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Provogue / Mascot Label Group have three special vinyl reissues of
blues-titan Joe Bonamassa's back catalogue
'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
His fifth studio album, originally released in 2006, 'You & Me' has been
remastered from single to 180g heavyweight 2-LP transparent orange vinyl - on
coloured vinyl for the first time. When released it hit the #1 spot on the Billboard
Blues chart and featured a crack band of Carmine Rojas (Bass), Jason Bonham
(Drums), Rick Melick (Piano/Organ) and Jeff Bova (Orchestration). At the time it
was declared his best work to date by Allmusic and features his takes on
Led Zeppelin's "Tea for One," Sonny Boy Williamson's "Your Funeral and My Trial"
and Charley Patton's "High Water Everywhere" as well as Bonamassa originals
including "Bridge to Better Days" and "Asking Around for You."
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

To celebrate tthe 60 years of the release of the first 7 inch of the greatest rock band of all time, rediscover all the tracks that influenced the sound of the Beatles in a double vinyl. With : Elvis Presley, Gene Vincent, Bill Haley, The Everly Brothers, Little Richard, Chuck Berry, Ray Charles, The Isley Brothers, Peggy Lee...

The long-awaited reissue of this rare Eastern and psychedelic Jazz LP by the famous Hungarian guitarist, originally
released in 1968. For the first time and as extended Edition with four bonus tracks: radio version from 1968/69 7”
singles 7”. Deluxe 6-sided Digipak CD with 20 page booklet and Gatefold Vinyl comes with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne.
“The performances on this LP have a restrained, introspective quality. Szabo’s work is lyrical, rather economical, and
somewhat angular, and his tone is warm and glowing.” – Harvey Pekar, DownBeat
“Gabor Szabo is at the musical zenith of his career. This album could rank as his best to date.” - Billboard
“But for sheer lyrical beauty, few players are in Szabo’s class. His startling use of dissonance is a delight, too, and
time and again he will alter a final phrase just slightly, totally reorienting a familiar tune.” – Alan Heineman, DownBeat
“This is definitely one of my ‘go to’ Gabor albums.” Mike Stax, Ugly Things
"Gabor Szabo’s Bacchanal documents one of the earliest and finest examples of what was then known as “jazz rock.”
Years before this new jazz style evolved – or devolved, according to some – into “fusion,” jazz rock was mostly
fashioned by younger jazz players whose ears were open to the emerging sounds coming out of rock and roll,
especially those of the Beatles and, later, Jimi Hendrix. " - Douglas Payne
After recording four albums for Impulse in 1967, the distinctive guitarist Gabor Szabo cut three strongest records for
the Skye label in 1968-1969: "1969", "Dreams" and "Bacchanal" all of them became a legendary classic. This time
EBALUNGA!!! are rediscovers "Bacchanal". Szabo's regular group of the era is heard on record for the last time:
guitarist Jimmy Stewart, bassist Louis Kabok, drummer Jim Keltner and percussionist Hal Gordon. With the exception
of two Szabo originals, the material is comprised of current pop tunes including two songs by Donovan, "Love Is Blue,"
"The Look of Love" and "Theme from the Valley of the Dolls."
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage
with a deep love of jazz and creating a distinctive, largely self-taught sound.
Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy Rogers cowboy movie to begin playing guitar when
he was 14 and often played in dinner clubs and covert jam sessions while still living in his hometown. He escaped
from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling
with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles
Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was
able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the popjazz of the Gary McFarland quintet and the energy music of Charles Lloyd's fiery and underrated quartet featuring Ron
Carter and Tony Williams.Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired
moments and "Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet
(1967-1969) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums
during the late '60s. The emergence of rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found
Szabo experimenting with feedback and more commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting,
spellbinding style. From 1970, he locked into a commercial groove, even though records like Mizrab occasionally
revealed his seamless jazz, pop, Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times
during the '70s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit
and died in 1982, just short of his 46th birthday.

