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"First Noel is a Christmas album including 25 of the greatest classics as well as three exclusive new tracks I composed especially for the very first Christmas of my son, and in honor of my grandma Odette's last one, past year. The Christmas memories I have are full of wonderful moments, so I insisted on recording this album staying true to the magic of these instants.

First thing, I surrounded myself with 3 great friends of mine and long-time collaborators: François Delporte (guitar), Frank Woeste (piano) and Sofi Jeannin (choirmaster). Sofi has selected 8 singers with celestial, sublime voices. We recorded in two magical places: the studio of my friend Armand Amar - where I had the chance to work on my first albums (Babel Studios in Montreuil) - and the Church of Saint-Julien-le-Pauvre. The latter being the most ancient church in Paris - only a few meters away from the Notre-Dame Cathedral - has always been at the center of significant moments in our family history in France. My father was a sacristan there in the '60s. It is in the sacristy that he elaborated and worked on his trumpeter career. My aunt Hind - whom I loved - also a pianist, and my beloved grandmother, Odette, both had their funeral in this church. It is also in this same church that I got engaged and married… So many milestones.

After recording many albums, I felt it was the right time for me to share my versions of those great Christmas classics, by giving them a much less childish dimension and a more musical, also spiritual one, but still preserving their subtle and necessary fragility, specific of children's music or of those great classics renowned and sang all over the world. I was hoping that First Noel would not be yet "another" Christmas album, with Frank Sinatra-like crooners and Hollywood-style arrangements. Instead, a simple, humble, instrumental album, in the original meaning, without lyrics, allowing the melody to be at the center of it all. Soothing music to dream, to reunite us, regardless of our mother tongue, our age, our culture and more importantly regardless of our religion.

That is how Odette viewed things, and this is also the way I wish Nael and Lily, my children, would listen to the world."

Cinedelic Records continues on with the release of yet another Paolo Vasile gem, and that is his score to Antonio Margheriti’s 1975 poliziottesco, Controrapina (The Rip Off) starring Lee Van Cleef. This soundtrack runs the gamut from strumming guitar and vocal numbers, to straight up dancefloor heaters. This beautifully produced record incorporates smooth sax, disco strings, wah guitar, and a driving beat — all the essential elements of a first rate 70s Eurocrime soundtrack. This release will be pressed in a run of 400 copies: 400, All will also include a super cool promotional .45 caliber pistol cut-out! (Alfonso Carrillo)

Clear Vinyl

Perc returns to Perc Trax with an EP designed to capture the energy and chaos of rave without relying on the same classic sounds that have been in constant use since the early 90's. 'Greed Dance' is Perc's first full EP in 14 months, following 'Fire In Negative' on Perc Trax back in September 2020. Since then Perc has pushed through lockdown with an intense production regime resulting in tracks being signed to Lebendig, Possession, RAW and Rote Sonne, as well as this EP for Perc Trax.

Originally started at Christmas last year, lead track 'Greed Dance' started life as an anger fueled full vocal track aimed squarely at the hypocrisy of certain sections of the dance music industry, but over time has been stripped down to a tight rhythm track with sparse vocal elements reflecting a change of mood as the UK's clubs and events were finally allowed to open again this summer.

B1 ' Resistor' takes a similar approach as previous Perc release 'Toxic NRG', looking to squeeze maximum dance floor drama out of a small group of continually tweaked sounds. Finally B2 track '240 Volts' layers rapid fire organ arpeggios over a rock solid kick & bass foundation to create something fresh for both Perc and techno in general.

'Greed Dance' will be released on limited edition cola bottle green 12" vinyl, packaged in a full colour double-sided sleeve designed by regular Perc Trax design crew Adult Art Club. The EP was written & produced by Perc at his home studio and mixed down by Perc at MAP Studios in London. The EP was
mastered by Matt Colton at Metropolis, London

Strut presents the 1973 Egyptian jazz classic, 'Egypt Strut' by Salah Ragab and Cairo Jazz Band. The vinyl album is released in its original Prism Music Unit artwork.

Inspired by a concert in Cairo by Randy Weston in 1967 encouraging Pan African unity, drummer Ragab, Eduard “Edu” Vizvari, a Czech jazz musician, and Hartmut Geerken of Goethe Institut vowed to create Egypt's first jazz big band. Following the Arab-Israeli war, Ragab became a Major in the Egyptian army and had unparalleled access to the military's 3000 musicians spanning Upper and Lower Egypt, along with a wide range of instruments. Part of the barracks were christened the Jazz House and, following a crash course in jazz history by Geerken, the Cairo Jazz Band was born, playing their first concert at Ewart Memorial Hall at the American University in 1969. Further inspired by Sun Ra & His Arkestra's first visit to Egypt in 1971, Ragab recorded an album for the Egyptian Ministry Of Culture a year later, entitled ‘Egyptian Jazz’, later released as 'Egypt Strut', a perfect fusion of jazz with Arabic modes with tracks referencing Islamic festivals, Egyptian landmarks and friends and family dear to Ragab. The
Wire’s Francis Gooding summarises the album as “esoteric African American Egyptianism and radically spiritualised modal jazz taken up by
Ragab as the tool for a form of mystical Egyptian nationalism – a triumphalist military jazz, angled in Ra-like fashion towards the Gods of the New Kingdom.” The vinyl album is released in its original Prism Music Unit artwork and is packaged with the original house bag designs. CD version includes extra unreleased tracks and a 24 page booklet featuring unseen photos and extensive liner notes by Francis Gooding (The Wire)

