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Bliss is undoubtley the heaviest and darkest album to date by Tungsten
The typical ingredients that define the music of Tungsten are still there while new
grounds and territories are being explored musically. The hooklines are stronger
and more dynamic than on previous albums. The lyrics are darker but they still
ocus on things common man might relate to in one way or another.
Mike Andersson says; "It all came naturally. Creating and recording this album
ruly put us in a feel of bliss. Nick & Karl who wrote the music have really showed
heir skills and musical talents on Bliss with new musical ideas but still based in
he genre that we established in the band in from the beginning".
All songs were recorded the same way as the previous albums at Harm Studios,
Trelleborg (Sweden). Nick Johansson once again took care of the mixing,
mastering and production duties. Karl Johansson says: "We really hope that Bliss
will reach out to an even broader fanbase than before. So much pain, sweat and
ove have been put into this album. We are truly excited to introduce Bliss to the
world". Anders Johansson agrees; "Yes, this album might be one of the hardest
or me to record. Nick is close to a perfectionist at the production helm so if I can
find something that has been good about the pandemic it might be the fact I
could spend so many more hours in the drum studio just to practise and develop
my technique".

'Soul Food - Cooking with Maceo' blends raw, old-school funk with the
flavours of the New Orleans school of music
Parker worked with Ivan Neville, Nikki Glaspie and Tony Hall, as well as a host of
local musicians to record the songs. The funky flavour of the city weaves its way
through the album as the funk father and his band take on iconic songs of the
Mississippi masters such as Dr. John's voodoo funk of 'Right Place, Wrong Time',
The Meters 'Just Kissed My Baby,' 'Yes, We Can Can' recorded by Allen Toussaint
as well as takes on Aretha Franklin's 'Rock Steady', Prince's 'The Other Side of the
Pillow' and Maceo's long-time hero and Ray Charles Saxophonist, David "Fathead"
Newman's 'Hard Times'. We also get funky workouts from Parkers own back
catalogue on 'Maceo' and 'Cross The Tracks'. The latter adopted by Giles
Peterson at the staple song of his iconic WAG Club in Soho, London in the 1980s.
The amazing P-funk Parker has been at it with his legendary sound for time that
dates back to the 1960's. That's when Maceo and his drummer brother Melvin
climbed on board the James Brown funky soul funk train. It wasn't long before
James coined the solo summoning signature, "Maceo, I want you to Blow!". To
most musicologists it's the musically fertile group of men from this period of
James Brown's band who are recognized as the early pioneers of the modern
funk and hip-hop whose sounds we still jump to in the present day.

Single sleeve, 12” 45rpm EP. 'Avocet Revisited' is a four track EP, commissioned by Earth recordings as a companion piece to Bert Jansch’s 1979 avian-themed masterstroke ‘Avocet’. Again drawing inspiration from the resplendence of birds native to British waters (Bert himself was a keen ornithologist), Earth invited this quartet of artists to each choose a species that particularly speaks to them, and base a track around it. The results have been universally graceful, evocative, and majestic - much like the creatures themselves. Fulmar - Drifting low and gliding high, the flight patterns of this gull-like creature are echoed in Edwyn Collins and Carwyn Ellis’s paean to the bird that spends most of its life airborne. Part waltz, part lullaby, ‘Fulmar’ is exquisite in its simplicity, with Carwyn’s elegant arrangements providing the perfect foil for Edwyn’s unmistakeable intonation. // Curlew - The opening of Modern Studies’ track - the call of the Curlew itself - is as recognisable as the looping feathered frame of its namesake. Perfectly showcasing the handsome orchestral arrangements that have become the group’s signature style, there is a lightness of touch here that evokes Virginia Astley’s ‘From Gardens Where We Feel Secure’. // Goosander - Another Scottish resident, both artist and avian. Unmistakably Alasdair Roberts, ‘Goosander’ is at once refined and somewhat feral; Alasdair’s picking supplemented by sighing organ drones and spartan electric guitar. // Golden Plover - Playing us out, Trembling Bells’ contribution has a Harvest feel - the last days of summer invoked by the warm refrain and gentle orchestration found on 'Golden Plover’. In another lifetime, this song - infused with the sounds of yesteryear - could very easily have made it onto the Wicker Man soundtrack… which should tell you all you need to know. A pagan hymn reimagined for the Scarfolk era! The band is joined by Callum Calderwood (violin), Rory Haye (vocals), Andrew Pattie (vocals) and Belle & Sebastian’s Stevie Jackson (12 string guitar). // Notes come courtesy of musician and keen twitcher, Karine Polwart, whose lyrical, prosaic turn of phrase brings the creatures here to life, as effortlessly as the songs themselves. Artwork again comes from Earth collaborator Hannah Alice (recently nominated for the Art Vinyl 2016) who has gifted each bird magnificent new plumage in her unique style.