Like many of his favorite songwriters (John Hartford, Lucinda Williams, Jeff Tweedy), Izaak Opatz is an ungulate in life’s winter pasture, chewing on and metabolizing disappointment, heartbreak, and the other tough stuff into enjoyable musical carbohydrates. A compulsive metaphorager (and inveterate wordplayboy), Opatz breaks it all down with enzymes of wry humor, thoughtful simile and close observation - a therapeutic process of narrativizing his own life that, almost as a byproduct, turns out savory nuggets of literate, confessional pop. Where 2018’s 'Mariachi Static' drew from Opatz’s fragmented love life as a seasonal Park Service employee and resonated especially with the sensitive dirtbag set, 'Extra Medium', his latest release, splits time between romantic Hindenburgs across his native Montana, up the East Coast, and in faraway Los Angeles. Montana and LA especially decorate the album, supplying wells of metaphor and scene-making, and as characters in their own right - LA’s alternately charming (“In the Light of a Love Affair”) and discomfiting (“East of Barstow”), and, in “Big Sandy”, Montana evolves from setting to subject as the girl’s feelings he traverses it to see prove less than his own feelings for the state. In LA, Opatz learned from and worked alongside Jonny Fritz at Dad Country Leather, and met bandmates and 'Extra Medium' collaborators Malachi DeLorenzo (drums, producer, engineer) and Dylan Rodrigue (multi-instrumentalist, producer). He now lives in Missoula, Montana, where he runs his own custom leather shop, is writing the next album, and getting ready to pursue a Journalism degree at the U of M.

Often when music is constructed with synths and other electronically generated sound makers, their level of exactitude and control is such that the vocalist will either wittingly or otherwise seek to emulate the relative artifice of the soundscape. This is often done to great effect, think Kraftwerk. But what if there was a unit whose music was synth-generated but the vocals were coming from a hot-blooded, singing-for-the-cheap-seats approach? If done well, it’s a case of two great tastes that taste great together, which brings me to System Exclusive.

Their multi genre / time period collision is like a car accident where all parties walk away not only unscathed but sure they had a great time, like two different recording sessions sharing the same space and making it work. Vocalist Ari Blaisdell (previously of Lower Self, The Beat Offs) co-exists excellently amidst the driving beats and synth waves and her guitar further helps to jailbreak the tunes from the often sterile entrapments that synths provide. Matt Jones (previously of Male Gaze, Blasted Canyons, and continuing Castle Face behind-the-scenesman)’s smart use of live drums bring great juxtaposition against the machines. Ari’s irony-free sincere delivery is the perfect closer on this very cool record, recorded ably by Enrique Tena Padilla (Osees, Wand, Beach House) in their backyard studio mid-pandemic and adorned with original artwork by Miles Wintner (L.A. Takedown, Mr. Elevator, Devon Williams). If you don’t get this slab of goodness, well, that act of non-compliance will confirm you as the pain-in-the-ass that many have described you to be in great detail during Zoom chats. How dare they! Prove them wrong! Reduce their snark to mere pseudo-intellectual piffle! Your lifeline arrives in March. Grab it. — Henry Rollins

One record which has lately come to prominence is the brilliant "After Hours" by Charlie Mitchell aka Vic Marcel on an absolutely gorgeous slice of mellow Rare-Groove which recalls the Leon Ware vibe perfectly. Produced and arranged by seasoned veterans Tony Silvester and Bert DeCoteaux this incredibly hypnotic song was also written by top writers J.R. Bailey and Ken Williams. "After Hours" has grown in popularity particularly over the last few years with original copies now reaching the £200-£250 valuation.

The flip-side is another slice of beautiful mid-tempo soul from the same production stable. Only one copy currently available the last time we checked, such has been the demand over the last two years especially. Quite why this record has been underground for so long is open to debate. Vic Marcel was under contract to RCA at the time hence the Charlie Mitchell pseudonym. Janus were also suffering distribution problems at the time which explains why the original is so rare. We're proud to finally make this available again on the original Janus imprint. Another double-sided beauty.

