan's catchy, rural classic rock tune. When Alex returned to Philadelphia, he assembled the Street Road Band to record a laid back, 'southwestern Balearic' cover version with André Ethier on vocals, Charles Simon on guitar, Jesse Spearhawk on Pedal Steel, Alex Tebbs Mitchell on Rhodes and bass, Ryan M. Todd on synthesizers, and Shawn Ryan and Brian Cassidy on additional programming and arrangement. The result is a blissful soft rock ballad inspired by the likes of Chris Rea and Mark Knopfler.

After recording the cover, we called in the UK's finest Balearic maestro's Coyote to take the multitracks to the White Isle and back for a remix worthy of Cafe Del Mar. Coyote send the song into a dreamy, dubby, deep house groove, confirming that the record is, in fact, Balearic.

Mixed by Alex Tebbs Mitchell
Mastered by Mat Leffler-Schulman

Deep Space Vinyl (Blue, White, Dark green, Sky Blue & Black Marbled) The official soundtrack to Risk of Rain 2's second DLC "Seekers of the Storm" is coming to vinyl. The new album includes 42 minutes of music written by Chris Christodoulou with the contribution of one piece by fellow Greek composer Stavros Markonis. It will be available on limited edition 1xLP on blue / white / dark green / sky blue / black marbled vinyl, housed in a special gatefold sleeve with complementary artwork and design by Daniele Giardini

Ungod is the debut album by industrial rock band Stabbing Westward, released in 1994. The album blends aggressive guitar riffs with dark, brooding electronic elements, capturing the angst and intensity of the early 90s alternative scene. Produced by John Fryer, known for his work with Nine Inch Nails and Depeche Mode, Ungod features standout tracks like "Violent Mood Swings" and "Nothing," showcasing Christopher Hall's raw, emotive vocals and the band's gritty, atmospheric sound. Although it didn't achieve mainstream success, Ungod gained a cult following, establishing Stabbing Westward as a significant force in the industrial rock genre. The album's dark, introspective themes and innovative production remain influential in the industrial rock landscape. Ungod is available on black vinyl and includes an insert.

The influence of the UK’s Steel City on electronic music is well documented and undisputed and continues to push the envelope with key figures such as Winston Hazel (Forgemasters, The Step), DJ Parrot/Crooked Man, Richard Benson (RAC, SWAG, Altern 8), Chris Duckenfield (RAC, Popular Peoples Front, SWAG, All Ears Distribution), a thriving underground club scene and the likes of Synaptic Voyager reinforcing the city’s rich musical legacy.

Matt White and Paul Baines have been making off-kilter, emotive, late night electronic jams since meeting in the early 90’s and while life took them on different paths for a while, they have recently blown the thick layer of dust from their synths and drum machines and got busy in the studio to create some amazing new music which draws influence from that classic UK techno sound which played such an important part in the development of dance music culture around the world. With recent releases on Frame Of Mind, Acquit and Telomere Plastic the duo are clearly on a roll, wearing the heritage of their city on their sleeve and delivering what can only be described as heartfelt, authentic machine music made with love and soul.

From the opening beats of lead track Dawn Till Dusk we are drawn in to another place which feels comfortably familiar yet organic, fluid and loose in a way that tugs on the heartstrings. A million miles from cookie-cutter tech house, this is two guys in a bedroom studio, digging deep on hardware machines to create a sound to get completely lost in. Lonely Promontory takes things deeper still with immersive pads, taught electro beats and blissed-out melodic lines which give just hint of optimism and recall those beloved sounds of B12, Redcell and Likemind.

Flipping over we have Stellar Engine which goes a littler heavier on the beats and bass whilst still retaining a floating quality, once again highlighting the hardware jam workflow that Synaptic Voyager utilise in their studio. Once Exposed takes us back to those heady days of the early 90’s when techno, house and ambient electronics combined to create a heady blend of deep atmospherics and driving beats which could work on both dance floors and car stereos alike. Rounding off the EP we have Cognitive Network which goes for a straighter four on the floor techno groove and a killer bassline to lose yourself in. These recordings were delivered to the label in unedited long form (some tracks totalling 15 minutes or more in length!) which Jimpster lovingly edited into the versions which you hear on this release.