Recommended If You Like: Elliott Smith, Hand Habits, Chris Cohen, Sam Evian, Wilco, Bright Eyes, The Magnetic Fields. Press Quotes/Selling Points: "Stewart Bronaugh sings cool and steady about his close experiences with death, what it means to endure your losses, and the gift of being able to recognize the most real love in your life." Angel Olsen. "Spiral Groove" delivers us singer-songwriter Stewart Bronaugh at the height of his artistic powers both visually and sonically. This album is studded with stories of mortality, challenges of addiction and sobriety, and the romance of a lifetime. Recovering from a seizure, Bronaugh’s sudden awareness of the limits of his own body was a “psychedelic experience” that shifted his perspective wildly. No longer “bulletproof, ” Bronaugh splits himself wide open on Spiral Groove, encapsulating all of our existential questions into tidy love songs. You’ll find pianos, string quartets, slide guitar, buzzing synth lines, and plenty of room to breathe. Each song is like a painting you can disappear into, a somber and hopeful spell for life after the end of the world

Recommended If You Like: Elliott Smith, Hand Habits, Chris Cohen, Sam Evian, Wilco, Bright Eyes, The Magnetic Fields. Press Quotes/Selling Points: "Stewart Bronaugh sings cool and steady about his close experiences with death, what it means to endure your losses, and the gift of being able to recognize the most real love in your life." Angel Olsen. "Spiral Groove" delivers us singer-songwriter Stewart Bronaugh at the height of his artistic powers both visually and sonically. This album is studded with stories of mortality, challenges of addiction and sobriety, and the romance of a lifetime. Recovering from a seizure, Bronaugh’s sudden awareness of the limits of his own body was a “psychedelic experience” that shifted his perspective wildly. No longer “bulletproof, ” Bronaugh splits himself wide open on Spiral Groove, encapsulating all of our existential questions into tidy love songs. You’ll find pianos, string quartets, slide guitar, buzzing synth lines, and plenty of room to breathe. Each song is like a painting you can disappear into, a somber and hopeful spell for life after the end of the world

Mike Pride was not a fan of legendary punk band MDC – a straight-edge hardcore devotee, you could even say he had a chip on his shoulder about this more mainstream, less disciplined form of punk – when he suddenly found himself on a tour of Europe as their drummer sometime in the early ‘00s. Twenty years later, now a longtime fan and friend of the band, Pride unexpectedly turns to the band’s raucous catalogue as a source for jazz standards on his warped new album, I Hate Work. I Hate Work draws its material exclusively from MDC’s iconic 1982 debut album, Millions of Dead Cops. Despite his long established passion for bringing the extremes of hardcore and heavy rock into the jazz and improvised music realm (and vice versa), Pride instead does the unexpected, transforming MDC’s pummeling punk into swinging acoustic jazz. For the occasion he enlisted pianist Jamie Saft and bassist Bradley Christopher Jones, both master re-interpreters of a wide swath of pop and rock music, as well as special guests Mick Barr (Ocrilim, Krallice), JG Thirlwell (Foetus), Sam Mickens (The Dead Science) and MDC frontman Dave Dictor.

New purple splatter repress of ‘Monsters’, the latest album
from US-based duo The Midnight.

Having gone from online cult fascination to selling out
London’s Roundhouse, The Midnight’s ‘Monsters’ debuted in
the UK Top 100 Album Chart on release, ahead of a sure-tobe-sold-out tour that includes headining Brixton Academy.

The album finds lyricist, guitarist Tyler Lyle and
instrumentalist and producer Tim McEwan creating a
sweeping sound that fuses Americana archetypes with an
evocative electronic palette referencing synth-driven film
scores, deep house, pop and rock.

‘Monsters’ (released via Counter Records - Maribou State,
ODESZA) sees a continuation of The Midnight’s immersive
world-building that has attracted a rabid fanbase. From the
album artwork to the song titles, the record excavates
teenage emotions through nostalgic touchstones - the early
internet, VHS tapes, PlayStations, movie posters - to
recreate the thrilling and crushing experiences of those
tumultuous years.

For fans of Kyle Dixon (‘Stranger Things’ OST), The 1975,
M83, The Weeknd, Muse, Chromatics, Hot Chip, Chvrches.

Fans of the band also include actor Chris Evans (‘The
Avengers’, ‘Captain America’) and legendary producer
Quincy Jones.

“Big soundscapes, dreamy vocals, and saxophone solos - for
years.” - BBC Newsbeat

2LP pressed on 140g purple splatter vinyl in a gloss
varnished gatefold sleeve with printed inners plus digital
download code.

In 2019 Christian Savill found himself alone and with a year off from playing guitar for his grown up band Slowdive. He started writing and demoing songs with no particular plan. From 2001 he had recorded with longtime friend and collaborator Sean Hewson as Monster Movie releasing several albums on Graveface Records. These new ideas felt different in that they’re more personal and honest.
Christian sent these sketches to good friends and multi instrumentalists, Ryan Graveface (Dreamend / The Casket Girls) and Steve Clarke (The Soft Cavalry) and Beachy Head was formed. Ryan and Christian put flesh on the bones in Savannah just before Covid struck. Matt Duckworth (Flaming Lips) added drums. In between lockdowns back in the UK Steve added harmonies and other instrumentation. The final touch of recording was Rachel Goswell (Slowdive / Mojave 3 / The Soft Cavalry / Minor Victories) contributing vocals on a few songs.
Beachy Head is a chalk cliff in Sussex. It’s one of Britain’s most popular beauty spots but also a notorious suicide spot.

"Circuit" is a recorded document of improvised music and the inaugural release on Pattern Dissection — an independent record label, radio show and concert organiser from Berlin. Dag Magnus’s down-tuned drum set builds the ground for relentless legwork and hectic wrestling, shaking the floor when confronted with Farida’s high string slaps on the bass guitar, which they occasionally swap for droning vibrations and scorching fingerpicking, neither shying away from a heavy riff nor stripped back momentum. Liz’s synth is an idiosyncratic creature of its own, birthing sounds rarely graspable but utterly fascinating, swift in taking turns and always one step ahead of any expectation.