Premier League Pressings returns with another top of the table seven inch 45 beauty.
It's a game of two halves!

SIDE A
THE CHOPPER - CHOP UP THE PIECES
Picking up an above average classic, the Chopper takes the ball into leftfield and sends it spinning into the stratosphere with some deft cut and paste action.
Dancefloor disco funk with an edge. Back of the net!

SIDE B
LADY SMILEY - QUEEN OF FREAK DANCE
A forgotten disco rap classic of yesteryear is is given a new formation, completely re-arranged and beefed up to bring the funky drums to the fore and the make the dope verses sound even better.
Disco rap for modern dance floors. A premiership title contender!

There are few rock guitarists on this planet who have had such a lasting influence on so many renowned musicians as Michael Schenker. With his outstandingly fluid style, inexhaustible wealth of ideas and instinctive feel for hooks and melodies, Michael Schenker is a living legend who, despite his longstanding and distinguished history, still impresses with his unflagging energy and drive. The blond axeman from Sarstedt began his international career in the early 1970s with the Scorpions, achieved worldwide fame after joining British rock group UFO and then seamlessly continued his exceptional global success story under his own name, as well as with acts such as Michael Schenker Group (MSG for short), Temple Of Rock and Michael Schenker Fest. Schenker and his career, which has spanned more than fifty years, are absolute exceptions in the otherwise short-lived music industry.

There are few rock guitarists on this planet who have had such a lasting influence on so many renowned musicians as Michael Schenker. With his outstandingly fluid style, inexhaustible wealth of ideas and instinctive feel for hooks and melodies, Michael Schenker is a living legend who, despite his longstanding and distinguished history, still impresses with his unflagging energy and drive. The blond axeman from Sarstedt began his international career in the early 1970s with the Scorpions, achieved worldwide fame after joining British rock group UFO and then seamlessly continued his exceptional global success story under his own name, as well as with acts such as Michael Schenker Group (MSG for short), Temple Of Rock and Michael Schenker Fest. Schenker and his career, which has spanned more than fifty years, are absolute exceptions in the otherwise short-lived music industry.

NYC-based producer Endemic Emerald is proud to
present the release of his 3rd album entitled “The
Virux”. Featuring such renowned emcees as
General Steele, Chris Rivers, Sadat X, Planet Asia,
Tragedy Khadafi, Ruste Juxx, Rim & Royal Flush
- to name but a few - the set is packed with high
class talent embedded in electrifying soundscapes.
Endemic, known for producing outstanding
compilation records Terminal illness 1 & 2 once
again does not disappoint with this offering, which
comprises a cohesive selection of epic, yet gritty
east coast bangers. Collaborating with a
combination of legendary and upcoming rappers
“The Virux” has that classic feel from beginning to
end, ensuring it to become an underground
favourite.

Oops, Four Flies did it again! Like other rare Italian gems, Berto Pisano's La Novizia was long thought lost before the FF team rescued, restored and remastered it from the original tapes. And wow, it's just one of the best things, if not the best thing, about the 1975 film it was written for – an erotic comedy with melodramatic overtones directed by Pisano's long-time collaborator Giuliano Biagetti (they previously worked together on Interrabang and La Svergognata) and starring a young and mesmerizing Gloria Guida.

The film's low budget meant that Pisano had to make a virtue out of necessity. Rather than using a big orchestra and strings (as is well known, he was a brilliant conductor and string arranger), he relied on a smaller ensemble – almost a chamber ensemble, but with a jazz-like rhythm section – to create sensual late-night soundscapes that exude a downtempo ambience. In a nutshell: smooth, warm, velvety music. The epitome of the lounge sound.