Even in trying times, “there is no love without electricity.” Electricity is the fourth and most progressive album from Ibibio Sound Machine, and like all good Afrofuturist stories, it begins with an existential crisis. “It’s darker than anything we’ve done previously,” says Eno Williams, the group’s singer. “That’s because it grew out of the turbulence of the past year. It inhabits an edgier world.”

Electricity was produced by the Grammy Award and Mercury Prize nominated British synthpop group Hot Chip, a collaboration born out of mutual admiration watching each other on festival stages, as well as a shared love of Francis Bebey and Giorgio Moroder. The fruits of their labor reveal a gleaming, supercharged, Afrofuturist blinder. Electricity is the first album Ibibio Sound Machine have made with external producers since the group’s formation in London in 2013 by Williams and saxophonist Max Grunhard. True, 2017’s Uyai featured mixdown guests including Dan Leavers, aka Danalogue, the keyboard jedi in future-jazz trio The Comet Is Coming, but Hot Chip and Ibibio Sound Machine worked together more deeply throughout the process, collaborating fully. Along the way, the team conjured a kaleidoscope of delights that include resonances of Jonzun Crew, Grace Jones, William Onyeabor, Tom Tom Club, Kae Tempest, Keith LeBlanc, The J.B.’s, Jon Hassell’s “Fourth World,” and Bootsy Collins.

The hook of opener “Protection From Evil” has Williams wielding a massive synth line from Hot Chip’s Al Doyle like a spiritual shield against unspecified, malign forces unspecified because Williams is speaking in tongues. Her lyrics are onomatopoeic: their meaning is defined in her energetic delivery. As Electricity takes off, so do Williams’ words towards a brighter future, alternating between English and Ibibio, sometimes within verses, and propelled by Joseph Amoako’s unabating afrobeat. She digs into this sentiment further on single “All That You Want,” coolly assuring her romantic interest while also requesting reciprocity. Meanwhile, Scott Baylis’ playful Juno synth guides the listener’s feet along the dancefloor.

Electricity is a deep and seamless realization of Williams’ and Grunhard’s ambitious founding manifesto to combine the singularly rhythmic character of the Ibibio language which Williams spoke growing up in Nigeria with a range of traditional West African music and more modern electronic sounds. While the band enjoys veering further into electronic territory with the help of mutuals like Hot Chip, Grunhard emphasizes, “For us, it’s not just a matter of embracing new technology. What’s key is to keep the music grounded in African roots.” Ibibio Sound Machine best exemplify this on Electricity’s “Freedom.” That track was inspired by the water-drumming rhythms of Cameroon’s Baka women, which in turn fueled its lyrics, which in turn prompted Hot Chip and Ibibio Sound Machine to layer joyfully kinetic electronic counterparts on top in the studio. As the track culminates with the mantra of “rage, hope, cope, soul,” it’s clear that Ibibio Sound Machine have channelled, harnessed, and distilled these words as guiding principles, both for the album and for the turbulent world that awaits it.

Big Joe Williams is seen by many as the ultimate incarnation of the Delta Country Blues player, and several of his songs have become standards in the Blues canon. Known for being rough on his guitars, it's one of the reasons for the ongoing tinkering that led to the construction of his first nine string instrument. This fine studio album was released in 1962 on the Folkways Label after being recorded the year before. It contains King Highway Blues, a slow and at times almost spoken track. Where as Somebody's Been Foolin' is fairly driven along by Ransom Knowling's Bass. In 1968 Downbeat Magazine, simply stated that "Big Joe Williams' Blues is a beautiful experience". Listen to this album and you'll agree.

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Afro-Danish saxophonist John Tchicai spent his youth playing alongside the greats- recording and performing in NYC with Albert Ayler, John Coltrane, Archie Shepp and Don Cherry amongst many others.

