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Phylipe Nunes Araújo's songs are as rich and varied as the diverse landscapes they were written in. The hills of Pernambuco, the lagoons of Alagoas, and the beaches of Bahia are all woven into his stripped-back, folk-inspired Brazilian songwriting. As part of a wider movement of musicians originating from Brazil's Northeast, Phylipe sees the process of music-making as the search for beauty itself.

Collaborating with fellow Northeastern artists Bruno Berle, Batata Boy and Nyron Higor among others, Phylipe's debut album represents the latest flowering of this exceptionally talented community's creative search.

The Northeast holds an almost sacred importance in Brazil's collective cultural imagination. The region bore witness to the brutal histories of Portuguese colonization and the African slave trade, while simultaneously amalgamating the diverse cultures, religions and traditions of those who have called it home. Countless Brazilian music greats - Gilberto Gil, Caetano Veloso, Hermeto Pascoal, Djavan and Luiz Gonzaga - have emerged from this vast cultural melting pot.

Born in Caruaru, Pernambuco state, and raised in the city of Santa Cruz do Capibaribe (famed for its textiles industry), Phylipe describes his music simply as "Brazilian music from the Agreste of Pernambuco". His masterful compositions thread together regional rhythm, folk poetry and sophisticated harmony.

Phylipe's musical foundations were laid in youth, listening to the local elders rehearsing their forrós, attending São João street parties in front of his house and watching the Junina Quadrilhas dance through his neighborhood. At street fairs he would read the Literatura de Cordel (handcrafted pamphlets of Brazilian folk literature), and watch the rhyme battles between cantadores, violeiros, and repentistas, who improvise verses on daily life, social commentary and philosophy. This tradition of Northeastern folk poetry proved particularly formative for Phylipe as a lyricist. "I always try to write things as simply as possible. I believe that beauty must be easily understood. If I can facilitate the path to the message, there's no reason not to. It's something I learned from the traditional poetry here: it's more beautiful if everyone understands."

At the age of 11, Phylipe first got access to the internet. As he explains: "Still in adolescence I was also able to discover things like The Beatles and Nick Drake - I started to get to know music from the rest of the world and later to correlate that with my local musical experiences." Rich with extended chords and artful dissonances, it's clear from his compositions that jazz and bossa nova also took hold, but he's quick to eschew stereotypes. "Inevitably, people associate a Brazilian musician playing a nylon-string guitar with bossa nova..." "But the foundation is another story," he asserts, "It's the Northeast."

On the guitar Phylipe experiments with the binary rhythms inherent in traditional Northeastern music. Coco, frevo, maracatu and baião are recontextualised, placed alongside Brazilian popular music (MPB), gentle lullabies and stunning ballads. "In these 10 songs, I am experimenting with making pop music on a nylon-string guitar with my foundation in the Northeastern songbook."

The contemporary musical community which Phylipe belongs to developed initially in Pernambuco's neighbouring state Alagoas. Phylipe lived in its capital Maceió for three years, where he built friendships and musical bonds with Bruno Berle and Batata Boy who together produced his album. Bruno also sings in unison with Phylipe on the duet "Valise", a song Phylipe wrote aged just 15.

In recent years, Phylipe, Bruno and Batata have migrated south to São Paulo, where the majority of the album was recorded. Other collaborators on the album include Alici, who provides vocals for the ebb and flow of "Temperim", Nyron Higor who plays drums on lead single "Asa" and the sweet indie moment "Ziz"", bassist Meno Del Picchia who plays on the mystical baião "Bixin" and the propulsive "Subindo a Ladeira", and Raphael Coelho who joins Bruno and Batata on percussion for "Santa Cruz", Phylipe's hypnotically powerful portrait of his hometown.

PRAED return to Discrepant, after their 2017’s entry Fabrication of Silver Dreams (CREP44)

Known for their signature blend of Egyptian Shaabi, free jazz and improvisation, the Lebanese duo behind PRAED - Raed Yassin and Paed Conca - now assemble a full orchestra for the second time taking the music to a deeper, rooted level.

Following their 2020 release Live in Sharjah, also under the PRAED Orchestra! moniker, the duo now revisit their unique blend of Arabic heritage and free jazz sensibilities with an album that keeps pushing further into strange and unexpected directions.

The Dictionary of Lost Meanings is just that, seven fully composed pieces and large-scale improvisations, performed by an expanded ensemble of musicians from across the globe. The result is dense and playful, unpredictable but familiar, a record where Arabic rhythms and microtonal melodies collide playfully against electronics, warped vocals and orchestral textures.

