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Obscure Mid 70's Mid Tempo Killer

Producer: Melvin Seals / 1976

Money Mountain BMI / Oakland: California

About Jerone Roy:

Jerone is a highly-skilled singer and entertainer who has been entertaining the audience by putting smiles on faces, warming people’s hearts, igniting song in the soul, and inspiring people to get up and move! His background in music takes him deep from Texas to the Hollywood music industry and back again.

Along the journey, he has developed skills in event management, event planning, singing, television, music production, theatre production, songwriting, recording, festivals, interpersonal skills, acting, and voice-overs.

Features all-analogue mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket.

The series highlights gems from Contemporary's extraordinary catalogue and features artists who both defined and expanded the sound of West Coast jazz.

1957's The Poll Winners was the first of five all-star trio sessions featuring the dazzling interplay of guitarist Barney Kessel, drummer Shelly Manne and bassist Ray Brown. For The Poll Winners, Kessel, Manne, and Brown did not record together simply because they all happened to have won first place on their respective instruments in the Down Beat, Playboy, and Metronome polls.

Their collaboration was due to mutual respect, and their sensitivity to one another's musical requirements. Here, in a set composed mainly of pop and jazz standards, they represent the ultimate in their fields, constituting a rhythm section that also provides brilliant solo interludes by all three members. Collectively, Kessel, Manne, and Brown won dozens of polls over the years; this record eloquently tells you why.

Numbers will release ‘Clear’, the debut album by FFT, on 24th June 2022.The result of three years of focused writing and programming by the London-based producer, ‘Clear’ is deeply psychedelic, defined by a mature sense of melody and structures crafted at a monumental scale.

Though FFT has previously released a handful of tracks under various names, it wasn’t until 2017’s ‘FFT1’ EP on theUncertainty Principle label that his production talents began to fuse into a distinct and personal style, especially evident in FFT’s‘Regional/Loss’ EP on The Trilogy Tapes in 2019, multiple releases on Bruk Records and2021’s ‘Disturb Roqe,’also released on Numbers.Through it all, FFT has mastered a complex sense of mood catalyzed by sound itself: He builds patches and presets from scratch, and feels these synths and software have their own objectives and reactions, creating a kind of compositional feedback loop.The result is an album that brings to mind a collision of electronic pioneers like Delia Derbyshire and Bernard Parmegiani, 2000’s braindance, the Max-imized wares of an OPN or Objekt and the rough rhythmatics of SND or Mika Vainio

The layering of sonic elements and intentions is starkly audible across these nine tracks.They can be seismically concussive and grandiose, but granular and fluid - echoing the Icelandic volcanic eruption that features in the artwork photography byGeorge Cowan. ‘Clear (Eight-Circuit Mix)’sets a euphoric tone immediately accelerated by the jagged sounds and vocal textures of ‘Redeemer’. ‘3 Sided’ channels hyper-urbanity from its almost entirely analogue palette, and by contrast ‘Disturb Roqe 2’is bracingly digital, gyrating in random cycles between clustered percussion, metallic splinters of audio and artificial vocal tics.

Opening side two, ‘You’ve Changed’ adheres to a more abrasive core, while ‘Heal’ and ‘Heal (Alt Mix)’evolved out of linked pieces in FFT’s live sets that grew into complete tracks in the months before Covid-19.The significant intensity of ‘Heal’ in particular was refined during strobe-heavy live performances and is the album at its most turbulent, the claustrophobia interrupted by dazzling arpeggios.The overall impact of 'Clear' is cinematic and precise, marking the arrival of an impressive electronic musician who is not new but has come into his own as a fully developed artist

Yaya Bey ist eine der spannendsten Storytellerinnen des R&B. Mit einer Kombination aus den Kräften ihrer Vorfahren und denen ihrer eigenen Selbstverwirklichung navigiert die Singer-Songwriterin nahtlos an den Stolpersteinen des Lebens vorbei und direkt hinein in die freudigen Momente der Musik. Beys neues Album, „Remember Your North Star" fängt diese emotionale Achterbahn mit einer Mischung aus Soul, Jazz, Reggae, Afrobeat und Hiphop ein, die die Seele nährt.