Whitey Morgan & The 78’s make it to the top shelf of Bloodshot’s bar. NPR may not be the first place you’d think to go for snarling, blood-on-the-tele country music, but they sure got it right when faced with Whitey Morgan & The 78’s: “Staying close to the sound and subject matter of classic outlaw artists like Waylon Jennings, Merle Haggard and David Allan Coe, Morgan is poised to lead this hard-worn brand of country to the next generation.” More than a decade after we let this record loose, millions of Yellowstone viewers heard “Bad News” as delivered by Whitey Morgan & The 78’s from this here album.

We suspect more than a few of those folks will be compelled to drink straight from the source and hear more of what they love. It’s also not a stretch to say the rest of country has caught up with what Whitey Morgan was puttin’ down in 2010. Anyone listening to Chris Stapleton and Jamey Johnson will find a familiar friend right here. As for us, we like to think of their Bloodshot debut as the birth of Altlaw Country and 15 years later it’s earned the Barrel Select designation as one of the best damn records we’ve got. As such, this new pressing is on Bloodshot-red vinyl and now includes a replica of the Whitey Morgan & The 78’s Holiday Whiskey Extravaganza gig at Chicago’s Cobra Lounge

The Holiday Album That Turned Mariah Carey into the Queen of Christmas: Featuring the Standard “All I Want for Christmas Is You,” the Singer’s Blockbuster Merry Christmas Exudes Joy, Spirituality, and Conviction
Sourced from the Original Master Tapes, Presented in Audiophile Sound for the First Time, and Strictly Limited to 3,000 Numbered Copies:

Mobile Fidelity’s UltraDisc One-Step 180g 33RPM LP Set Plays with Superb Detail, Openness, and Definition
1/2" / 30 IPS / Dolby SR analogue master to DSD 256 to analogue console to lathe

Mariah Carey didn’t become the Queen of Christmas just because of her fervent love of the holiday. Or as the result of a brilliant marketing plan. The iconic singer earned her title by way of her blockbuster Merry Christmas, a 1994 album that quickly joined the likes of Bing Crosby’s White Christmas, A Jolly Christmas from Frank Sinatra, and Nat King Cole’s The Christmas Song as an all-time holiday vocal classic. Featuring a balanced mix of inspired originals and well-chosen covers, Carey’s fourth studio record has only grown in stature as new generations discover its magic. Mobile Fidelity’s 30th anniversary edition reissue of Merry Christmas makes her spellbinding performances and upper-tier register come alive like never before.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, the pioneering label’s UltraDisc One-Step 180g 33RPM LP set of Merry Christmas plays with superb detail, depth, and dimensionality. Available in audiophile quality for the first time since its original release three decades ago, and featuring the bonus track “God Rest Ye Merry, Gentlemen,” the nine-times-platinum set breathes with a newfound openness and transparency that enhance the spirituality, passion, and festive tenor of Carey’s singing.

Benefitting from superb groove definition, a nearly inaudible noise floor, and dead-quiet vinyl surfaces, the music takes on a heightened energy and anticipatory emotion synonymous with the holiday season. Carey’s signature vocals explode with liveliness and dynamics, the full scope of her acrobatic range presented in clear, transparent sound that practically places her on a small stage in your listening room. This collectible version also breathes with the kind of warmth, intimacy, and coziness you want from a landmark vocal album.

Recorded when Carey helped put “diva” back into everyone’s vocabulary, Merry Christmas gave the New York native another smash right out of the box. What nobody knew at the time was the degree of the album’s staying power — and how, many years removed from its initial promotion cycle, its legend would still grow and even spark a 2010 sequel. Having re-entered the Top 200 charts every year since 2019, Merry Christmas ranks as one of the three most commercially successful holiday LPs ever made and, in due time, will likely earn the top distinction in that class. A global blockbuster, it seamlessly ties together Christian, gospel, and secular threads and speaks to a boundless audience, independent of denomination.