It’s less about genre than about memory — like tuning into a radio station broadcasting from somewhere between the past and the future.

PRAED continue to blur the line between popular culture and experimental music in ways that feel both grounded and completely their own.

PRAED ORCHESTRA! are
Raed Yassin: Synthesisers, Vocals, Beats
Paed Conca: Clarinet, Electric bass
Alan Bishop: Alto saxophone, Electric bass, Vocals
Andreas Bral: Harmonium, Electronics
Elisabeth Klinck: Violin
Christian Kobi: Soprano and Tenor Saxophones
Hans Koch: Bass Clarinet
Martin Küchen: Alto and Sopranino Saxophones
Maurice Louca: Synthesizer, electronics
Stan Maris: Accordion
Radwan Ghazi Moumneh: Buzuk, Vocals, Modular Synth
Youmna Saba: Electric Oud, Vocals
Sam Shalabi: Oud, Electric Guitar
Els Vandeweyer: Vibraphone
Khaled Yassine: Drums, Percussion
Michael Zerang: Drums, Percussion
Recorded by Jasper Jan Peeters at the Summer Bummer Festival, DE Studio,
Antwerp August 26, 2022
Mixed by Adham Zidan
Mastered by Mark Gergis
Produced by PRAED
Photos by Geert Vandepoele

Heavyweight Dub album by Alien Trackers, a new project by cosmic trumpet specialist Pablo Volt (STA) and Jahtari space ship mechanic disrupt, landing right in the sweet spot between soulful Black Ark-warmth, digital Firehouse dancehall hitters and Jahtarian Dub psychedelics.

A lazy day at a beach, in a galaxy far, far away... Feel the sand between your tentacles and splash in the emerald acid sea. Snorkel with plasma squids and shock eels. Marvel at the double suns during the magic twilight cycle and bask in their glorious gamma rays. Gaze into the depths of the local Vortex...

Coming on alien-green vinyl, with hand drawn art by David 8000 Farris, additional bass & guitars from Dubsworth, and an all four thumbs up-rating, 'Dubs from Vortex Beach' is landing in your orbit right now!
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Amsterdam label Spectral Bounce recruits French club stalwart Chris Carrier for SPEC06 — Perfect Encounter. Active since 1994, the Parisian artist has released a wellspring of records on Robsoul, Slapfunk and his own Sound Carrier recordings, parallel to his longtime career as a DJ. Characterised by swirling delays and progressive arrangements, Perfect Encounter shows the producer exploring the mesmeric corners of tech house, ideally fitted to the Spectral Bounce aesthetic.

Opener “XLR8” starts with rolling toms that make way for fluid, modulated tones; each bar ebbs and flows to the sweeping synths set in motion by Carrier. Processed with a multitude of delays, rhythmic FX boldly swish above the drums, making for an immersive soundstage. Second track “Light Side” retains the billowing echoes but moves more nimbly, cutting things back to make for a spacious and breezy number. Its croaking synths hop around the stereo field, accompanied by tight percussion and a walking bassline.

The hallucinogenic “Third Moon” sees Carrier step further into trance-inducing territory. The track’s pulsing, syncopated bass note thrums underneath an arpeggio that evolves into a heady prismatic drone. While the chugging beat is ever-present, melodic refrains rise up and evaporate like wisps of vapour, alongside a vocal that fades away as quickly as it appears. The EP’s eponymous “Perfect Encounter” dials up the tension and closes the record with a mysterious touch. Speedy 16th note patterns propel the beat, creating shifty rhythms that rattle and hiss. A rasping, gelatinous synth and squeaky detuned tones resemble extraterrestrial signals — alien morse code for an enraptured dancefloor.

Credits:

"Carmina Burana macht Spaß, denn das Werk hat echte Emotionen. Das sind die beiden markanten Punkte, die in dieser lebhaft charakterisierten Aufführung deutlich werden und viele neue Hörer und Genießer gewinnen dürfte.“ Gramophone Magazine. André Previns bahnbrechende Aufnahme der Carmina Burana mit dem London Symphony Orchestra aus dem Jahr 1974 ist nach wie vor eine der elektrisierendsten Darbietungen von Orffs überschwänglicher Kantate. Vom bedeutungsvollen Eröffnungslied O Fortuna bis zum schwärmerischen Schlusschor bringt Previn die rhythmische Vitalität, die Sinnlichkeit und das theatralische Flair dieser hedonistischen Feier des Lebens und der Liebe zur Geltung. Die Solisten – Sheila Armstrong, Gerald English und vor allem Thomas Allen glänzen mit Klarheit und Charakter, während der London Symphony Chorus und der temperamentvolle Knabenchor der St. Clement Danes Grammar School die Aufführung abrunden. Nun erscheint diese Aufnahme auf Vinyl.