At times, whispered, sexy vocals by (the then ubiquitous) Edda Dell'Orso float dreamily over brushed drums, bass, guitars and electric pianos. At others, we find Italian library heavyweights like Alessandro Alessandroni (whose unmistakable whistle can be heard in "Canto Notturno") and even psychedelic rock influences, as in the acid distorted guitars, furious drums and crazy synths of "Free Dimension". At yet other times, we're taken into more easy-listening territory – "Fiore Rosso", for instance, offers a wonderfully cinematic example of Mediterranean, rather than Brazilian, bossa nova (did they ever thought of using a spinet in Brazil??).

The secret to the charm of La Novizia is that it encapsulates the Italian erotic sound of the 70s in all of its nuances, from the morbid, to the prudish, to the naïve. Because yes, this is a record of nuance and musicianship. And while the themes are in themselves simple, the fantastic quality of the writing, arrangement and production is a testament to Berto Pisano's superb talent, style and professionalism.

Finally back to life after decades of obscurity, La Novizia is a thing of beauty – which, as a pretty bright fellow once said, is a joy forever. Don't miss out on joy.

Comes on vinyl, CD and Digi with original artwork by Eric Adrian Lee and exclusive liner notes by the Pisano family. All tracks are previously unreleased in any format.

Four years in making, Voyeurs In the Dark is Toronto artist Barzin’s fifth studio album. That the album is more cinematic in its scope and conceptual in feel than his previous studio albums can be attributed to the time he spent over the past several years composing the soundtrack for the independent film, Viewfinder. Voyeurs In the Dark retains that cinematic quality, and at the same time infuses the music with elements taken from Jazz, electronica, rock and pop. Having primarily explored the quiet side pop and folk in his previous four albums, Barzin has expanded his musical palate, broadening his sound towards a more an experimental direction, while still retaining his preoccupation with exploring the internal landscape. The uniformity of sound that characterized the previous albums has been abandoned for the expression of differing aspects of the self that at times hold opposing views and desires. This is best represented in the image chosen for the cover of the album, which depicts three figures in one body. The album seems to be the expression of not one unified self, but the various aspects of the self. Voyeurs In the Dark sees the artist plot a seductive, contemplative route through city haze, shuttling between graceful glimmering interludes, with wonderfully atmospheric songs at every stop. From opener Voyeurs In the Dark’s first guitar strums and the fizz of its drum machine, the record envelopes itself in a glorious shadow, as shown in the slow waltz of I Don’t Want To Sober Up, dancing around its own swirling guitar chords. On Watching, Barzin plunges himself deeper into a wash of cyclic bass, guitar and synth riffs, as the gloom grooves into light. It’s Never Too Late To Lose Your Life has a much more affirming and urgent tone, shade turning into shapes and motion, while To Be Missed In the End builds its own smoke in a cloud of saxophone and sparse guitar notes, closing out a record full to the brim with scatterbrain beauty and eclectic dusk. Voyeurs In the Dark will be released worldwide on Monotreme Records on May 6th on CD and limited edition180 g black vinyl LP with printed inner discobag and digital download card. Press highlights so far: Video premiere and feature interview on Rumore.IT. Airplay on BBC 6Music, Amazing Radio (UK and US), Glastonbury FM, Shoreditch Radio, Indie Music Discovery, Listen to Discover, Norfolk Radio. Press coverage in V13, Skope, Whisperin and Hollerin, Fame Magazine, High Violet, Indie Midlands, Beehive Candy, Music Won’t Save you. Feature confirmed for Wonderland Magazine. PUBLICITY - UK and North America press and radio Cannonball PR. Europe Five Roses Press

With some of the best DJs and selectors there is a certain mysterious sound or underlying feeling which unites the music they play, regardless of genre, year or tempo Luke Una is a master of telling a story through music and this compilation is a perfect example of his musical alchemy in action. Featuring tracks from Yusef Lateef, Airto Moreira, Crooked Man, Henri Texier and many more, it is a collection of new, old, rare and under-discovered music from around the world, all united by Luke under the banner of "E-Soul Cultura".It's best described by Luke himself, who writes: "As the 5AM city sleeps and the strobe lights are slowly turned off, we gather on the wrong side of town in a transcendental journey alone together. We are the late night disenfranchised holding on in various after parties, flats, lofts, random kitchens and basements into the outer cosmos with É Soul Cultura.