Beys Fähigkeit, die emotional kaleidoskopische Natur von Frauen, insbesondere von schwarzen Frauen, anzuzapfen, ist die Essenz des gesamten Albums. Die von der Kritik gefeierte multidisziplinäre Künstlerin und Kunstkuratorin, die mehrere Kunstresidenzen im Brooklyner MoCADA (Museum of Contemporary African Diasporan Art) absolviert hat, beschäftigt sich mit Themen wie Misogynie, Generationstraumata, sorglose Romantik, elterliche Beziehungen, weibliche Ermächtigung und Selbstliebe. „Remember Your North Star“ setzt Beys persönliche und künstlerische Entwicklung fort, indem sie sich bemüht, ein Resonanzboden für schwarze Frauen überall zu sein. „Ich fühle mich durch die Musik gestärkt, weil ich alles, was mir widerfährt, in etwas Wertvolles verwandeln kann. Musik hilft mir, den Wert dessen zu erkennen, was in meinem Leben passiert.“, erklärt sie. „In der Musik steckt ein Geist. Sie ist eine Kultur, und ich bin Teil dieser Gemeinschaft und trage mit meiner Geschichte dazu bei, dass wir miteinander verbunden bleiben.“

Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza, & parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences. Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form.

Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all.

The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming.

Drift (originally released in 1994) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes (the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease.

All the more reason to listen thoughtfully.

In 2021 - re-emerging nearly twenty years after its initial inception, and first time on vinyl - somewhat surprisingly, Murder Ballads (Drift) still remains/exists in an area overlooked by other artists, an area that truly still remains the sole province of M.J. Harris / Martyn Bates.

Um ihr 40-jähriges Jubiläum zu feiern, begaben sich die Rolling Stones in den Jahren 2002 und 2003 auf eine weltweite Tournee, die 117 Konzerte in verschiedenen Arenen und Stadien umfasste. Diese Show fängt den Auftritt der Stones vom Januar 2003 im Madison Square Garden in New York City ein und enthält einen Gastauftritt von Sheryl Crow bei ”Honky Tonk Women”.

“Licked Live In NYC“ enthält bisher unveröffentlichte Performances von ”Start Me Up”, ”Tumbling Dice”, ”Gimme Shelter” & ”Sympathy For The Devil“. Dazu gibt es 3 Bonusauftritte aus Amsterdam und Probenmaterial.

Das Album erscheint als 2CD, 1CD+DVD, 1CD+Blu-Ray, 3LP und Ltd. Coloured 3LP.

Um ihr 40-jähriges Jubiläum zu feiern, begaben sich die Rolling Stones in den Jahren 2002 und 2003 auf eine weltweite Tournee, die 117 Konzerte in verschiedenen Arenen und Stadien umfasste. Diese Show fängt den Auftritt der Stones vom Januar 2003 im Madison Square Garden in New York City ein und enthält einen Gastauftritt von Sheryl Crow bei ”Honky Tonk Women”.

“Licked Live In NYC“ enthält bisher unveröffentlichte Performances von ”Start Me Up”, ”Tumbling Dice”, ”Gimme Shelter” & ”Sympathy For The Devil“. Dazu gibt es 3 Bonusauftritte aus Amsterdam und Probenmaterial.

Das Album erscheint als 2CD, 1CD+DVD, 1CD+Blu-Ray, 3LP und Ltd. Coloured 3LP.

Prometheus is the 2012 science fiction horror film directed by Ridley Scott, written by Jon Spaihts and Damon Lindelof and starring Noomi Rapace, Michael Fassbender, Guy Pearce, Idris Elba, Logan Marshall-Green and Charlize Theron. It is set in the late 21st century and centers on the crew of the spaceship Prometheus as it follows a star map discovered among the artifacts of several ancient Earth cultures. Seeking the origins of humanity, the crew arrives on a distant world and discovers a threat that could cause the extinction of the human species.