Recorded on July 28th 2020 in Berlin at their second meeting as a band, that was initiated by a live gig six months earlier. All music was improvised and performed in a room with six microphones.

Mixed by Christoph Berg & mastered by Stephan Mathieu. Lacquer cut by Mike Grinser. Pressed at Pallas on 140g vinyl, wrapped in a 350g reverse-printed cardboard sleeve with A6 photo-card inside, including a download code. Artwork by Talita Santos & design by Espacioblanco. Photography by Stefan Lingg.

Built around the successes of his soundtracks and songs for the movies of Christophe Honoré, Alex Beaupain’s profile in the ‘chanson française’ landscape is quite unique. Beaupain alternates between soundtracks, songs he writes for others (mainly great French actresses) and his own solo albums.
In march 2021, Beaupain paid tribute to the late Serge Gainsbourg for the 30th anniversary of his passing during a special live on air event where he covered in full, with the Radio France Philharmonic Orchestra, Gainsbourg’s penultimate shocking album from 1984 : Love On The Beat.
This experience led him directly in the studio with Saint DX as producer, the French American duet Faux Real singing backing vocals and a full string section to re-record this cult album with a 2021 twist. He had also dreamed of covering that particular album that had so much impact on him, musically and lyrically, when he first discovered it. The 80s funky sound of the record, produced by Billy Rush, was a new start for Gainsbourg and at the time, the lyrics schocked everyone but achieved to avoid any censorship.
“I was 10 when Love On The Beat was released in 1984. Covering the full album was an idea I always kept somewhere in my mind as I was fully aware of the long lasting impact this particular record had on all the teenagers at the time. This collection of songs is far from being the most covered or talked about works form Gainsbourg, but I’ve always had the feeling they were ‘mine’. That everything started there for me and that, one day or the other, I would have to come back to it.” (Alex Beaupain)

What's the connection between one of the rarest and most in-demand gargae rock records of the 1960s and Christina Aguilera, and why is it coming to Acid Jazz?
For many years and many a bootleg the snarling imperious Stones or Yardbirds influenced groove of The Illusions 'City Of People' has been sought after and coveted by garage rock collectors. The Illusions released one single, on the tiny Michelle label and today any copies that appear easily sell for North of £1000.

So far, so typically Garage. However there is a backstory to the release that explains why the record never sold at the time of release. The record was produced by Bobby Marin, a Nuyorican, who at the time was stationed in Michigan on his National Service, and who would later go on to record some of the biggest names in Latin Music, first for the cult Speed label and then for United Artists and various of his own labels. In the early 2000s his 'I'll Be A Happy Man' was sampled by Christina Aguilera on her smash hit 'Ain't No Other Man'.
At the end of 2020 Bobby found the master tape of The Illusions single - including the Byrdsian B-side. This legal reissue a fresh mastering from those tapes, bringing out the intensity of the recording, and we have released it on a look-a-like Michelle label.

Aarhus (DK) based MØL blend swirling guitars and hissing vocals with the dreamy ambience of shoegaze to form a unique blend of soundscapes and crushing passages. Inspired by bands like My Bloody Valentine, Slowdive, Drop Nineteens, Lantlôs and Alcest, MØL released their self-titled debut EP back in 2014. A year later, the band had perfected their sound on their second EP "II", produced by Jacob Bredahl and released in 2015. Both EPs were very well received and drove them on to do some empathic live shows, which were praised by press and helped establishing a dedicated audience. In 2018, MØL made an international breakthrough signing with Holy Roar Records (UK) who released their debut album “JORD” to critical acclaim. Recorded at Grapehouse Studios and mixed and mastered by Chris Kreutzfeldt, “JORD” gained massive media acclaim turning MØL into one of the most talked about Danish metal newcomers in recent years. The album was also released as an instrumental version and in 2019, the band re-released their two first EPs, remastered for CD and vinyl. On November 5th, 2021, MØL now return with their second studio album, “DIORAMA”, the group’s first for Nuclear Blast Records. Recorded and mixed by Tue Madsen (Gojira, Meshuggah, Heaven Shall Burn), the band has successfully developed its captivating, aggressive sound even further. Brace yourself for a ferocious yet melodic blackgaze monument! Praise for ‘JORD’: “It’s epic and stirring stuff. Absolutely crushing” - Daniel P. Carter , BBC Radio1 Rock Show “JORD is one of the exhilarating blackgaze albums to drop in a long time” - Metal Hammer “JORD has received unanimous praise and has immediately seen them heralded as one of the greatest examples of the blackgaze movement” - The Independent UK “By far one of the genre’s most accomplished records” - KillYourStereo

Lists and nomations for “JORD” Metal Hammer - #12 on “The 50 Best Albums of 2018” Loudwire - #19 on “The 30 Best Metal Albums of 2018 Kerrang! - #17 on “The 50 Albums that Shook 2018” Kerrang! - Music video for Bruma on “The 12 Best Music Videos of 2018” The 405 - #20 on Top 50 Albums of 2018 Distorted Sound Magazine - #2 on “Top 20 Albums of the Year” WhatCulture - “10 Best New Heavy Metal of 2018” GAFFA Awards 2019 – Nominated for “Best Metal Album of the Year”

Fela Kuti (1938-1997) was a Nigerian musician,
producer, arranger, political radical and outlaw, and the
originator of Afrobeat. A titanic musical and sociopolitical
voice, Fela’s legacy spans decades and genres,
touching on jazz, pop, funk, hip-hop, rock and beyond.
 After graduating from Trinity College of Music (now
Trinity Laban Conservatoire of Music and Dance) in
London, Fela returned to Nigeria with his band Koola
Lobitos. Fusing the sounds of Jazz and Funk with the
traditional African music he had been raised on, his star
status began to flourish.
 EMI, his label at the time, saw the true power of his
musical creation, what we now know as Afrobeat, and
brought Fela and his band back to London. The result
was ‘London Scene’. While recording, Fela began his
friendship with Ginger Baker, who plays uncredited on
the track ‘Egbe Mi O’.
 ‘London Scene’ is the beginning of what would become
Fela’s signature Afrobeat style and serves as a great
introduction to Fela’s music. Recorded and remastered
at none other than Abbey Road Studio.
 This 50th Anniversary edition of the classic Fela album
comes on red, blue and white splatter vinyl, with a gold
foil obi strip that will be the hallmark of all of the Fela
50th Anniversary reissues.
 Liner notes by the legendary Chris May.
 Fela recently came in second place, behind Tina Turner,
for the fan vote for the Rock & Roll Hall of Fame
nominations and received great press coverage in NY
Times, Rolling Stone, MOJO, Record Collector and
more.