Most obviously, the record remains inescapably connected to “All I Want for Christmas Is You,” an uptempo anthem that towers as a holiday standard and one of the biggest-selling singles in history. Punctuated with celesta chimes, sleigh bells, springy keyboards, and joyous beats, the song echoes the simple albeit engaging melodies and doo-wop style of beloved holiday classics of yore — and blends such elements with contagious dance-pop rhythms to create an atmosphere rich in joy, wonder, and excitement. Radiant with golden soulfulness and sincere conviction, Carey’s exuberant singing and on-point phrasing put it all over the top. And how.

The song stands as the only effort in Billboard history to top the Hot 100 chart during at least three separate runs. Carey’s blockbuster has already hit No. 1 during five runs, spanning every year between 2019 and 2024. That’s just one of the many records the singer holds — and only one of the multiple highlights from Merry Christmas, which includes two other Carey-penned originals, “Miss You Most (At Christmas Time)” and “Jesus Born on This Day.”

Though slightly lesser known, Carey’s remarkable rendition of Darlene Love’s “Christmas (Baby Please Come Home)” further links her album with the big, lush, Wall of Sound heritage that helped inspire its production. Carey’s heartfelt take and transformation of the traditional “Santa Claus Is Coming to Town” into an animated tune that even adults can believe, as well as her clairon reading of “Joy to the World” — cleverly augmented with bits of Three Dog Night’s 1971 hit of the same name — further reinforce her status as Queen of Christmas.

At the peak of her powers, Carey finds equivalent success when tapping more spiritual veins. Witness the reverence she brings to the timeless carol “Silent Night,” the piousness she invests in “Jesus Oh What a Wonderful Child,” and the sacred feeling she conveys throughout “O Holy Night.” You’ll also never think of “Hark! The Herald Angels Sing” and “Gloria (In Excelsis Deo)” the same way again after hearing Mimi pour her heart and soul into them, and pair the songs together.

Indeed, it’s Carey’s pliable voice, melismatic technique, and five-octave range — on display here in definitive fashion — coupled with her undeniable love for Christmas and understanding of the religious significance of the season that make Merry Christmas a must-have holiday staple. And on Mobile Fidelity’s LP, something you better add to your wish list.

Feiern Sie die schönste Zeit des Jahres mit Olivia Newton-John... und Freunde! Angels In The Snow bietet
zeitlose Weihnachtsklassiker wie ”White Christmas” mit John Travolta und ”AllThrough The Night” mit
Michael McDonald; sowie ein brandneues Duett mit Jane Lynch auf ”O Come, All Ye Faithful”. Holen Sie
sich den neuen Soundtrack für Ihre Weihnachtszeit, verpackt mit Stimmen, die Sie kennen und lieben.
Als CD und auf schneeweißem Vinyl.

Festive hits, including Silent Night, White Christmas, Santa Bring Back My Baby and more.

“Writing this album, I opened up my closet, and a skeleton came out.” In a café just around the corner from his Edinburgh flat, Hamish Hawk is contemplating his extraordinary new record, A Firmer Hand. “The thing that links all of the songs is a sense of the unsaid, whether out of guilt, shame, repression, embarrassment, coyness, whatever it might have been. I realised: I am going to say these things, and not all of them are going to make me look good. The album made so many demands, and I just gave myself over to it.”

At this stage, where only a handful of close associates have heard the finished album, Hawk is still unsure of what the reaction might be from fans, critics, even family. He jokes that A Firmer Hand is the first of his records that his parents might not enjoy. “But the fact that it makes me nervous tells me it was the right thing to do.”