Following a meeting at the Coimbra Jazz festival in 2004, he agreed to record with John Coxon and Ashley Wales. The beautiful resulting album sold out almost immediately on its release in 2005 and is available here for the first time on vinyl.

Eloquently balanced between Eric Dolphy and Lee Konitz, his wise and lyrical......' alto saxophone and bass clarinet playing make this .....one of his finest recordings....' (Richard Williams in The Guardian)

Essential.'

Brand new album by the legendary Swamp Dogg.In 1954, 12 year old
Jerry Williams, then performing under the name Little Jerry Williams,
made his first recording for Mechanic Records, a blues stomp with a
shockingly mature vocal performance - Through the 60"s Williams' career
developed with a number of successful singles, including 'I'm the Lover
Man' and 'Baby You're My Everything', as well as writing and producing
hits for Dee Dee Warwick, Doris Duke, and Patti LaBelle and the Blue
Belles. It was in 1970, however, that the full extent of Williams' eccentric
creative genius was unleashed on the world for the first time, with the
birth of his musical alter-ego, Swamp Dogg
Created to 'occupy the body while the search party was out looking for Jerry
Williams, who was mentally missing in action due to certain pressures, maltreatments and failure to get paid royalties on over fifty single records,' the
Swamp Dogg alias, still in use today, allowed Williams to create music that was
bolder, raunchier, and more honest to his creative instincts. The Dogg's cult
classic debut 'Total Destruction to Your Mind' struck a powerful blend of Williams
classic soulful sensibilities and the blooming psychedelia of the time. Infused in
the swirling brew is Swamp's blink- and- you'll- miss- it humor, a number of acid
odes, and a heavy dose of sharp political insight. Though the psychedelic
strangeness alienated R&B fans of the time, and the authentic R&B infrastructure
prevented it from clicking with hippie audiences, it has retroactively received
legendary status in cult music circles.Now, 50 years after Total Destruction
introduced Swamp Dogg to an unprepared world, and nearly 70 since Little Jerry
Williams went into the studio for Mechanic, Williams brings us I Need A Job' So I
Can Buy More Autotune. A spiritual successor to 2018"s hit Love, Loss and
Autotune, this album continues to push Swamp's sonic exploration of the effect
as one of his many creative weapons. In the extended tradition of Total
Destruction, Swamp Dogg's 2021 LP neatly balances sleek modern production
techniques with that classic Dogg sound that has anchored William's music since
the 70s. Subtle yet soulful drumming, skin- tight horn grooves and meandering
funk guitar leads create a sonic landscape fitting Swamp Dogg's iconic croon,
occasionally drenched in the titular autotune. At 78, Swamp Dogg is as sharp of a
singer and songwriter as ever. His raunchy yet charismatic sense of humor takes
a more forward role on I Need a Job' So I Can Buy More Autotune, with earnestly
delivered lyrics about all day sex and an entire song dedicated to the perils of
'Cheating in the Daylight.' Many of the record's most charming moments emerge
from the juxtaposition of Swamp's left field humor with genuine messages of
love, such as 'She Got That Fire', which weaves descriptions of imagined sex acts,
including but not limited to an encounter involving edible underwear, in between
relatively wholesome proclamations like 'she must be an angel on earth,' and
'when she looks at you, it's like sunshine from her eyes'. I Need a Job does more
than prove that Swamp's still got it, it proves he's still getting better.

Soul Jazz Records new ‘Life Between Islands’ collection coincides with the launch of Tate Britain’s exhibition of the same name. This landmark exhibition explores the links between Caribbean and British art and culture from the 1950s to now.

Soul Jazz Records album, sub-titled “Soundsystem Culture – Black Musical Expression 1973-2006,” focuses on the most important Black British musical styles to emerge out of the distinctly Caribbean world of sound systems. The album features an all-star line-up including Dennis Bovell, Shut Up and Dance, Cymande, Digital Mystikz, Brown Sugar, Funk Masters, Janet Kay, Ragga Twins and more.