Nair Mirabrat is a Uruguayan ensemble led by the composer Martín Ibarra. The candomberos of Montevideo are dressed in the infinite colors of the world and they immerse themselves in the world of song and dance, building bridges between the inside and the outside. "Juntos ahora" is built based on the myth of the hero and his journey through the symbolic labyrinth. Death, time and place are the themes where the lyrics wander. DESCRIPTION Martín Ibarra and his Nair Mirabrat ensemble bring a garden variety of electrifying rhythms with "Juntos ahora", fusing together elements of candombe fusion, jazz, and pop. Deep in the Montevideo music scene, Nair Mirabrat effortlessly transcends genres and local tradition bringing forth a new era of influence as they revel in the bliss of Ibarra's soaring vocals over tropical rhythms. Ibarra and crew are a modern-day mixture of Jaime Roos, OPA, Hugo Fattoruso and Eduardo Mateo with their explorative, forward-thinking passion of keeping it 100% Uruguay. Chris J. Morris

Carwyn Ellis from Cardiff/Wales is a singer, songwriter, composer, arranger, multi-instrumentalist and record producer. He fronts Colorama, formed the Welsh folk group Bendith and hosts a regular themed radio show on Soho Radio. In 2019, Ellis embarked on the first project under his own name, Carwyn Ellis & Rio 18. Sung in Welsh and recorded mainly in Rio de Janeiro, the album, "Joia!" was nominated for the Welsh Music Prize and followed by "Mas" in early 2020. The new album "Yn Rio" is a collection of new songs recorded in Cardiff together with The BBC National Orchestra Of Wales.

In 2017 Carwyn Ellis joined the touring line-up of The Pretenders. For Ellis, a record collector and fan of Brazilian music, the opportunity to tour South America would present opportunities he couldn't have possibly imagined when he accepted Chrissie Hynde's invitation. "The first place we went to was Rio and by the time I met Chrissie for breakfast the day after our gig, I already had a bag of albums I'd just bought. I'm sitting with her and she says, 'You should meet my mates, and do something in Welsh with them! Nobody's done a Welsh language album with Brazilian musicians?"

In 2018, when Alexandre Kassin, a leading light in that Brazilian scene announced a show in London, Hynde suggested that they see it. "I met him afterwards," Ellis recalls, "and we hit it off straight away." Within weeks, Ellis was on a plane to Rio with songs that would form the basis of the first album. This creative purple patch extended into another album released early in 2021 with Carwyn working once again with Kassin plus long-time friend Shawn Lee. The songs on "Mas" drew on the environmental threats that face both Wales and South America, spidering out around the central theme of water ("rains, no rain, droughts, rising seas and flooded valleys for corporate gain. We're screwed without it and screwed if there's too much").

With "Mas" recorded but weeks away from release, Ellis received a call from Gareth Iwan Jones, head producer of BBC Radio Cymru, offering a third album to be performed in March 2021. Ellis started to reflect upon the life-changing events triggered by his South American adventures. The Welsh word 'hiraeth' which describes the longing that Welsh people feel when they're far from home, was something that he was now beginning to feel for Rio de Janeiro: "'Yn Rio' is based around a day in Rio," he explains. "The events of 2020 influenced the record inasmuch as I wanted it to be a complete antidote to what was going on. If you couldn't go on holiday in real life, you could at least put this record on."

The first single "Olá!", incorporating Jorge Ben's spirit in the chorus and rhythmic breakdown, manages to sound languorous and euphoric. "Cariad, Cariad" was a Portuguese folk poem brought to Ellis' attention by Sonya from Quarteto em Cy and arranged by Christiaan Oyens. "Tristwch 20" is a nod to "Foot and Mouth 68" by Gorkys Zygotic Mynci from "The Blue Trees", 'one of the most beautiful albums of all time', while "Ynys Aur" is named after a 1929 book by Welsh missionary J. Luther Thomas written on returning from his travels to Papua New Guinea. With Kassin unable to participate, Ellis thanks him by translating his "A Paisagem Morta" to create "Y Bywyd Llonyd". For Carwyn Ellis "Yn Rio" is an extraordinary memorial to extraordinary times."There are some days so idyllic you just want tobe able to jump back into them at the touch of a button. That's what I was searching for when I was writing these songs."

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca Records
to become the first Artist signed to the new Geffen Records label.
• The third album released for the label was 1984’s “CATS WITHOUT CLAWS”, which was produced by
Michael Omartian, who followed-up his production duties on “She Works Hard For The Money” by giving
the album a mid-80s dance/pop themed sound. The album includes the singles ‘Supernatural Love’, ‘There
Goes My Baby’ and ‘Eyes’.
• “CATS WITHOUT CLAWS” reached the Top 30 in several countries across Europe, also becoming a Top 40
album in the USA and Japan.
• Michael Omartian’s production credits include albums with Michael Bolton, Peter Cetera, Christopher
Cross, Amy Grant, Whitney Houston, The Jacksons, and Rod Stewart. Alongside Quincy Jones, he coproduced USA For Africa’s 1985 No. 1 hit, "We Are the World".
• Donna won a Grammy Award for Best Inspirational Performance for the album’s final track, ‘Forgive Me’.
• This special edition revisits the original album on 180g Pink Colour vinyl.