Wenn Dean Martin den Schöpfer dazu auffordert, es schneien zu lassen ("Let It Snow! Let It Snow! Let It Snow!"), Paul Anka weiß, dass nun überall Weihnachten ist ("It"s Christmas Everywhere"), Harry Belafonte Glöckchen vernimmt ("I Heard The Bells On Christmas Day"), Frank Sinatra die Heilige Nacht beschwört ("Silent Night") sowie Bing Crosby & The Andrew Sisters beobachten, wie der Nikolaus in die Stadt kommt ("Santa Claus Is Coming To Town"), nähern wir uns nicht nur dem 24. Dezember, vor allem hat dann die Stunde der Crooner geschlagen. Mit ihren schmelzend-beschwingten Swing-, Soul- und Gospel-Interpretationen bekannter Weihnachtstitel sorgen sie auf der LP-Kompilation "Noël Crooners" auf unterhaltsame Weise dafür, dass die Stimmung nicht ins Rührselige abdriftet, und dennoch eine besinnliche Note bewahrt bleibt. Das gilt auch für weitere Titel wie "Wade In The Water" (Sam Cooke), "Christmas In New Orleans" (Louis Armstrong), "Blue Christmas" (Elvis Presley) oder "The Snow Is Falling" (Ray Charles).

Built on the powerful songwriting of Christopher Owens and ethereal production of Chet "JR" White, Girls recorded Album in a mix of bedrooms and studios in their adopted hometown of San Francisco. The resulting 12 tracks evoke a narcotic, sunny afternoon in Dolores Park, yet promising the eventual hangover of summer's departure. Album is self-described as "honest, loose, ethereal, obnoxious, perfect." It’s a sincere tribute to the majesty of great pop music and healing power of rock and roll.

Built on the powerful songwriting of Christopher Owens and ethereal production of Chet "JR" White, Girls recorded Album in a mix of bedrooms and studios in their adopted hometown of San Francisco. The resulting 12 tracks evoke a narcotic, sunny afternoon in Dolores Park, yet promising the eventual hangover of summer's departure. Album is self-described as "honest, loose, ethereal, obnoxious, perfect." It’s a sincere tribute to the majesty of great pop music and healing power of rock and roll.

Repress of this Christmas classic, 300 copies on snowy WHITE vinyl! "At long last! Finally on vinyl! Can Fifteen Great Christmas Songs be collected together on one lovely 12-inch vinyl disc featuring bands and artists from the Damaged Goods archives? ...you betcha bottom dollar they can! Each song has been recorded with the Christmas spirit in full flow and we'd guess the odd mince pie was consumed along the way as well. The full-on Christmas feeling that is flowing through these wonderful tracks is a joy to behold and we implore you to not just read these sleeve notes but to go crimble-crumble-crazy and actually buy this record and treasure it, not only this year but for many years to come. We are very proud to have put this album together as Christmas is our favourite time of the year. We love the feeling at special Christmas gigs - the overinflated people and prices of things and the way everyone just has to go out and drink as much as they possibly can in the name of the good old lord Jesus. We did this for you, and only for you because we really, really care and want to share the joy that only Damaged Goods Records can bring you at this special time of the year. So enjoy some great music from the likes of Will Billy Childish, Miss Holly Golightly, Helen Love, Goldblade & Poly Styrene, The Courettes and so many more and remember, this LP is not just for Christmas it's for LIFE!" - Ian Damaged, National Elf

Canadian band the Holiday Crowd as part of the Snowflakes Christmas Singles Club, it was a match too good to not be made. The Toronto, Ontario-based indie rockers formed in 2010 and released a mini-album, a full-length and a 7" between 2012 and 2016. In 2022, the group returned with a new single, 'Party Favours', like their other records released by Portland, Oregon label Shelflife Records. Despite being Canadian, the band's sound is heavily influenced by British indie rock of the 1980s and early 1990s. For their Snowflakes Christmas single, the original four members of the band, lead vocalist Imran Hanniff, guitarist Colin Bowers, British-born bassist Alex Roberts and drummer David George Barnes, reunited to write the original 'Winterland'.