Marc Streitenfeld is a German composer. He has frequently collaborated with director Ridley Scott. Streitenfeld has composed the music for many high-profile Hollywood features as well as critically acclaimed independent films, including American Gangster, Body of Lies, The Grey, Poltergeist and All I See Is You.

Prometheus became the fifth collaboration between the composer and the director. The score was recorded over one week with a 90-piece orchestra at Abbey Road Studios. Streitenfeld began coming up with ideas for the score after reading the script prior to the commencement of filming. To create an “unsettling” sound, he provided the orchestra with reversed music sheets to have them play segments of the score backwards, before then digitally reversing it. The track “Friend from the Past” reprises Jerry Goldsmith’s original main title from the Alien soundtrack.

Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza, & parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences. Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form.

Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all.

The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming.

Passages (originally released in 1997) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes (the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease.

Solo bedroom-pop project of Michael Ramos (Flowertown, April Magazine, Hectorine). Mostly recorded between last Christmas and New Year's during a window of isolation at home, “Hey There Flower” preserves Tony Jay’s prowess at making beautifully eerie lo-fi pop; like a hazy memory where your favorite Sixties girl-group melody is perpetually slowed down. Without a band to practice with, Tony Jay recorded the music alone, but recruited a slew of friends to remotely record backing vocals: Karina Gill (Cindy), Griffin Jones (Galore), Kati Mashikian (Mister Baby), Alexis Harper (Al Harper), & Hannah Lew (Cold Beat). "Hey There Flower", the most recent release from the prolific and mysterious Tony Jay delivers real melodies -- both lacey with vocal harmonies and dusty with layered guitars -- as fans have come to expect. This release also carries forward and elaborates on Tony Jay's tradition of songs that express a kind of naked honesty about things we all know -- love and loneliness and all that -- while communicating at the same time a wry edge of skepticism, so that the songs are like coins spinning on edge before landing heads, tails, or lost under the couch. Tony Jay brings us into a nostalgia where we recognize moods from music of the past -- Marc Boland definitely comes to mind, as well as Velvet Underground of the Nico era, and Tony Jay even covers Francoise Hardy on this collection -- but the songs create a three dimensional space with what feels like a thousand layers so that instead of being thrown back in time, it's like stepping into a little world with its own laws of nature, of which the listener gets just a few hints. - Karina Gill, Cindy/Flowertown. “Hey There Flower” is introduced by thudding snare beats eliciting reverb-stained tattered noisy guitar scrapes, to weave abrasive shimmery emotive vibrations, imbued with shattered nostalgic dreams, lit by brittle yet dazzling forsaken keyboard flows, over submerged and distorted male vocal’s whispery deluge of obsessive longing, lonely melancholy, and dark desire to exude a hazy gritty concoction of awkward sadness and brooding unrest.” White Light // White Heat // “What Tony sketches are concise commentaries on love, loneliness and a few things in between. His mode of expression is sparse, intense, and captivating. The arrangements are invariably lo-fi and slow tempo, blanketed with a fuzzy hiss. And it only took one listen to decide that it is a very special album. It has a '60s feel, albeit washed in an eerie slowcore machine. An ace example is "September Skies", which could be the 1965 'last dance' at the prom for the introverted students.” - When You Motor Away

"The dazzling symphonic album he always threatened to produce" UNCUT 5/5
"A soulful symphonic masterpiece" ROLLING STONE

Originally released in Japan only on CD in 2002, Plush's Fed lives up to the cult-like adulation it has garnered ever since. A stunning symphony of Bacharach-inspired pop, Toussaint-swing andMelody Nelson-era-Gainsbourg, it's an album bound together by Liam Hayes' maverick genius, an uncompromising Brian Wilson-esque quest for sonic perfection. Positively indulgent in every way, this sumptuous record has long deserved to be treated to a deluxe vinyl edition. Lovingly overseen by Hayes and recent collaborator Pat Sansone (Wilco/The Autumn Defense), it will finally be available on the format it should've always been, this Record Store Day 2018. Remastered and presented as a double LP - cut specially at 45rpm - it comes housed in a beautiful gatefold jacket with expanded artwork throughout.