The album is a lightning-rod journey across Roots Reggae, Jungle/Drum & Bass, Jazz-Funk, Lovers Rock, Jazz, Dubstep and more. Much of Soul Jazz Records’ catalogue comes out of these genres and this album is partly an overview of some of Soul Jazz’s earlier releases (including Digital Mystikz’ long-deleted groundbreaking and now highly-collectible single, ‘Misty Winter’) alongside some choice rare and classic tunes that span over 30 years of sound system culture.

Many of the tracks represent how Black British artists defined their own identity with songs such as Brown Sugar’s righteous ‘Black Pride’, ‘I’m In Love with A Dreadlocks’ and Tabby Cat Kelly’s powerful ‘Don’t Call Us Immigrants’. Aside from being musically rooted in the distinctly Jamaican-born phenomenon of the sound system, much of this identity is also shaped by the triangular relationship of being British-born, of Caribbean heritage, and with an equal love of African-American Jazz, Funk and Soul, as evidenced with many Lovers Rock tunes reggae covers of American soul tunes (such as those of Jean Carn, William de Vaughan and Rose Royce featured here). This stateside influence can also be heard in groups such as the Funk Masters, a group formed by reggae radio DJ Tony Williams, whose jazz-funk music successfully crossed over into New York’s clubland, as well as the great Cymande, whose unique street-funk became staple material for numerous US hip-hop artists in the years that followed.

In the early 1990s, jungle and drum and bass artists took the essence of reggae’s soundsystem culture – MCs, dubplates, crews – and applied them to their own music, applying heavy reggae bass lines to intense double-speed drum breakbeats. At the forefront of this new movement were the duo Shut Up and Dance, working closely with The Ragga Twins, aka Deman Rocker and Flinty Badman, both MCs for North London’s infamous Unity reggae soundsytem. In the early 2000s, dubstep, spearheaded by Digital Mystikz, became the latest instalment in this ever-evolving soundsystem culture.

2024 Repress

Cool - gelassen - überraschend: Volume 15 dieser superlativen Serie wurde wieder von Compost’s Mentor Michael Reinboth zusammengestellt. Das pralle Paket birgt 21 Tracks, davon 8 exklusive unveröffentlichte Delikatessen und gibt es als 4-LP / 2xCD. Viel Vergnügen.

Die exklusiven Tracks kommen von: Area (schätze, man kennt seine brillianten Innervisions Veröffentlichungen), Arnau Obiols & KAYYAK (schwer von Gilles Peterson gefeatured, ihre EP “Chang‘an” war in seiner 2021 top 5 Liste), Ron Deacon (gehört zur Workshop-Crew mit Move D, Even Tuell and Kassem Mosse), Class Compliance, oh man was für ein Hammer Track, Mille & Hirsch (Operatoren des feinen Polish Records - Labels), All Is Well (dahinter steckt natürlich Fred Everything), Ben Sturm (ein neues Talent aus Leipzig’s viraler Underground Szene) und Oliver Kieser (bestens bekannt als Teil von Kieser & Velten mit einigen Platten auf G-Stone).

Gut, schön, wie immer, fast alle Tracks sind wunderbare Hybride, perfekt für jedes eklektische Set, aber auch für den entspannten Genuss von Wein, Bier, härterem oder grünem Zeug. Vielleicht besonders zu erwähnen wäre der Esa Williams Remix von Bantu Clan Vs Sarabi and Kevin Yost’s Original Mix von “Another World”, die gab es so in den Versionen bisher nicht auf Vinyl.

Diverse Magazine haben die Future Sounds Of Jazz als eine der besten Compilation - Serien aller Zeiten gewählt. Wir sind geschmeichelt. Mit dem Start der Reihe 1995 wurde das Genre Future Jazz quasi aus der Taufe gehoben, unetabliert.