Crate digger and music enthusiast James Endeacott compiles ‘Unlock Your Mind With Morning Glory’ for Two-Piers Records – A glorious heady mix of the weird and wonderful eclectic music from his radio show ‘Morning Glory’

“One weekday afternoon towards the end of 2017 I sat in The Lyric pub on Great Windmill Street, Soho with my dear friend Raf. I’d just finished another of my weekly Soho Radio shows and was starting to think about the next one. Raf had been on as a guest playing some of his favourite tunes of the day. We had a few drinks, told a few stories and started to plot and scheme. It was always a dream of mine to have a daily radio show. Radio had always informed and excited me from my early teens listening to John Peel under the blanket when I should’ve been either sleeping or revising right up to the present-day musical excursions of NTS, WFMU and numerous internet based stations.

We decided to speak to Adrian and Dan who ran Soho Radio to see if they’d be up for us doing a daily morning show. To our surprise they were into the idea and within 5 minutes Adrain came up with the name Morning Glory. We all liked it. We were all excited. It was all systems go. In December 2017 Raf and myself started a daily 2 hour show. We did the show together, got guests in and the musical policy was whatever we felt like that day. After several months Raf found the mornings too much. Off he went into the distance occasionally coming back with a smile, and a bag of new music. I carried on alone and then suddenly in March 2020 the world stopped, and we went into lockdown.

We set up in my house in Catford, Southeast London and carried on. The show became 3 hours a day and I started to invite friends, record labels, record shops, bands etc.. to supply me with hour long mixes that I played every day. The show took off during this time. My musical tastes expanded as I spent all day long searching for new sounds from around the globe. People started to send me more and more music. I became obsessed with the show. The audience started to take to social media and ask for certain tracks or artists to be played. I got listeners to make me mixes to play on the show and I did several phone interviews with musicians while playing some of their favourite tunes.

I was grateful that Soho Radio left me to my own devices. They never told me what to do or what to play – they trusted ma and I trusted my instincts.

The music on this compilation is not a ‘best of’ it’s just how I felt when I compiled it at the start of 2025. Apart from a couple of tracks they are all things I’ve come across since the show started in December 2017. If I did a list of tracks now I’m sure it would be completely different. Surely that’s the point. We never stick in one place. We are always moving and searching. Always trying to unlock our minds. Put it on. Take your time and let it take you somewhere” James Endeacott 2025

It’s Not That Deep captures Demi at her most radiant - reclaiming the carefree spirit of her early eras while unleashing 11 dance-pop anthems made for late nights & dancefloors. Executive produced by Zhone, the album pulses with confidence, freedom, and joy, led by the sleek single “Fast” and the infectious “Here All Night."

Dayseeker wurden in Südkalifornien gegründet und haben sich von Post-Hardcore-Urgesteinen zu einer der emotionalsten und stilistisch beweglichsten Bands der heutigen Heavy-Musik entwickelt. Ihre Songs verarbeiten nicht nur Trauer, Herzschmerz und Traumata - sie verwandeln sie in etwas Magnetisches, Kraftvolles und letztlich Ermächtigendes.
Die Band, bestehend aus Sänger Rory Rodriguez, Gitarrist Gino Sgambelluri, Bassist Ramone Valerio (seit 2017) und Schlagzeuger Zac Mayfield (seit 2022), stellt emotionale Wahrheit über Trends und verbindet authentische Leidenschaft, klangliche Innovation mit lyrischer Verletzlichkeit.
Die tiefe Resonanz, die die Musik der Band bei anderen Außenseitern auf der ganzen Welt hervorruft, zeigt sich in ihren über 600 Millionen Streams. Und sie ist bei jeder Show spürbar, von ausverkauften Headline-Terminen bis hin zu Touren mit Pierce The Veil, Bad Omens oder Ice Nine Kills.
Dieses Gefühl der kreativen Träumerei pulsiert durch Dayseekers sechstes Album, Creature in the Black Night. Produziert von Daniel Braunstein (Spiritbox, Silent Planet) und gemischt von Zakk Cervini (Blink-182, Bring Me The Horizon, Lorna Shore), ist das Album Dayseekers bisher eindringlichstes und ambitioniertetes Album - gewaltig, cineastisch und durchzogen von einer dunklen, emotionalen und sexy Strömung.
Fans, die einen traurigen Abstieg in die Depression erwarten, werden überrascht sein - "Creature in the Black Night" hat schärfere Kanten, härtere Riffs und einen neu entdeckten Sinn für Klarheit. Dayseeker haben sich nicht nur weiterentwickelt. Sie haben einen gewaltigen Schritt auf eine neue Ebene gemacht.