Its expansive, singular vision infamously took years to realise, involving Earth Wind & Fire's horn arranger (the legendary Tom Tom MMLXXXIV) amongst other elite personnel. Recorded with five different engineers (including Steve Albini and John McEntire), Hayes meticulously extracted every ounce of pop from each note. A long list of renowned studio ringers (including soul drummer Morris Jennings) and Chicago regulars (McEntire, Rizzo, Parker) among many others provide playing of demonstrably professional precision. As such, Hayes' complex, meandering melodies are rendered far more coherent and satisfying than they otherwise might have appeared, bringing his epic, anguished pop to a rarely seen level of perfection and depth. This unstinting dedication to the overarching vision was rewarded handsomely - artistically, at least.

However, as might have been expected, his deluxe approach resulted in a bill too steep for any American or European label to ultimately support. It has since seemed unlikely that it would see the light of day on either side of the Atlantic. Yet we were determined not to allow Hayes' lifetime achievement to go unnoticed or let music fans across the world miss out on one of the finest albums of this century.

A wide-eyed opus of stunning intensity, Fed oozes Hayes' impeccable influences without ever becoming overwhelmed by them. Incredibly, it touches upon Blaxploitation soul, Boz Scaggs-soft-rock, hints of jazz and blues, timeless baroque and skewed pop. In one long minute, the stabbing, soulful "So Blind" moves through five different melodic segments, horns shift easily from haunting backdrop to explosive forefront, smoothly giving way to strings as Hayes' voice casts its bewitching spell. The ambitious soul of "Having It All" has been described as the diffident cousin of Marvin Gaye's "Save The Children" whilst the breezy "Greyhound Bus Station" is pure 70s AM Gold, evoking the easy warmth of Jimmy Webb's beloved Land's End period. The sublime resignation of "No Education", a beautifully slow number that begins, "Never read a book in my life/ But I feel just fine" is post-rock ballad heaven. Arriving towards the end, the title track arrives as a majestic suite, moving from a horn-and-guitar-led instrumental via shifting melodies to Hayes' compelling vocal bursts.

An album of such brilliance, Fed can comfortably sit alongside such staggering statement pieces as David Bowie's Young Americans, Randy Newman's 12 Songs or Harry Nilsson's Nilsson Schmilsson. Indeed, for all the sprawling elements that went in - lengthy guitar builds, exploding horn sections, solemn strings, female backup chorus - it is a deeply personal and original record. Employing a distinct "more is more" aesthetic, he demonstrates remarkable restraint in producing an album of such intimacy. "My creation has drowned me," he memorably sings on languid opener "Whose Blues", yet he navigates the shifting styles and ideas with enviable ease.

Große Neuigkeiten von Milow: Das 7. Album des Belgiers 'Nice To Meet You' wird am 20. Mai erscheinen. Milow dazu: "Ich habe in den letzten 2 Jahren an diesem Album gearbeitet und es in Brüssel, Berlin und Antwerpen mit einigen der besten Musiker und Produzenten aufgenommen, mit denen ich je zusammengearbeitet habe." Grande nouvelle de Milow : le 7e album du Belge 'Nice To Meet You' sortira le 20 mai. Milow déclare à ce sujet : "J'ai travaillé sur cet album au cours des deux dernières années et je l'ai enregistré à Bruxelles, Berlin et Anvers avec certains des meilleurs musiciens et producteurs avec lesquels j'ai jamais travaillé".

Bernie Worrell was a keyboardist and composer best known as a founding member of Parliament-Funkadelic and for his work with Talking Heads. He is a member of the Rock and Roll Hall of Fame, inducted in 1997 with fifteen other members of Parliament-Funkadelic. Worrell broke genres, not only within funk, but also hip hop and rock. Critics described him as one of the most widly innovative and technically dazzling musicians in pop music history.