In 1978 ,three friends.

Woody Whittaker, Ronnie Arch, and Wayne Chatman

Came together with their musical ideas and talents to form the music production company, “Cabfare Productions”.

Under that parent company, the performing group T.A.X.I.E.



Talented

Artist

Xclusively

In

Entertainment

​

Archwoods Productions and Archwoods Publishing was born.



Eventually adding musicians/song writers, Charles (Ice Cream) Williams,

Oneida James, and the amazing vocalist, Carlita Durhan, the original guitarist for the R&B group Taste Of Honey.

​T.A.X.I.E. performed many engagements through out the Los Angels Hollywood circuits. Opening and appearing with renowned artist such as Stevie Wonder, Dennis Edwards, and the Mary Jane Girls.

The members of T.A.X.I.E. are not only great musicians and performers, but also are very talented and awesome song writers.



Some of their compositions have been performed and recorded by, Grammy winner Diane Reeves, Tahj Mowry, AlfredaJames, Greg Rose, and musical groups such as Infinite.

Archwood’s Productions also produced, published and promoted music and live concerts throughout the United States and Europe.

Over the years, this partnership has developed a music catalog of over 100 songs, compositions, and videos. In the future, they will continue to write and produce excellent music, promoting new and established artist.

Bria is an intimate and incisive labour of love from multi-instrumentalists Bria Salmena
and Duncan Hay Jennings. Catapulted by a deep sense of dread and confusion in the
depths of 2020, Salmena decided to forgo writing her own music. “I wanted to listen for
what might reflect my life back to me,” she says, “six tracks that could be my mirror.” The
result is a pointillistic knockout of a release that weaves a landscape both luscious and a
little rogue; showing us exactly what good songs can do.
 Bria’s internal turbulence seemed to mirror last year’s external instability. When Jennings
and back-up singer Jaime McCuaig moved to The Outside Inn, a hobby farm in Hockley
Hills, Ontario, Bria soon joined. The farm’s living-room-turned-studio proved an ideal
setting for the long-time friends to compile a record of handpicked country covers. They
went searching for songs that could speak to our everyday loneliness, outside and in.
‘Cuntry Covers’ houses it all: well-worn favourites and lesser-known gems.
 The record opens with ‘Green Rocky Road’, as performed by Greenwich Village legend
Karen Dalton. Jennings’ twangy guitar carries Bria’s original inflection and richly textured
vocals, complete with dreamy overlay. ‘Dreaming My Dreams With You’, a rendition of the
Waylon Jennings hit, is followed by John Cale’s ‘Buffalo Ballet’, a lyrical journey through
Abilene, Texas, the endpoint of the Chisholm Trail.
 Engineered and mixed by Duncan Hay Jennings, each song brings desire and sexuality
front and centre, with all the swagger you’d expect – and more. Bria hopes the record will
be understood as a small contribution to the subversion of a genre with deep patriarchal
roots. Mistress Mary’s ‘I Don’t Wanna Love Ya Now’, from the 1969 album ‘Housewife’,
served as the original inspiration. “It was the first song Duncan and I worked on,” Bria
notes. “It definitely set the tone for the other tracks we picked.”
 Bria’s voice - described as wavering between “sultry and howitzer” - shines on ‘Fruits Of
My Labour’, written and performed by country great, Lucinda Williams. The Walker
Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ is a harmonic (and hypnotic) standout. A
musical explorer who moves fluidly between styles, Bria doesn’t consider herself a
country artist: “I feel as though I’m a visitor here, paying respect to a style that has
informed a part of my musical identity. Country music, as much as any other art form,
should be an arena for representation, expression and provocation. I have a ton of
reverence for artists who came before me and challenged the primarily whiteheterosexual status quo.”
 Salmena and Jennings have toured for years as members of Toronto four-piece FRIGS,
whose 2018 debut ‘Basic Behaviour’ was long-listed for the Polaris Music Prize. Making a
mark in diverse genres from country to punk, both play as permanent members of Orville
Peck’s band.
 ‘Cuntry Covers’ was recorded on the territories of the Anishnaabe, the Haudenosaunee,
the Wendat and the Mississaugas of the Credit. The release also features contributions
from FRIGS drummer Kris Bowering and vocals by Ali Jennings.
 LP pressed on opaque breeze blue vinyl.