In March 2024, Jim White released his first-ever solo album, All Hits: Memories. Coming forty years into his career, it felt like some kind of breakthrough happening. His second solo album confirms it: Jim"s deep percussive intuition is fueling a new musical vehicle in his life. Inner Day finds him dancing ever more deftly with himself on an expressionistic set of drum kit and keyboard duets. Developing meditations on his personal arcana into expressive keyboard feels, he crafts parts as he would on the kit, further interacting with them on drums as well. Jim takes another big step on Inner Day, singing on two standout tracks, "Inner Day" and "I Don"t Do / Grand Central," his words and voice in the mix for the first time. A drummer of exquisite powers, great and small - his Dirty Three compatriot Warren Ellis contends his playing long ago "split the atom" - Jim"s capable of driving a band one minute, then slipping past accompaniment and into the cracks of the subliminal in the next breath. He"s got qualities - deep pockets, a lovely sense of the moment - that serve him and those he drums with well. His collaborators include Bill Callahan, Cat Power, Marisa Anderson, Daniel Blumberg, T. Griffin, Phosphorescent, Jess Ribeiro, Ed Kuepper and Mess Esque, alongside communal experiences in Xylouris White, The Double, Beings, The Hard Quartet and Dirty Three. And all that"s just in the past five years!

Originally released on Mon 22 August 2005, the Furries’ third and final album to be recorded by Epic Records, Love Kraft is to be reissued on double vinyl, 2CDs, including the 22-track bonus CD, Kiss Me With Apocalypse and digital formats on Fri 24 October 2025 via the Cardiff-based independent label, Strangetown Records. Four previously unheard tracks are drawn from the vaults, including the squidgy ELO-stomp of drummer, Daf Ieuan-led Rock ‘N’ Roll Flu, plus the distorted space-jam of Cae Marw, the band’s deep-bass sketch of Palo Alto and ghostly, percussive morsel of Bedw Arian.

The album followed six previous albums by the band, including their statement debut album, Fuzzy Logic in 1996, melding an attention-demanding mix of literary, narcotic and musical influences. Maintaining a shape that was ill-fitting in the jigsaw of other 90’s guitar bands, their follow-up, UK Top Ten album, Radiator brought the hooky squelch of the bona fide indie dancefloor classic, The International Language of Screaming. The next decade saw the release of the first Top 20-charting, Welsh language album, Mwng (2000), followed by further experimentation and commercial success with Rings Around The World (2001) and Phantom Power (2003).

Love Kraft’s sense of cohesion, collaboration and free-flow of rich harmony has been credited to the five-piece escaping Wales to record in the shimmering heat of Figueres, Catalunya. Bringing famed Beastie Boys producer, Mario Caldato Jr along with them for the ride, the travelling band’s stay in the Catalonian hometown of Salvador Dali included found sounds, boozy petrol stations, gastronomic revelations and, finally, a rich album of strings, synths and opulent vocal harmonies.

While eventually finding their way to Baha, near to Rio di Janeiro to mix the album Love Kraft’s story began in Wales and Pleasure Foxxx Studios, where the band began to craft the album’s songs. Embracing the landmark of a seventh album, notably coming after the 2004 release of their first ‘best of…’ package, Songbook: The Singles, Vol. 1, Super Furry Animals pooled ideas and affected further democracy in their songwriting, taking a load off traditional lead-writer and front man, Gruff Rhys, and sharing in lead vocal duties (aside from the microphone-averse bassist, Guto Pryce).

Love Kraft was the first Super Furry Animals album recorded to hard disc instead of multi-track tape, and found the band typically explorative and open to happenstance. Zoom’s opening splash into the recording studio’s swimming pool is accompanied by the on-location, pool table samples found elsewhere on the album.