J. Worra continues to breathe life into the house scene with her captivating new tune ‘some ppl fall’. A notable shift in sonics from J. Worra, this track oozes with excitement, showcasing her diversity and unique talent with its quick tempered beat and seductive melody that lures you to the dance floor and makes it impossible to leave.


DJ Support:

Round Table Knights, Riva Starr, Kyle Watson, Worthy, Sam Divine, David Penn, Christian Martin, CRAZE, Roger Sanchez, Jamie Jones, Todd Terry, Ferreck Dawn

HARDCORE UPROAR* over 80 of the freshest Hardcore Anthems from 3 of the biggest brands in the hardcore / hard dance scene written especially for this Brand New Compilation series, going back to the original ‘Bonkers’ style mixed CD format, featuring Uproar Creator, and one of the biggest names in Hardcore History DJ Seduction alongside 24/7’s owner / creator Al Storm, Rob IYF (one of the biggest new talents to come through the Hardcore scene) showcasing the latest 24/7 Hard Dance / Hardcore project ‘Voodoo Panda’ and 2 Rave Legends DJ Stompy & Darren Tyler (Bananaman / Silk Cuts / JHAL etc / Fade & Bananaman etc) join forces with Eazyvibe for a 28 track feast of happiness

Featuring Fresh Dubs from artists such as, Scott Brown, Bang!, Al Storm, Rob IYF, DJ Seduction, Darren Tyler, Alaguan, Chris Fear, Euphony, DJ Stompy, UFO, FREQ-DLT, Eazyvibe, AK47, Fracus & Darwin, M-Project, Daniel Seven, MKN, Hartshorn, EZKill, Bananaman and more.

As the title suggests, the album consists of reworked versions of previously released Nat King Cole classics, with a few key elements:  5 newly recorded duets with John Legend, Calum Scott, Kristen Chenoweth, Gloria Estefan, and Johnny Mathis. Nat’s vocals have been extracted and restored from the original recordings on all tracks, with new arrangements and recordings for the orchestral accompaniments on all tracks.

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

This career-spanning 3CD & 4LP collection (1970-1998), showcases the immense musical talents of Keith Emerson, Greg Lake and Carl Palmer.

The Anthology was produced in association with all three band members and the booklet contains extensive liner notes with new band interviews by legendary rock journalist Chris Welch.

The audio was mastered by world renowned rock studio engineer Andy Pearce.

Featuring tracks from all of their original albums: Emerson, Lake & Palmer, Pictures At An Exhibition, Tarkus, Trilogy, Brain Salad Surgery, Welcome Back My Friends To The Show That Never Ends, Works Volume 1, Works Volume 2, Works Live, Love Beach, Live At Nassau Coliseum ‘78, Black Moon, In The Hot Seat, Live At The Royal Albert Hall, Then & Now. Includes their global hit singles ‘Fanfare For The Common Man’ and ‘Lucky Man’.

Richard Ashcroft is set to release the new album ‘Acoustic Hymns Vol. 1’ on October 29th via RPA / BMG. The album features twelve newly recorded acoustic versions of classic songs from his back catalogue spanning both his solo career and his time with The Verve.



ABOUT



After lockdown was lifted, Richard decided to start the project as a way to reunite the community around him, bringing a selection of great musicians and old friends back together again. As the project took shape, they discovered just how varied their new approaches could be. Some of the arrangements proved to be timeless and remained similar to the originals, with years of experience and a new found passion that saw Richard’s vocals express a fresh empathy within their lyrics. Meanwhile, other songs took on a new shape in this stripped-back set-up.



The rebirth of the iconic ‘Bittersweet Symphony’ was an emotional moment for Richard. It felt particularly poignant re-recording a song that he had written almost twenty-five years ago, especially as it's now officially his composition after Mick Jagger and Keith Richards relinquished their writing credits to him.

Another big moment comes with the new version of ‘C’Mon People (We’re Making It Now)’, a duet with Richard’s old friend Liam Gallagher. The pair have often talked about recording or performing the song together since it was first released in 2000, and now it’s finally happened - the sheer energy and delight that they shared during the session is palpable as the new recording beams with a joyous feeling of optimism.



‘Velvet Morning’ is another track that has been transformed. The vocals on the original version, as featured on The Verve’s classic ‘Urban Hymns’, were sung via a megaphone that Richard had purchased from a car boot sale the day before the recording session. Now Richard’s vocal really shines as it unleashes the song’s full magnitude.



The biggest surprise on ‘Acoustic Hymns Vol. 1’ is the inclusion of ‘This Thing Called Life’, a song which Ashcroft has rarely played live. It was originally recorded with No I.D. in the USA as a highlight of his soul-tinged RPA & The United Nations Of Sound project. Now taken back to basics, the new arrangement reveals a song that feels perfectly at home alongside Richard’s most highly regarded work.



Produced by Richard with regular collaborator Chris Potter, the album features his regular live band boosted by some special collaborators. Wil Malone provides the string arrangements, which were recorded at Abbey Road Studios. In addition, Chuck Leavell (The Rolling Stones, The Allman Brothers) performs piano, Roddy Bloomfield leads the brass section, and Steve Wyreman (Leon Bridges, Vic Mensa) contributes acoustic guitar and backing vocals.



Richard Ashcroft recently announced details of four special shows, each billed as “An acoustic evening of his classic songs.” After quickly selling out two nights at London’s Palladium, he subsequently added two bigger shows at the Royal Albert Hall and the M&S Bank Arena in Liverpool to fulfill huge public demand for tickets. He will play:

Mad Not Mad is the sixth studio album by Madness. Originally released in September 1985, it marked a departure from the band’s original line-up, with keyboard player Mike Barson taking a break from the group after an astonishingly successful run of five hit albums in as many years.