Music from exotic tear jerkers, Afro- spiritual jazz, cosmic Brazilian celestial grooves, machine street soul, dark horses, lost B- sides, £1 bargain- bin bombs, hidden gems, late night Italo dubbing, deep velvet N.Y.C garage, bass buggin sonic futurism, wrong speed 33BPM pitched up +8 new beat, majestic sunset strings, sweet vocals from heaven, no half steppin jazz dancing in outer- space and odd numbers. Yes… magical moments, together, holding on in witness protection suburban cul- de- sacs and Castle Court flats. Cosmic É high, 3000ft above the city getting evangelical to murky, wonky timeless beautiful music. This thing of ours dreaming of better days. Fail we may, sail we must, the sun will come up again."

Tinnitus Tonight is the latest & sneakiest full-measure serving from LARS FINBERG, world-class bon vivant and prolific Panic Rock artiste. Why so sneaky? Here’s the dirt: Finberg developed a nerve rash leading up his 2017 tootle, the TY SEGALL-assisted Moonlight Over Bakersfield. Rather than blindly leap from the comfy zone, he tip-toed in secret to a friendly but far-flung (cough*Sacramento*cough) studio to capture a reserve of slanted tunes with a proven-effective team of buds. Those comrades – the glorious LAUREN MARIE MIKUS on keys, frequent collaborator & forever-gent KAANAN TUPPER on drums and, at the controls and elsewhere, the indestructible CHRIS WOODHOUSE – all fostered a supportive framework that first allowed Finberg to “think” beyond THE INTELLIGENCE, gearing him up for a life in the spotlight (or moonlight, as it were). So yes indeed: what appears to be an adventurous follow-up also doubles as a prequel. Keep accurate score or you’re dusted. The core of Tinnitus Tonight centers on an assemblage of Finberg’s most golden riffs – trash-coustic but driftwood-smooth, naughty and infinite, all of ‘em bangers and/or buggers. Tunes sprout and move matador-like until an inevitable goring. The past-it grunt that kicks off “Burger Queen” prompts a mimed chef’s kiss. “My Prison” and “The Doors” are quintessential, truly distilled Finberg moments, compounding his trademark acerbic, out-for-blood wit with these absurdly cool, whip-crack guitars. The massively impressive “Public Admirer” is unequivocally the loudest, most damaged blurt from this doggie in at least a decade. In total, Tinnitus Tonight is a wonderful and welcome reminder that our guy is a very real rouser and a vital, unique purveyor of artful aggression, playful and powerful. Finberg beams really fuckin’ brightly under his own name, perhaps more so than with any group orchestration he happens to be braising with. Do these higher personal stakes call for a dastardlier delivery? Maybe this permeating 2020 End Times feeling prohibits the normal corralling of the subconscious mind? Whatever the answers are, you will find them here.
"The gift Lars Finberg has to disfigure rock riffs into minor chord marvels should serve as a glowing example for those who feel the need to pick up a guitar and make some noise to share with the world. Using the conventional tools of rock and roll flavored with a mix of garage punk, post punk, synth punk and mutant surf, Mr. Finberg, with seemingly effortless cool, has crafted or contributed to countless albums with bands like The Intelligence, Puberty, Rubber Blanket, A Frames and more, all with a magnetic pull and genius lyrics that stand out from the indie rock heap and reveal an exceptionally creative mind that’s actually done its homework." - Noise For Zeros

1900 to 1930: The Dawn of Dementia; The Oldest Novelty Records of All
Time from Dr Demento.The world famous Dr
Demento's influence on pop culture is undeniable and to commemorate his 50th
anniversary, we celebrate the earliest days of novelty and comedy records.
He is a world- renowned record collector and music historian, whose lifelong
passion for music of all kinds (from Frank Zappa to punk rock and everything in
between) is reflected in his radio show and most importantly, in this unique
collection of rare songs from the early days of records.