Updated packaging features the original, meticulously built diorama design by long-time collaborator Pete Fowler. Constructed by hand in his studio, complete with bulb-lit illumination, then photographed, the sleeve’s depiction of a monolith-rich desert landscape reflects the sense of other space and time depicted by Love Kraft’s woozy songs. The final sleeve design again comes courtesy of Mark James.

,Klassenkampf in der Tonart Oi! Zwölf knallharte Tracks über SHARP, Antifaschismus und die Unterstützung gleicher Rechte für alle! Antifaschistisches Oi! aus Down Under, geschrieben für die Arbeiterklasse." ,Class war in the key of Oi!" ist das zweite Album der SHARP-Skins aus Meanjin/ Brisbane. Bislang nur digital auf Bandcamp zu hören, nun dann endlich auch auf Vinyl. Klare Kante, unverblümt, direkt und knallhart. Ihr Sound ist very british und Anleihen von Blitz sind unüberhörbar, rasiermesserscharfe Riffs, die ebenso in die Fresse hauen wie ihre Texte. limitierte Auflage von 300 Stk. 180 gr. rotes Vinyl mit Einleger

Anlässlich des 40. Jubiläums von Clannads Album „Macalla“ (irisch für „Echo“) aus dem Jahr 1985, das
von Phil Kinrade in den Air Studios neu gemastert wurde, erschien das neunte Studioalbum. Es war ihr
erster internationaler Erfolg und markierte einen bedeutenden Meilenstein in der Karriere der Band. Es
präsentierte eine Mischung aus traditionellen irischen Folk-Wurzeln und einem eher Mainstream-, Popbeeinflussten Sound.
Aufbauend auf dem Schwung früherer Erfolge wie „Theme from Harry’s Game“ (1982), das internationale
Aufmerksamkeit erregte und sogar von U2 als Outro-Musik für Konzerte verwendet wurde, und dem preisgekrönten Soundtrack zur Fernsehserie „Robin of Sherwood“ (veröffentlicht 1984 als Album „Legend“),
stand Clannad kurz vor dem Durchbruch in Märkten wie Amerika. Macalla gelang dieser Durchbruch
vor allem dank des legendären Duetts „In a Lifetime“ mit Bono von U2. Bono, bereits ein Bewunderer
von Clannad, arbeitete mit Leadsängerin Moya Brennan an diesem eindrucksvollen Song, der ein großer
Hit wurde. Die Zusammenarbeit entstand durch gegenseitige Bewunderung und ihre gemeinsame irische
Herkunft.
„In a Lifetime“ war ein Charterfolg und erreichte Platz 5 in Irland und Platz 20 in Großbritannien. Auch das
Album „Macalla“ selbst schnitt gut ab und landete in Großbritannien und anderen Ländern in den Charts.
In Neuseeland erreichte es beispielsweise Platz 29. Während einige langjährige Fans ihres rein traditionellen
Folk-Sounds die eher pop- und elektronisch geprägte Produktion des Albums als Abkehr empfanden, gilt
„Macalla“ allgemein als eines der stärksten und prägendsten Alben von Clannad. Es verband erfolgreich
ihre Folk-Wurzeln mit einem zeitgenössischeren, atmosphärischeren und New-Age-beeinflussten Sound und
sprach damit ein breiteres internationales Publikum an. Das Album enthält Lieder auf Englisch und Irisch,
darunter „Caisleán Óir“ und „Buachaill Ón Éirne“, gesungen in ihrer Muttersprache Gälisch.

„It’s Not That Deep“ zeigt Demi von ihrer strahlendsten Seite – sie kehrt zu ihrer früheren Unbeschwertheit
zurück und präsentiert elf Dance-Pop-Hymnen, die wie geschaffen sind für lange Nächte und Tanzflächen.
Das von Zhone produzierte Album strahlt Selbstbewusstsein, Freiheit und Freude aus, angeführt von der
eleganten Single „Fast“ und dem mitreißenden „Here All Night“.

Als 1957 in der Jazzszene das Gerücht die Runde machte, dass der Produzent Norman Granz die beiden
Saxofon-Giganten Stan Getz und Gerry Mulligan zu einer ersten gemeinsamen Session ins Studio holen
würde, schnalzten die Jazzfans vor Freude mit der Zunge. Man kann sich nur ausmalen, wie überrascht sie
waren, als sie die ersten Tracks des Albums ”Getz Meets Mulligan In Hi-Fi” dann hörten. Denn auf Mulligans Vorschlag hatten die beiden Stars für die erste Seite des Albums spontan die Instrumente getauscht.
So war also Getz auf Mulligans Baritonsax zu hören, während Mulligan das Tenor von Getz spielte. Ein
kurioses, aber durchaus gelungenes Experiment, das dieses Album zu einem raren Leckerbissen macht.