Style-wise Mad Not Mad presented a more polished side of Madness and contains some of their most sophisticated and political song-writing. The first single, ‘Yesterday’s Men’ finds the band in a smooth, reflective mood, dealing with the dispossessed characters in and around Camden Town, and ’Sweetest Girl’ is a cover of the iconic Scritti Politti track, while ‘Uncle Sam’ is a classic Madness romp relayed through the narrative of a soldier’s experiences during World War II.

Within a few weeks of its initial release, NME listed ‘Mad Not Mad’ at number 55 on their list of the “100 Best Albums Of All Time” and it remains in its 2015 list of the “50 Best Albums Released in 1985”.

This LP reissue is pressed on 180g black vinyl and features brand new liner notes by Chrissy Boy, Chas Smash, Woody and Lee Thompson.

For years fans have been eagerly waiting for the release of ‘The Awesome Album’ by Pawnee, Indiana rock band Mouse Rat.
The band is fronted by Parks and Recreation Shoeshine Department Employee Andy Dwyer (Chris Pratt), who has led many local acts through the years such as Angelsnack, Everything Rhymes With Orange, Department of Homeland Obscurity, Just The Tip and Scarecrow Boat, among others.
The hits are all here: “5,000 Candles In The Wind,” “The Pit,” “Two Birds Holding Hands,” “Catch Your Dream (feat. Duke Silver)” and two additional tracks by the Scott Tanner (Jeff Tweedy)-fronted band Land Ho!. ‘The Awesome Album’ is sure to satisfy the millions of Mouse Rat fans across the globe. The Awesome Album features music from the Universal Television original series Parks and Recreation.

Since its beginnings in Jamaica in 1959, the story of the pioneering Island Records label has been inextricably linked to the story of its founder, Chris Blackwell. Now, Blackwell has curated a series of compilation LPs featuring his hand-picked tracks that correspond with his and Island's legendary history. On October 29, Island Records / UMC will release the third volume of The Vinyl Series, an 18-track double LP compiling some of the label's key releases of the late 1960s and early '70s. Volume One included pivotal songs from 1962 to 1969, and Volume Two, released over the summer, covered the years 1969 to 1973. Taken together, the sets explore the wide-ranging highlights from Island's remarkable and extensive catalog. This volume of The Vinyl Series includes material which remained rooted in the folk and acoustic-based styles that were crucial to Island's foundation. That side of the label's history is represented by Nick Drake's "Way to Blue" (from his first album, Five Leaves Left) and "Late November" by Sandy Denny, which first appeared on a 1971 label sampler. But it was Cat Stevens who was identified most commonly with Island in the U.K.—he "continued to be Island's biggest seller," notes Blackwell—and this album contains his 1971 global smash "Morning Has Broken," an adaptation of a Christian hymn.

On “First Flight REDUX,” Dave Harrington takes a scalpel to the multi-tracks of "First Flight" (LP/DL, Algorithm Free) remixing the raw material into something else entirely.

Originally recorded live at Nublu, September 20, 2019, "First Flight" documents the first and (thus far) only meeting of Chris Forsyth, Dave Harrington, Ryan Jewell, and Spencer Zahn as part of Forsyth's residency at the club that month.

Harrington's dub, created in his Los Angeles studio uses the original tracks improvised live by the group and incorporates loops and samples plus a variety of additional keys and synths, bass guitar, percussion, congas, pedal steel, bamboo flute, the Turkish stringed instrument cümbüş, and the North African double reed instrument ghaita, all played by Harrington himself.

While the light of the original performance recognizably shines through the canopy of new sounds in certain places, “First Flight REDUX” is radically reconstructed into something totally NEW. It’s very much its own album, related to and derived from “First Flight,” yes, but venturing into areas unforeseen in the original document, suggesting some kind of a party with “Live/Evil” blasting on one set of speakers,“Midnite Vultures” on another, and a Turkish psych band jamming in between.

Wasted Cathedral is the solo project of Saskatoon-based musician Christopher Laramee (Shooting Guns, The Switching Yard, and The Radiation Flowers). This new album is the latest in an impressive line of releases that have explored a variety of sounds, from ambient drone and electronic disco to experimental chaos and downtempo electronica. I'm Gonna Love You 'Til The End Of Time is made up of seven songs and is undoubtedly influenced by the starkness of the Canadian Prairie and long Saskatchewanian nights. It serves well as a soundtrack to the setting of any number of listening experiences, particularly when experienced with headphones. No matter the direction Laramee has chosen to guide Wasted Cathedral, the result has always been intriguing and captivating. I'm Gonna Love You 'Til The End Of Time is certainly no exception.

Laramee describes Wasted Cathedral as incidental music, improvised soundscapes created in passing moments, like musical snapshots. This makes perfect sense, considering the likes of Sarah Davachi, Peter Kember, Terry Riley, and Augustus Pablo inform Laramee's approach to composition, as well as tone-setting and mood. According to Laramee, this collection of songs is a continuation of his previous work, albeit in a more stripped down fashion.

Wasted Cathedral is recommended for listeners of Flying Saucer Attack, DJ Shadow, Spectrum/Sonic Boom, Spiritualized, and Portishead.

Working the sound of metropolitan life with a good glimpse of dystopia – rough, loud and with no mercy. With their new release Metropol, the techno duo 7Function stands up to its past releases fulfilling all expectations of a truly handmade piece of techno music.

Clearly, Snork Enterprises is the perfect home for this kind of sound, which has been produced in a heavy basement session with real hands and real hardware by the two artists Christian Quast and Christian Schachta. Adequately, “Metropol” is available with four tracks on vinyl. As the basement session has been quite productive, the digital release includes three additional tracks. Speaking of the titles of the tracks, as usual with 7Function they come with a certain dystopian message that perfectly fits the dirty underground sound.