Spun Out Agency is honoured to present ‘More of that Frightful Oompty Boompty Music’, a compilation dedicated to the Guv’nor himself Mr Andrew Weatherall who should need no introduction on these pages. Released on vinyl in two beautiful parts, the first drops on April 15th with the second following two weeks after.

‘More of that Frightful Oompty Boompty Music’ (yes we are going to write that out every time we talk about it in this communique) showcases a selection of the shining greatness from the agency’s roster. Paranoid London, Fantastic Twins, Mehmet Aslan, Autarkic, Ruf Dug, Sean Johnston, and Manfredas gift exclusive tracks which highlight the sublime acid, techno and house sound that Weatherall would have described as “oopmty-boompty” music.

Spun Out is a London-based artist booking agency which has been run by Caroline Hayes for over 20 splendid years, that looked after the life and times of Andrew Weatherall alongside his partnership with Sean Johnston under their A Love From Outer Space moniker, and the likes of Optimo (Espacio), Ivan Smagghe, Josh Caffe, Man Power, Body Hammer, Kiara Scuro and many more artists, doing it differently.

Kicking off the A-side of the first record is Hardway Bros’ (aka Sean Johnston) previously unreleased remix of We Are The Axis by The Asphodells, the duo consisting of the Andrew Weatherall and former Battant member and Spun Out talent Timothy J. Fairplay. An energetic techno stomper with percussive rhythms, this exclusive remix offers the ideal tantalising dose to tease any dancefloor. The vocals and synth layers give it a punk rock approach, referencing the multi-genre essence of Weatherall’s taste in music.

Tel-Aviv-based Autarkic’s Sleepover closes the A-side with a chuggy lullaby, one that is certainly unsuitable for putting a baby to bed, given its intricate acid lines of total hypnosis. Following on the B-side is Manctalo Banger, a house bop by the Manchester-via-Ibiza computer game nerd and vinyl digger Ruf Dug, and Shizowaves, Turkish-born Basel-based Mehmet Aslan’s soulful touch to the compilation, bringing Middle-Eastern percussive melodies and catchy basslines.

The second record is introduced by Paranoid London, with a Spun Out dedicated acid techno banger appropriately titled Spinning Out and Fantastic Twins’ EBM track Kali’s Tongue Was A Weapon. On the B-side is Lithuanian chug legend Manfredas’ Hfuhruhurr, and Naum Gabo, who closes the compilation with the chaotic analogue-synth frenzy, Cold Sold. The name Naum Gabo may evoke the pioneer of Russian constructivism, who rose to fame thanks to his crazy kinetic sculptures. However, here it manifests as one half of Spun Out’s Optimo duo Jonnie Wilkes (JG Wikes) and James Savage. The duo’s impeccable manipulation of electronic hardware couldn’t give a better homage to him.

Some highlights for Spun Out artists this summer include 9 acts from the roster playing at Houghton Festival, Paranoid London’s show at Sonar Festival, Love International Festival and Ransom Note’s festival with Optimo Watching Trees.

With Fierce Bliss, the legendary Rock And Roll Hall of Fame inductee Ann Wilson -recognized as one of the greatest singers of all time and co-founder of multi-platinum stars Heart- has created a supremely lavish, warm and seductive slice of rock ‘n’ roll which provides an instant soundtrack whether on the freeway or in front of the fireplace. Recorded between Fame Studios in Muscle Shoals, AL and Power Station, Waterford, CT, Wilson got together with famed Nashville session guitarist Tom Bukovac and invited several friends (including Warren Haynes, Kenny Wayne Shepherd and Vince Gill) to help fashion an album which carries the glow of an ochre sunset and the pristine vocals of a rock legend who still has every single unique octave at her fingertips.

Fierce Bliss is truly an album which embraces all the finest qualities of classic American rock with the comforts and escapes that it can bring. Lead track “Greed” roars like a muscle car, Wilson’s rich voice hitting over drive, while “Love of My Life” is a beautiful rendition of the Queen classic featuring Gill on guest vocals which will strike empathy in all who hear who it. There’s the uniquely mysterious “Black Wing”, Wilson again the driver through a hazy, mystical journey, and a spectacular cover of “Bridge of Sighs”. The stomp ‘n’ roll thunders through “A Moment in Heaven” and Wilson takes charge of “Missionary Man” with a storming rendition that reframes the classic song.