Seine Musik war immer spontan, mitreißend und voller Energie, trotzdem hat Blue-Note-Legende Horace
Silver zu Lebzeiten nur ein einziges Livealbum veröffentlicht. Das ändert sich jetzt dank eines bislang
unveröffentlichten Konzertmitschnittes!
Im August 1965 glänzte der Pianist mit einer innovativen Besetzung im Penthouse-Jazzclub in Seattle,
mit Woody Shaw an der Trompete, Joe Henderson am Tenorsaxofon, Teddy Smith am Bass und Roger
Humphries am Schlagzeug. Der erst jetzt entdeckte Mitschnitt erlebt seine Weltpremiere unter dem Titel
”Silver In Seattle: Live At The Penthouse”. Darauf feuert die Band unter anderem kochende Interpretationen von Silver-Klassikern wie ”Song For My Father”, ”Cape Verdean Blues” und ”The Kicker” ab.
Die 180g-LP im Gatefold-Sleeve und die CD im Digipak enthalten beide ein ausführliches Booklet mit
seltenen Fotos von Francis Wolff, Burt Goldblatt, Jean-Pierre Leloir und anderen plus Linernotes des
renommierten Jazz-Experten Bob Blumenthal sowie Interviews mit und Statements von Schlagzeuger Roger
Humphries, den Silver-Band-Alumni Randy Brecker und Alvin Queen, dem aufstrebenden Pianisten Sullivan
Fortner und weiteren.

VERVE ACOUSTIC SOUNDS SERIE: komplett analog von Ryan K. Smith bei Sterling Sound von den
Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing), wattierte Innenhülle.
Wohl kaum ein anderer hat den Titel “King Of The Tenors” mehr verdient als Ben Webster. Zusammen mit Coleman Hawkins und Lester Young bildete er das Triumvirat der großen Swing-Tenoristen. Mit
seinem warmen, gefühlvollen Stil, der im krassen Gegensatz zu seinem oft aufbrausenden Temperament
stand, beeinflusste er zu seiner Zeit unzählige andere Tenorsaxofonisten. Websters erstes Soloalbum unter
der Regie von Produzent Norman Granz erschien 1954 ursprünglich unter dem Titel “The Consummate
Artistry of Ben Webster” bei Norgran, wurde dann aber 1957 auf Granz’ neuem Label Verve Records als
“King Of The Tenors” wiederveröffentlicht.

Clarence Carter, blind from birth, was a blues singer with lascivious wit, a talented guitarist, a songwriter with a twinkle in his eye, and a champion of down-to-earth soul grooves who taught himself to play the guitar.

He sang in a gospel choir, completed a degree in music, and grounded the duo Clarence & Calvin but was not however very successful.

After a car crash involving Calvin Scott, Carter started on a solo career and signed a contract with Rick Hall and the Fame label as a soloist.

Among the earliest singles recorded at the Muscle Shoals studio were a few hits. After leaving Fame for Atlantic, he managed to enter the Top 20 of the R & B charts with "Looking For A Fox". His breakthrough came with "Slip Away", which sold a million copies and was awarded a Gold Record.

The legendary Fame Studios in Muscle Shoals remained the home basis, as it were, for Carter during his career with Atlantic. "This Is…" begins with a contemplative, soft sound. "Do What You Gotta Do", written by Jim Webb, is a lovely, melancholic mid-tempo ballad, saturated with Barry Beckett’s keyboard and smothered by lush, plaintive winds.

But the man is primarily funky here … as three danceable, finger-snapping tracks prove; "Wind It Up", with further witty improvisations and a fervid organ solo, the highly syncopated, playful "Thread The Needle", and the smoky, irresistible "Funky Fever" – all written by Carter himself.

Dan Penn’s and Spooner Oldham’s "Slippin’ Around" has an unorthodox bossa nova-like beat that is reminiscent of Ray Charles’s "What’d I Say", while Carter’s unmistakable chuckle is to be heard for the first time on the riotous funk-rock number "I’m Qualified", which has the very same unique, infectious groove as was to be heard on Wilson Pickett’s "In The Midnight Hour". "She Ain’t Gonna Do Right", composed by the same man, brings more Alabama Country to the mix, whereby Beckett contributes a catchy, persistent organ riff in the refrain.