Winterland' takes you right back to the 1980s with its jangly guitar, rolling bass, pounding drums and Imran's warm vocals. The song seems to look back on childhood memories, but the parts about the heart that turned to coal, the last-minute shoppers and the 'graveyard malls' show that there is a deeper meaning to the lyrics. The single's B-side 'Hard Candy Christmas' was written by Carol Hall for the 1978 musical 'The Best Little Whorehouse in Texas'. The song became a hit for Dolly Parton in 1982 when it was featured in the movie version of the musical in which she starred. The Holiday Crowd's reworking of the song perfectly captures the melancholy of the original, with its message of focusing on the sweet things in life, even when times are hard. The single is released on snow-white bio-vinyl in a sleeve with a playful design by Kenichi Ueda and limited to 300 copies.

After navigating the labyrinthine musical chambers of their 2023 modern exotica album 'Palace Of A Thousand Sounds', Reno. Nevada’s Whatitdo Archive Group has returned with their first-ever holiday offering—venturing into the darker side of Christmas folklore with their new ice-cold 45, 'Wild Man'. Drawing inspiration from a global archetypical myth of the same name, Whatitdo Archive Group examines the ancient story of the Wild Man—the hairy, half-human, half-beast that stalks the shadows of humanity’s shared primeval past. The myth of the Wild Man is a folktale that goes by many names: The Yeti of the Himalayas, the Bigfoot of North America, and, of course, Krampus of Eastern Europe—a yuletide beast with a reputation as a child-devouring "Anti-Claus" who now finds himself the subject of Whatitdo’s latest musical exploration.

‘Wild Man’ gives us a glimpse into the band’s newest sonic direction. With a heavy rhythm section carried by Alexander Korostinsky’s driving bass line, the sticky wah-guitar of Mark Sexton’s L-5, and the acrobatic lines of the Wurlitzer electric piano, “Wild Man” revels in the spiritual jazz flavors of Pharoah Sanders and grooves hard like the classic soul-jazz stylings of Ramsey Lewis. Much like the Krampus myth itself, 'Wild Man' is meant to weave an ominous spell over any Christmas cocktail party long after the kids have gone to bed. Hear the warning for yourself in the song’s haunting chant: "You better watch out for your life, when the Wild Man comes in the night".

But mythology isn’t abandoned on the B-side. The band takes the traditional English folk melody 'Greensleeves' and reimagines it through the musical lens of Ethio-jazz. Recorded live at the Archive Group Studios, the track exudes a dark, roomy atmosphere, drenched in unease and mystery courtesy of the wandering electric piano dancing above the hypnotic rhythm section and mesmeric groove of the distant Batá drums. This fresh reimagining taps into the ancient, cross-cultural lineage of the "Green Man" myth, a pagan symbol of rebirth and the power of the natural world, further blurring the lines between holiday cheer and the primal, elemental forces enshrined in our collective cultural memory.

After the band’s 'Palace Of A Thousand Sounds' was named 2023’s "Best Library Record" by PopMatters Magazine, their new 'Wild Man' 7” capitalizes on the same creative process that shaped their last record, while now exploring new conceptual territory. By drawing inspiration from archaic global folklore and again utilizing their peculiar recording techniques, W.A.G. has crafted a truly unique holiday offering that unearths the darker, more primal undercurrents of the Christmas tradition. The 'Wild Man' 7" is released as part of the Snowflakes Christmas Singles Club, pressed on snow-white bio-vinyl and limited to 300 copies.

The official soundtrack to Risk of Rain 2's second DLC "Seekers of the Storm" is coming to vinyl.

The new album includes 42 minutes of music written by Chris Christodoulou with the contribution of one piece by fellow Greek composer Stavros Markonis.

It will be available on limited edition 1xLP on blue / white / dark green / sky blue / black marbled vinyl, housed in a special gatefold sleeve with complementary artwork and design by Daniele Giardini.