With album art created by the famous fantasy artist Roger Dean (Yes, Asia) whose work has sold more than 150 million copies worldwide, Fierce Bliss is destined to be the American rock ‘n’ roll classic album that speaks to millions of people and provides them with quality, assurity and good ol’ goddamn comfort in these turbulent times.

Spun Out Agency is honoured to present ‘More of that Frightful Oompty Boompty Music’, a compilation dedicated to the Guv’nor himself Mr Andrew Weatherall who should need no introduction on these pages. Released on vinyl in two beautiful parts, the first drops on April 15th with the second following two weeks after.

‘More of that Frightful Oompty Boompty Music’ (yes we are going to write that out every time we talk about it in this communique) showcases a selection of the shining greatness from the agency’s roster. Paranoid London, Fantastic Twins, Mehmet Aslan, Autarkic, Ruf Dug, Sean Johnston, and Manfredas gift exclusive tracks which highlight the sublime acid, techno and house sound that Weatherall would have described as “oopmty-boompty” music.

Spun Out is a London-based artist booking agency which has been run by Caroline Hayes for over 20 splendid years, that looked after the life and times of Andrew Weatherall alongside his partnership with Sean Johnston under their A Love From Outer Space moniker, and the likes of Optimo (Espacio), Ivan Smagghe, Josh Caffe, Man Power, Body Hammer, Kiara Scuro and many more artists, doing it differently.

Kicking off the A-side of the first record is Hardway Bros’ (aka Sean Johnston) previously unreleased remix of We Are The Axis by The Asphodells, the duo consisting of the Andrew Weatherall and former Battant member and Spun Out talent Timothy J. Fairplay. An energetic techno stomper with percussive rhythms, this exclusive remix offers the ideal tantalising dose to tease any dancefloor. The vocals and synth layers give it a punk rock approach, referencing the multi-genre essence of Weatherall’s taste in music.

Tel-Aviv-based Autarkic’s Sleepover closes the A-side with a chuggy lullaby, one that is certainly unsuitable for putting a baby to bed, given its intricate acid lines of total hypnosis. Following on the B-side is Manctalo Banger, a house bop by the Manchester-via-Ibiza computer game nerd and vinyl digger Ruf Dug, and Shizowaves, Turkish-born Basel-based Mehmet Aslan’s soulful touch to the compilation, bringing Middle-Eastern percussive melodies and catchy basslines.

The second record is introduced by Paranoid London, with a Spun Out dedicated acid techno banger appropriately titled Spinning Out and Fantastic Twins’ EBM track Kali’s Tongue Was A Weapon. On the B-side is Lithuanian chug legend Manfredas’ Hfuhruhurr, and Naum Gabo, who closes the compilation with the chaotic analogue-synth frenzy, Cold Sold. The name Naum Gabo may evoke the pioneer of Russian constructivism, who rose to fame thanks to his crazy kinetic sculptures. However, here it manifests as one half of Spun Out’s Optimo duo Jonnie Wilkes (JG Wikes) and James Savage. The duo’s impeccable manipulation of electronic hardware couldn’t give a better homage to him.

Some highlights for Spun Out artists this summer include 9 acts from the roster playing at Houghton Festival, Paranoid London’s show at Sonar Festival, Love International Festival and Ransom Note’s festival with Optimo Watching Trees.

Let’s Eat Grandma, the duo composed of songwriters,
multi-instrumentalists and vocalists Rosa Walton and
Jenny Hollingworth, release their third full-length
album, ‘Two Ribbons’.

 Co-produced by David Wrench and Let’s Eat
Grandma, the album includes previously released
singles ‘Happy New Year’, a celebratory song about
friendship, plus the stunning, melancholic title track
‘Two Ribbons’, glistening pop song ‘Hall Of Mirrors’
and ‘Levitation’, a glimmering and expansive track
driven by soaring synths.

 The band have also announced details of a UK tour,
their first in over three years, including a homecoming
headline appearance at the Sunrise Arena at Latitude
Festival, with further international shows to come.

 Deluxe 140g vinyl LP in 300gsm gatefold sleeve with
matt UV varnish and embossed foiling area, with
150gsm matt UV varnished inner sleeve and digital
download card, also with matt UV varnish.