In 1978 he released his solo debut album All The Woo In The World, which was produced by George Clinton, who was another mastermind behind Parliament-Funkadelic. The album features several guest performances by P-Funk alumni, including Junie Morrison, Garry Shider, Bootsy Collins and Eddie Hazel.

All The Woo In The World is available as a limited edition of 1500 individually numbered copies on translucent red coloured vinyl.

„Ich folge dem goldenen Strom.“ So singt es Rosa Anschütz im Titelstück ihres neuen Albums, mit kalter, klarer, entschlossener Stimme. Darunter sirren erst goldene Störgeräusche, dann setzen mächtige Elektrobeats ein, und im Refrain künden Trompetenfanfaren vom Sieg über die Elemente. „Goldener Strom“ ist zweite Album der 24-jährigen Künstlerin, die in Wien und Berlin lebt – ein erstaunliches Werk. Man kann dazu tanzen, man kann es aber auch wie ein Konzeptalbum hören; es ist ebenso voller Beats wie voller Gedanken. Rosa Anschütz spielt Klavier, Trompete und Querflöte, zu Beginn ihrer Karriere hat sie viel mit Modularsynthesizern gearbeitet. Ihr musikalisches Erweckungserlebnis war das Atonal Festival in Berlin, später hat sie auch viel im Berghain getanzt, und der Berghain-DJ Max Kobosil remixte ihren Song „Rigid“. Ihren enorm wandlungsreichen Gesang – der vom flehenden Hauchen bis zur kalten New-Wave-Sprechstimme reicht – unterlegt Rosa Anschütz denn auch mit einem entschlossen voranmarschierenden Four-to-the-Floor-Techno; doch finden sich unter diesem immer wieder polyrhythmische Abweichungen. Es scheppert und zittert, tiefe Bässe wühlen im Boden, während hoch droben schillernde Klangschleier wehen. Rosa Anschütz schließt an die Traditionen von Dark Wave und Postpunk an, aber furcht tiefe Kerben in deren Klangbild und romantische Glätte. „Goldener Strom“ ist ein großartiges Pop-Album, voller Melodien, Sentenzen und Beats, die sich sofort im Ohr verhaken. Zugleich ist es ein Manifest künstlerischer Souveränität – kostbar und klug in unseren Zeiten der stromlinienförmigen Kunst.

Los Angeles-based experimental producer Al Lover will release his new studio album ‘Cosmic Joke’ on May 27th via Fuzz Club Records.
A staple of the global psychedelic scene, Lover has spent nearly a decade fine-tuning a broken, abstracted form of electronica that pools together a tapestry of trip-hop, synthesised krautrock, dub and dark ambient. Utilising an arsenal of samples, drum machine, analogue synths and live instrumentation, Lover’s is a kaleidoscopic sound that’s J-Dilla, DJ Shadow and Lee Scratch Perry by way of Brian Eno, Kraftwerk and Kluster. Central to Lover’s music is a desire to explore the fringes of psychedelic music and the common threads that run through its far-reaching styles, drawing elements from the past and connecting them to the future. Through the years he has released a number of studio albums and beat tapes, remixed the likes of Osees and Night Beats, been resident DJ for the Levitation and Desert Daze festivals and collaborated with the likes of Goat, Anton Newcombe, Cairo Liberation Front and White Fence. Now, Lover returns with his latest studio album, ‘Cosmic Joke’ – a series of synthesised philosophical meditations on modern life, in all its tragicomic absurdity. "'Cosmic Joke' came from observing the rising, compounded absurdity in recent years and seeing structures of normalcy dissolving. It’s my attempt to view these things as part of a higher-order process, through a metaphysical lens rather than an ideological one. It’s been an exercise in holding the paradoxical relationship of comedy and tragedy, joy and pain, growth and decay, scale and decline as part of an interlocked system that, at a deep level, is essential to how we interface with the world.”