„aboutJAZZ – Christmas“: Dieses Album vereint die schönsten Jazz-Versionen beliebter Weihnachtsklassiker und liefert damit eine stilvolle Musikbegleitung für die schönste Zeit des Jahres. Ob stimmgewaltige Titel wie Nat King Coles „The Christmas Song (Merry Christmas To You)”, sanfte Melodien wie in Norah Jones‘ „Christmas Calling (Jolly Jones)“, verspielte Töne mit Jamie Cullums „It’s Christmas“ oder eine märchenhafte Atmosphäre wie in Peggy Lees „The Christmas Waltz“ – dieses Album vereint die beliebtesten Weihnachtstitel mit dem vielseitigen Genre der Jazzmusik. Echte Klassiker und neue Interpretationen von Künstlern wie Gregory Porter, Laufey, Diana Krall, Frank Sinatra, Mel Tormé, Tony Bennett, Melody Gardot, Dean Martin, Ella Fitzgerald und vielen weiteren sorgen für ein rundum stimmungsvolles Musikerlebnis. „aboutJAZZ Christmas“ ist ab dem 22. November als 2LP, 2CD und Download erhältlich.

At long last! Finally on vinyl! Can Fifteen Great Christmas Songs be collected together on one lovely 12-inch vinyl disc featuring bands and artists from the Damaged Goods archives? …you betcha bottom dollar they can! Each song has been recorded with the Christmas spirit in full flow and we’d guess the odd mince pie was consumed along the way as well. The full-on Christmas feeling that is flowing through these wonderful tracks is a joy to behold and we implore you to not just read these sleeve notes but to go crimble-crumble-crazy and actually buy this record and treasure it, not only this year but for many years to come. We are very proud to have put this album together as Christmas is our favourite time of the year. We love the feeling at special Christmas gigs - the over-inflated people and prices of things and the way everyone just has to go out and drink as much as they possibly can in the name of the good old lord Jesus. We did this for you, and only for you because we really, really care and want to share the joy that only Damaged Goods Records can bring you at this special time of the year. So enjoy some great music from the likes of Will Billy Childish, Miss Holly Golightly, Helen Love, Goldblade & Poly Styrene, The Courettes and so many more and remember, this LP is not just for Christmas it’s for LIFE! Ian Damaged, National Elf

Who better to help you celebrate that most wonderful time of the year than holiday favorites Bad Religion? Tackling eight chestnuts in their classic punk rock style. From "White Christmas" with its nod to pioneers The Ramones, to the glorious choirboy intro to "Hark! The Herald Angels Sing," Christmas Songs is the record you need to get your holiday household"s toes tapping.

Stars align and Oli Heffernan brings his ever-(d)evolving Ivan The Tolerable to Riot Season for two LPs of sublime entropic drift.
Having this time recruited Christian Alderson (The Unit Ama) on drums, John Pope (Ponyland) on double bass, Kevin Nickles (Ecstatic Vision) on flute and saxophone and Ben Hopkinson on electric piano - both works were recorded as a quintet almost instantaneously, the players barely brushing or breathing a note before the whole thing was done.

The first LP, Vertigo, is all claustrophobic, dense and disorientating - like Sun Ra sitting in with Exploding Star Orchestra
Whereas the second LP, Water Music, is the music of lapping waves, becalmed, creaking hulls, circling birds and gentle winds. - Equal parts Laraaji and Natural Information Society
Bob Fischer (Electronic Sound Magazine) on ‘Water Music’
"A summer's afternoon daydream of an album. Beautifully soothing psychedelic jazz overflowing with raga delights...immerse yourself in its charms"

John Hubner (Complex Distractions) on ‘Vertigo’
“An expansive collection of free-flowing sound and mood bringing to mind Coltrane (John and Alice) as well as the great Albert Aylor, while touching on the forward thinking compositions of Rob Mazurek's Exploding Star Orchestra. From the titanic soundscape of "New Worlds On Earth" to the Marc Moulin touches of "Liquid Voices" and the mysterious eccentricities of "Swimming", 'Vertigo' hangs in the air long after the final note plays.”

Christmas is the most wonderful moments of the year, when we meet with family and friends,

and when we really want to have a nice time. Of course, music is essential to achieve this ambience. Christmas:

The Complete Songbook in vinyl format is an album ideal to liven up that special moment,

since it is an completely different album from those currently available. With an fantastic selection of artists,

ranging from Frank Sinatra and Louis Armstrong, to Belinda Carlisle, Gilbert O’Sullivan and Patti Austin,

they all delight us with fantastic versions of Christmas’ classics.