A new label from Kinfolk records founder - and a 14 of a Soft Rock - Christopher Galloway is upon us.

This first release sees the beautiful sounds of Torn Sail/Huw Costin revamped by the mighty production force that is Mark Rayner and Matt Horobin, aka Shrinkwrap.

Shrinkwrap are a production team that have been in the wilderness for a number of years but are much lauded by The Idjut Boys - amongst others - which has seen them release on Discfunction and U-Star.

Being close friends with Huw Costin, they decided to get together and re-work the track Gain On Gains that featured on Torn Sail's 2017 long player, This Short Sweet Life.

These two re-works see Shrinkwrap take the original into an extended/after-hours bliss out of epic proportions and an ambient dub.

Added to the package is an unreleased on vinyl mix of Costin's Disconnected cut from 2015. This is a more folk-infused affair that once again ventures into epic territory thanks to the production skills of Rayner and Horobin.

A lovely EP to kick off this new label.

Watch this space...

Ein Weihnachtsalbum zwischen sentimentalen Pop-Balladen, Witz, Swing und Charme präsentiert Darren Criss, multitalentierter Sänger, Songwriter, Emmy- und Golden-Globe-prämierter Schauspieler und
Broadway-Star. Seine Fans lieben den gutaussehenden jungen Mann für seine Rollen in ”GLEE”, ”VERSACE: AMERICAN CRIME STORY” oder ”HOLLYWOOD”.
Jetzt erfüllt sich Criss einen Wunsch mit einem Weihnachtsalbum, das zwischen Pop und Swing a’la
Dean Martin allerbestes Entertainment unter dem Weihnachtsbaum verspricht. Sein erstes Album in voller
Länge besteht aus Originalsongs und kreativen Neuinterpretationen klassischer Weihnachtshits. Als Gäste
hat er Adam Lambert, Lainey Wilson und Evan Rachel Wood zur Weihnachtsparty geladen.

In 1994 Come responded to the difficult-second-album stereotype with the hypnotic, intense and emotional masterpiece 'Don't Ask Don't Tell'. Featuring the original line-up of Thalia Zedek, Chris Brokaw, Sean O' Brien and Arthur Johnson, the Boston band broadened their sound by slowing down the tempos and creating a dense urban stream of consciousness that mixes noise, city blues and_ catharsis. The album hits you immediately as one of the greatest dissident records ever made. Lovingly remastered, this expanded edition includes 'Wrong Sides', an additional albums worth of b-sides and unreleased tracks, including the band's very first single 'Car' and their last recorded song, 'Cimarron', featuring this core line-up. These gems showcase the rawness and incredible growth of a band completely in command of their songwriting and at the same time paying homage to some of their punk roots with beautiful renditions of Swell Maps 'Loin Of The Surf' and X's 'Adult Books'. Also Includes new artwork with unearthed photos and fresh liner notes by the band. Dissident from traditional rock this is a band playing music that thematically and structurally seems to pull from old Europa, from Eastern folk and modernist classical music as much as US and UK rock. Dissident from traditional ideas about singing and songwriting Thalia's (ex of Live Skull) presence on songs like 'Yr Reign' and the astonishing closer 'Arrive' isn't the pushy self-aggrandizement of a lead singer but the internal voice of the eternal migrant, someone who knows about survival, hiding, how living between multiple worlds can become its own refuge of distance, its own sanctuary of unbelonging Don't Ask Don't Tell emerged from a period of cohesion, a break from the tight and hectic touring schedule Come had been plunged into after the acclaim accorded 11:11, and you can hear that increased focus in every moment the layers of guitars and feedback are even more precise, the structuring of songs takes on a new openness and ambition, and the whole narrative arc of the record from 'Finish Line' to 'Arrive' is more exquisitely realised and sequenced. "The songs on Don't Ask Don't Tell . . . had a kind of magic we didn't necessarily control ourselves." Chris Brokaw - interview with Neil Kulkarni, 2013. "Devastating, with slow, burning songs that shudder and wince" NY Times

Third album from Pablo Infernal. Altin Asllani, Fabio Schoeni, Flavio Scano and Jan Jossi – four friends from Zurich with Swiss, Albanian, Brazilian and Italian roots, who have been sharing an ardent passion for music for more than a decade. With their third album 'Mount Angeles' they are now setting out to conquer all Rock enthusiasts beyond their country’s borders.
Their mutual love and enthusiasm for the rock music of the 70’s speaks to style-defining bands such as Deep Purple, Frank Zappa and all the progressive rock pioneers. For years, the band’s first choice for retreating and letting the artistic urge flow freely has been a 19th century house in the middle of the Swiss Alps, called Gasthaus Gruenenwald. The former train station and inn situated in Engelberg (which means nothing else than “angel mountain” in German, hence the album name), has become an essential part of the group’s songwriting process.
Mixed by none other than five-time Grammy Award winner Chris Lord-Alge from Los Angeles (Aerosmith, Muse, Foo Fighters, Green Day and many more) and finalized by Bill Skibbe at Jack White’s Third Man Mastering Studio in Detroit, 'Mount Angeles' presents the preliminary zenith of Pablo Infernal’s work.

Am 22.Oktober erscheint ein komplett neues Album von Pulp-Frontmann Jarvis Cocker: „Chansons d’Ennui
Tip-Top“. Wes Anderson bat Jarvis Cocker, eine neue Version von ”Aline” für seinen neuen Film ”The
French Dispatch” aufzunehmen. Der französische Pop-Hit aus dem Jahr 1965, ”Aline”, wurde ursprünglich
von Christophe gesungen. Der Song taucht in einer entscheidenden Szene in ”The French Dispatch” auf:
Die Figur Tip Top erscheint auf einem Plakat in dem Café, in dem sich die revolutionäre Jugend von Paris
versammelt, während der Song in der Jukebox läuft. Anderson und Cocker beschlossen, gemeinsam ein
ganzes Album mit französischem Material aus der gleichen Zeit zu machen, ausgewählt wurden ChansonKlassiker von Françoise Hardy, Serge Gainsburg, Jacques Dutronc und vielen anderen.