Bria is an intimate and incisive labour of love from multi-instrumentalists Bria Salmena
and Duncan Hay Jennings. Catapulted by a deep sense of dread and confusion in the
depths of 2020, Salmena decided to forgo writing her own music. “I wanted to listen for
what might reflect my life back to me,” she says, “six tracks that could be my mirror.” The
result is a pointillistic knockout of a release that weaves a landscape both luscious and a
little rogue; showing us exactly what good songs can do.
 Bria’s internal turbulence seemed to mirror last year’s external instability. When Jennings
and back-up singer Jaime McCuaig moved to The Outside Inn, a hobby farm in Hockley
Hills, Ontario, Bria soon joined. The farm’s living-room-turned-studio proved an ideal
setting for the long-time friends to compile a record of handpicked country covers. They
went searching for songs that could speak to our everyday loneliness, outside and in.
‘Cuntry Covers’ houses it all: well-worn favourites and lesser-known gems.
 The record opens with ‘Green Rocky Road’, as performed by Greenwich Village legend
Karen Dalton. Jennings’ twangy guitar carries Bria’s original inflection and richly textured
vocals, complete with dreamy overlay. ‘Dreaming My Dreams With You’, a rendition of the
Waylon Jennings hit, is followed by John Cale’s ‘Buffalo Ballet’, a lyrical journey through
Abilene, Texas, the endpoint of the Chisholm Trail.
 Engineered and mixed by Duncan Hay Jennings, each song brings desire and sexuality
front and centre, with all the swagger you’d expect – and more. Bria hopes the record will
be understood as a small contribution to the subversion of a genre with deep patriarchal
roots. Mistress Mary’s ‘I Don’t Wanna Love Ya Now’, from the 1969 album ‘Housewife’,
served as the original inspiration. “It was the first song Duncan and I worked on,” Bria
notes. “It definitely set the tone for the other tracks we picked.”
 Bria’s voice - described as wavering between “sultry and howitzer” - shines on ‘Fruits Of
My Labour’, written and performed by country great, Lucinda Williams. The Walker
Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ is a harmonic (and hypnotic) standout. A
musical explorer who moves fluidly between styles, Bria doesn’t consider herself a
country artist: “I feel as though I’m a visitor here, paying respect to a style that has
informed a part of my musical identity. Country music, as much as any other art form,
should be an arena for representation, expression and provocation. I have a ton of
reverence for artists who came before me and challenged the primarily whiteheterosexual status quo.”
 Salmena and Jennings have toured for years as members of Toronto four-piece FRIGS,
whose 2018 debut ‘Basic Behaviour’ was long-listed for the Polaris Music Prize. Making a
mark in diverse genres from country to punk, both play as permanent members of Orville
Peck’s band.
 ‘Cuntry Covers’ was recorded on the territories of the Anishnaabe, the Haudenosaunee,
the Wendat and the Mississaugas of the Credit. The release also features contributions
from FRIGS drummer Kris Bowering and vocals by Ali Jennings.
 LP pressed on opaque breeze blue vinyl.

We are extremely excited to announce that Licorice Pizza: The Original Motion Picture Soundtrack will be released on Friday 10rd December 2021 on both CD + Vinyl. Licorice Pizza is the story of Alana Kane (Alana Haim) & Gary Valentine (Cooper Hoffman) who grow up & fall in love in San Fernando Valley (1973). Written & directed by filmmaker Paul Thomas Anderson. Sean Penn, Bradley Cooper, Tom Waits & Benny Safdi also star. Limited movie release in the U.S. Nov 26 and goes wide in US on Dec 25. Radiohead's Jonny Greenwood composed the film's score & Paul Thomas Anderson curated the soundtrack also features songs by David Bowie, Paul McCartney and many more to be revealed. The title pays homage to the California record store, Licorice Pizza.