With an elaborate and eye-catching artwork and specially remastered sound for vinyl format,

this is a fundamental album for the upcoming Holiday season.

180 Gram Vinyl Get ready to spin some holiday magic with the Christmas Hits record! This festive collection is packed with timeless music from legendary artists like Brenda Lee, Connie Francis, Elvis Presley, The Beverly Sisters, and many more. Perfect for setting the holiday mood, this LP will keep every Christmas lover's spirits bright. Whether you're trimming the tree or sipping cocoa by the fire, let these iconic voices bring the joy of the season to your home.

180 Gram, Gold Vinyl Get ready to spin some holiday magic with the Christmas Hits record! This festive collection is packed with timeless music from legendary artists like Brenda Lee, Connie Francis, Elvis Presley, The Beverly Sisters, and many more. Perfect for setting the holiday mood, this LP will keep every Christmas lover's spirits bright. Whether you're trimming the tree or sipping cocoa by the fire, let these iconic voices bring the joy of the season to your home.

180 Gram Vinyl Make the holiday season unforgettable with All Time Christmas Favourites! This festive collection is the perfect soundtrack, featuring the beloved voices of Johnny Cash, Paul Anka, Bobby Darin, Harry Belafonte, and many more. Whether for hosting a holiday gathering or enjoying a quiet evening by the fire, these timeless classics will fill your home with warmth and joy.

180 Gram, Red Vinyl Make the holiday season unforgettable with All Time Christmas Favourites! This festive collection is the perfect soundtrack, featuring the beloved voices of Johnny Cash, Paul Anka, Bobby Darin, Harry Belafonte, and many more. Whether for hosting a holiday gathering or enjoying a quiet evening by the fire, these timeless classics will fill your home with warmth and joy.

Incomparable Northern Irish songstress Janet Devlin is poised to release her courageous country-rock album, "Emotional Rodeo," on 15th November 2024. Recorded at Martina McBride’s Blackbird Studio in Nashville with esteemed producer Roo Walker, tracked by Lowell Reynolds (Shania Twain, Boy Genius, Taylor Swift) and mixed mostly at Spotnick Studios by Grammy-Award winning producer/mixer Vance Powell, (Chris Stapleton, Jack White) Devlin captures the heartfelt essence of country-rock with an authentic edge, blending sharp, witty lyrics with themes of fearless self-empowerment.

"A sparkling mixture of American and British stars, featuring 23 of the biggest Christmas songs ever recorded. With Elvis Presley wishes you a “Blue Christmas”, the Drifters wishing you a “White Christmas”, a “Christmas Prayer” by Billy Fury, a “Christmas Present” from Solomon Burke, “Rockin’ Around The Christmas Tree” with Brenda Lee, “Twistin’ Bells” by Santo & Johnny, and the “Jingle Bell Rock” with Chubby Checker & Bobby Rydell. The Cadillacs sings “Rudolph The Red-Nosed Reindeer” and Chuck Berry “Runs With Rudolph”, Frankie Valli & The 4 Seasons “Saw Mommy Kissing Santa Claus”, Johnny Cash with his “Little Drummer Boy” and finally David Seville and the Chipmunks with “The Chipmunk Song”."

"A sparkling mixture of American and British stars, featuring 23 of the biggest Christmas songs ever recorded. With Elvis Presley wishes you a “Blue Christmas”, the Drifters wishing you a “White Christmas”, a “Christmas Prayer” by Billy Fury, a “Christmas Present” from Solomon Burke, “Rockin’ Around The Christmas Tree” with Brenda Lee, “Twistin’ Bells” by Santo & Johnny, and the “Jingle Bell Rock” with Chubby Checker & Bobby Rydell. The Cadillacs sings “Rudolph The Red-Nosed Reindeer” and Chuck Berry “Runs With Rudolph”, Frankie Valli & The 4 Seasons “Saw Mommy Kissing Santa Claus”, Johnny Cash with his “Little Drummer Boy” and finally David Seville and the Chipmunks with “The Chipmunk Song”."