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

The Replacements’ 1981 Twin/Tone Records debut, Sorry Ma, Forgot To Take Out The Trash, heralded the Minneapolis-based band’s competing tendencies toward indelible genius and reckless abandon. With now classic songs including 'Takin' A Ride,' 'Shiftless When Idle,' 'Customer' and 'Johnny's Gonna Die,' the 'Mats' legendary founding line-up of lead singer/songwriter and guitarist Paul Westerberg, Chris Mars (drums) and brothers Bob and Tommy Stinson (lead guitar and bass, respectively) unleashed a shambling, dynamic sound. Loose, live, and brimming with energy, Sorry Ma… is a lesson in chaos.

The 40th anniversary of Sorry Ma, Forgot To Take Out The Trash is celebrated this fall with a 4CD/1LP set that offers a remarkable document of The Replacements’ formative years. Of the set’s 100 tracks, 67 have never been released before, including the first demos the band recorded in early 1980, as well as a professionally captured concert from January 1981. Along with a newly remastered version of the original album, it also uncovers many unreleased rough mixes, alternate takes, and demos from the band’s first 18 months together. The LP included in the set, titled Deliberate Noise, presents an alternate version of the original album using these previously unreleased tracks.

CD Tracklist:

1. TAKIN A RIDE
2. CARELESS
3. CUSTOMER
4. HANGIN DOWNTOWN
5. KICK YOUR DOOR DOWN
6. OTTO
7. I BOUGHT A HEADACHE
8. RATTLESNAKE
9. I HATE MUSIC
10. JOHNNY’S GONNA DIE
11. SHIFTLESS WHEN IDLE
12. MORE CIGARETTES
13. DON’T ASK WHY
14. SOMETHIN TO DÜ
15. I’M IN TROUBLE
16. LOVE YOU TILL FRIDAY
17. SHUTUP
18. RAISED IN THE CITY
19. IF ONLY YOU WERE LONELY
1. TRY ME (Demo)
2. SHE’S FIRM (Demo)
3. LOOKIN FOR YA (Demo)
4. RAISED IN THE CITY (Demo)
5. SHUTUP (Demo)
6. DON’T TURN ME DOWN (Demo)
7. SHAPE UP (Demo)
8. I HATE MUSIC (Studio Demo)
9. CARELESS (Studio Demo)
10. SHUTUP (Studio Demo)
11. OTTO (Studio Demo)
12. GET ON THE STICK (Studio Demo)
13. OH BABY (Studio Demo)
14. RAISED IN THE CITY (Studio Demo)
15. SHIFTLESS WHEN IDLE (Studio Demo)
16. MORE CIGARETTES (Studio Demo)
17. YOU AIN’T GOTTA DANCE (Studio Demo)
18. DON’T TURN ME DOWN (Studio Demo)
19. RATTLESNAKE (Basement Version)
20. TAKIN’ A RIDE (Basement Version)
21. LIE ABOUT YOUR AGE (Basement Version)
22. WE’LL GET DRUNK/CUSTOMER (Basement Version)
23. JOHNNY FAST (Basement Version)
24. MISTAKE (Basement Version)
25. BASEMENT JAM (Rehearsal)
1. CARELESS (Alternate Version)
2. TAKIN A RIDE (Alternate Version)
3. SHUTUP (Alternate Version)
4. OTTO (Alternate Mix)
5. RAISED IN THE CITY (Alternate Version)
6. RATTLESNAKE (Alternate Mix)
7. LOVE YOU TILL FRIDAY (Alternate Version)
8. CUSTOMER (Alternate Version)
9. SOMETHIN TO DÜ (Alternate Version)
10. JOHNNY’S GONNA DIE (Alternate Version)
11. I’M IN TROUBLE (Alternate Version)
12. I HATE MUSIC (Alternate Version)
13. WE’LL GET DRUNK
14. MORE CIGARETTES (Alternate Mix)
15. GET LOST (Instrumental)
16. HANGIN DOWNTOWN (Alternate Version)
17. SHUTUP (Alternate Version 2)
18. SOMETHIN TO DÜ (Alternate Version 2)
19. DON’T ASK WHY (Alternate Mix)
20. KICK YOUR DOOR DOWN (Alternate Mix)
21. LOVE YOU TILL FRIDAY (Alternate Mix)
22. JOHNNY’S GONNA DIE (Alternate Mix)
23. LIKE YOU (Outtake)
24. GET LOST (Outtake)
25. A TOE NEEDS A SHOE (Outtake)
26. YOU’RE PRETTY WHEN YOU’RE RUDE (Solo Home Demo)
27. IF ONLY YOU WERE LONELY (Working Version/Solo Home Demo)
28. BAD WORKER (Solo Home Demo)
29. YOU’RE GETTING MARRIED (Solo Home Demo)
1. CARELESS
2. TAKIN A RIDE
3. TROUBLE BOYS
4. HANGIN DOWNTOWN
5. LIKE YOU
6. OFF YOUR PANTS
7. GET LOST
8. EXCUSE ME
9. CUSTOMER
10. I WANNA BE LOVED
11. MISTAKE
12. MY TOWN
13. SHIFTLESS WHEN IDLE
14. OH BABY
15. I’M IN TROUBLE
16. JOHNNY’S GONNA DIE/ALL BY MYSELF
17. MORE CIGARETTES
18. OTTO
19. DON’T ASK WHY
20. SLOW DOWN
21. SOMETHIN TO DÜ
22. LOVE YOU TILL FRIDAY
23. RAISED IN THE CITY
24. RATTLESNAKE
25. ALL DAY AND ALL OF THE NIGHT
26. I HATE MUSIC
27. SHUTUP