[d] 4 Ac–Cent–Tchuate The Positive (Single Version) [feat. Vic Schoen & His Orchestra] – Bing Crosby & The Andrew Sisters
[e] 5 Blue Sands [feat. Buddy Collette] – Chico Hamilton Quintet

[g] 7 My Ding-A-Ling (Live At Fillmore Auditorium, San Francisco, CA/1967) [feat. Steve Miller Band] – Chuck Berry

Many great Blue Note artists have hailed from the jazz hotbed of Detroit over the course of the label's history including Donald Byrd, Kenny Burrell, Paul Chambers, Thad Jones, Elvin Jones, Joe Hendreson, and many more. Perhaps the only instance on an entire band coming out of Detroit was with Kenny Cox and the Contemporary Jazz Quintet, a fantastic but unsung combo led by pianist Kenny Cox whihc featured Joe Henderson's brother Leon Henderson on tenor saxophone, Charles Moore on trumpet, Ron Brooks on bass, and Danny Spencer on drums. The quintet made two excellent albums in the late 1960s including their debut album Introducing Kenny Cox and The Contemporary Jazz Quintet, a hidden gem of the Blue Note catalog which was recorded in 1968. The band was certainly influenced by the post-bop explorations of the Miles Davis Quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, but the CJQ exhibited its own unique sensibilities on memorable originals like "Mystique", "trance Dance", "Diahn", and David Durrah's beautiful piece "You".

Many great Blue Note artists have hailed from the jazz hotbed of Detroit over the course of the label's history including Donald Byrd, Kenny Burrell, Paul Chambers, Thad Jones, Elvin Jones, Joe Hendreson, and many more. Perhaps the only instance on an entire band coming out of Detroit was with Kenny Cox and the Contemporary Jazz Quintet, a fantastic but unsung combo led by pianist Kenny Cox whihc featured Joe Henderson's brother Leon Henderson on tenor saxophone, Charles Moore on trumpet, Ron Brooks on bass, and Danny Spencer on drums. The quintet made two excellent albums in the late 1960s including their debut album Introducing Kenny Cox and The Contemporary Jazz Quintet, a hidden gem of the Blue Note catalog which was recorded in 1968. The band was certainly influenced by the post-bop explorations of the Miles Davis Quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, but the CJQ exhibited its own unique sensibilities on memorable originals like "Mystique", "trance Dance", "Diahn", and David Durrah's beautiful piece "You".

We are extremely excited to announce that Licorice Pizza: The Original Motion Picture Soundtrack will be released on Friday 10rd December 2021 on both CD + Vinyl. Licorice Pizza is the story of Alana Kane (Alana Haim) & Gary Valentine (Cooper Hoffman) who grow up & fall in love in San Fernando Valley (1973). Written & directed by filmmaker Paul Thomas Anderson. Sean Penn, Bradley Cooper, Tom Waits & Benny Safdi also star. Limited movie release in the U.S. Nov 26 and goes wide in US on Dec 25. Radiohead's Jonny Greenwood composed the film's score & Paul Thomas Anderson curated the soundtrack also features songs by David Bowie, Paul McCartney and many more to be revealed. The title pays homage to the California record store, Licorice Pizza.





d 4 Ac–Cent–Tchuate The Positive (Single Version) [feat. Vic Schoen & His Orchestra] – Bing Crosby & The Andrew Sisters
[e] 5 Blue Sands [feat. Buddy Collette] – Chico Hamilton Quintet

[g] 7 My Ding-A-Ling (Live At Fillmore Auditorium, San Francisco, CA/1967) [feat. Steve Miller Band] – Chuck Berry