 Deluxe LP includes exclusive 7” in spined sleeve disco
bag and 180gsm matt machine varnish inner sleeve.

 Tourdates - April 30 & May 1 Stag and Dagger Festival
Glasgow, July 24 Latitude Festival Southwold, October 6
Clwb Ifor Bach Cardiff, 7 Yes (Pink Room) Manchester, 8
Belgrave Music Hall Leeds, 13 Cluny Newcastle, 14
Metronome Nottingham, 15 Space 54 Birmingham, 16
Mash Cambridge, 18 Thekla Bristol, 19 Koko London, 21
Patterns Brighton, 22 Epic Norwich.

10th Anniversary Pressing of Free on Sky Blue vinyl. 1st time available on LP.

Pink Vinyl

On vinyl for the first time in the UK as a RSD exclusive on pink vinyl. Uncle Dysfunktional is a fifth and most recent studio album from Happy Mondays. Released in 2007, it was their first album since Yes Please! in 1992. Despite Factory Records having closed 15 years before, Tony Wilson personally assigned Uncle Dysfunktional a FAC number, FAC-500. The artwork has been re-worked by Central Station Design. Limited to 2000 copies world-wide.

The Hill District were a group of working musicians assembled by bassist Walter “Sonny” Hughes who following one afternoon rehearsal session together the very same evening recorded their only ever 45 outing the somewhat elusive and now sort after amongst group harmony collectors “Your Scared Of Falling In Love”. The other group members were Sonny’s brother Richard Hughes (Lead Guitar), Anthony Law (Keyboards), William M. Standard Jr (Piano), Mark Smith (Drums) and Daniel S. Lee Jr (Lead Vocals). The groups name was taken from a grouping of African American neighbourhoods in the city of Pittsburgh P.A. locally referred to as ‘The Hill’. The recording session was held under the direction of record producer and song writer James Richard Calloway (A.K.A) Rich Calloway. Calloway would go on to release “Your Scared Of Falling In Love” on his own ‘C-Way Records’ label featuring a instrumental version on the flipside. Rich Calloway hailed from Uniontown P.A. with Uniontown being known affectionately by the local black community as ‘Oniontown’ the name which Calloway adopted for his publishing company. Unfortunately for the Hill District the final mastering of their song left something be desired (a scenario we’ve now rectified with our release) and as a result local Pittsburgh Disc jockeys refused to plug their song leaving their one and only 45 outing to fade into obscurity with the group members going their own separate ways to continue their careers as session musicians with other ensembles. Producer and lyricist Rich Calloway also continued with his own C-way Productions company later composing both sides of The Cleveland Ohio group ‘The Entertains’1975 outing for Steel Town records “Love Will Turn It Around/Why Couldn’t I Believe Them”. Calloway was no stranger to Cleveland having been earlier employed by Way Out Records owner Lester Johnson to compose the lyrics to Jesse Fisher’s “Your Not Loving A Beginner”, the songs arrangement’s being originally laid down by members of the Way Out group The Soul Notes, William Bell (A.K.A Bill Spoon), John Washington and Ricki Dannison under the working title of “I’ve Been Waiting For Your Love”. Prior to the Hill’s District release Rich Calloway had penned and released a 45 single on another local Pittsburgh artist Richie Merrett. The 1973 outing You’ll Always Have Yesterday Standing By” b/w “I Gave It Up” (C-Way 103). Merritt a professional singer who performed with several groups including The Electron’s on their 1968 outing “Turn On Your Lovelight (Shock 209) recorded his first solo outing on the Nashville Deltron label “Can I Get A Rebate/It’s Never Too Late” which he later released again on his own R.A.M label followed by two early 90’s outings, the modern soul favourite’s “Where Did I Go Wrong” and “You Got Problems”. Richie still performs today doing one off shows in between his solo performances aboard 7 Day Cruise ships travelling between Los Angeles and Sant Cabos, Mexico. “You’ll Always Have Yesterday Standing By” was later produced by Walt Maddox under the shortened title of “Yesterday’s Standing By” on his own group ‘These Gents’.

Therefore Soul Junction brings you two 70’s soul/Lowrider in demanders back to back for your delectation.