Deluxe Edition is on 180g transparent green vinyl, gatefold sleeve, printed inner-sleeve.

Los Angeles-based experimental producer Al Lover will release his new studio album ‘Cosmic Joke’ on May 27th via Fuzz Club Records.
A staple of the global psychedelic scene, Lover has spent nearly a decade fine-tuning a broken, abstracted form of electronica that pools together a tapestry of trip-hop, synthesised krautrock, dub and dark ambient. Utilising an arsenal of samples, drum machine, analogue synths and live instrumentation, Lover’s is a kaleidoscopic sound that’s J-Dilla, DJ Shadow and Lee Scratch Perry by way of Brian Eno, Kraftwerk and Kluster. Central to Lover’s music is a desire to explore the fringes of psychedelic music and the common threads that run through its far-reaching styles, drawing elements from the past and connecting them to the future. Through the years he has released a number of studio albums and beat tapes, remixed the likes of Osees and Night Beats, been resident DJ for the Levitation and Desert Daze festivals and collaborated with the likes of Goat, Anton Newcombe, Cairo Liberation Front and White Fence. Now, Lover returns with his latest studio album, ‘Cosmic Joke’ – a series of synthesised philosophical meditations on modern life, in all its tragicomic absurdity. "'Cosmic Joke' came from observing the rising, compounded absurdity in recent years and seeing structures of normalcy dissolving. It’s my attempt to view these things as part of a higher-order process, through a metaphysical lens rather than an ideological one. It’s been an exercise in holding the paradoxical relationship of comedy and tragedy, joy and pain, growth and decay, scale and decline as part of an interlocked system that, at a deep level, is essential to how we interface with the world.”

”Hands” ist das neue Album der in Irland geborenen und in Berlin lebenden Künstlerin Wallis Bird. Nicht ohne Grund ziert das Cover ein Schwarz-Weiß-Foto der Hand der Künstlerin, so wie Wallis Bird erklärt: ”Mit 18 Monaten bin ich unter einen Rasenmäher gefallen und habe mir alle Finger abgeschnitten”. In ”Hands” - auch bekannt als ’Nine and a Half Songs For Nine and a Half Fingers’ - stellt die Künstlerin sich selbst ins Rampenlicht und spricht Themen an, die manchmal viel schwieriger zu bewältigen sind, nur um dann optimistisch und heil daraus hervorzugehen. Dazu gehören Fragen des Vertrauens, des Alkoholmissbrauchs, der Stagnation, der Selbstzensur und der Selbstverbesserung, von denen einige durch
persönliche Erinnerungen an entscheidende Momente, die sich in den letzten zwei Jahren angesammelt haben, angesprochen werden. Jedes dieser Themen wird jedoch von einer Stimme vorgetragen, die mit Freude, Einfallsreichtum und Einfühlungsvermögen gesegnet ist.

Am 27. Mai erscheint eine aktualisierte Version der ABBA Albumsammlungen, die zum ersten Mal auch das neue Studioalbum „Voyage“ enthält.

Die Sets enthalten alle neun Studioalben und einen Bonus-Tonträger mit Titeln, die nur als Singles erschienen sind. Dazu gehören unter anderem Songs wie „Gimme! Gimme! Gimme! (A Man After Midnight)“ oder „Fernando“.

Alle Alben der LP-Box sind auf 180g schwerem Vinyl gepresst. Das 10CD Box Set enthält darüber hinaus ein 40-seitiges Booklet, welches neben Album-Informationen historische Fotografien von ABBA entlang ihrer gesamten Karriere zeigt. Damit sind die Album Box Sets nicht nur die ultimative Sammlung für alle ABBA-Fans, sondern auch das perfekte Souvenir an das erfolgreiche Comeback der Gruppe nach fast 40 Jahren. So konnten sie sich mit „Voyage“ den ersten Platz der Deutschen Album-Jahrescharts 2021 sichern. Die Sammlung erscheint als 10LP und 10CD Box Set