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Nicki Bluhm's creative confidence and authentic vocals are front and
center on 'Avondale Drive', her sophomore solo album and the follow up
to her critically-acclaimed 2018 release 'To Rise You Gotta Fall'
The native San Franciscan who now calls Tennessee home possesses a
gorgeously emotive voice and her clear-eyed perspective on life informs the 10
tracks on the new release.
Produced by Jesse Noah Wilson and recorded in East Nashville, the new album
features a cast of musical luminaries including Oliver Wood, James Pennebaker,
Jay Bellerose, Jen Condos, Erik Slick, Erin Rae, Karl Denson and AJ Croce. The
album combines nostalgic country- rock with distinctly modern lyricism– an apt
contrast for the process of studying one's past in order to make a better future.
Stand out tracks include a duet with Oliver Wood on "Friends", the folksy "Juniper
Woodsmoke, the reflective "Learn to Love Myself and "Wheels Rolling," a
windows-down, hit-the-gas banger that ends the album.

Released for the first time on vinyl, Queen’s compilation ‘The Platinum Collection’, featuring all three of their Greatest Hits albums, shows their unrivalled track record of chart-topping, award-winning, record-breaking rock and pop classics. June 17th will see the limited edition 6LP colour vinyl set released in a slipcase with brand new artwork. Each piece of vinyl will be a different colour and come in its own individually designed sleeve. The set also comes with an exclusive 24-page 12″ photo booklet. LIMITED EDITION

O’o share many of the musical characteristics of their ornithological namesake. The Kaua’i O’O produced the most exquisite birdsong before its extinction in Hawaii in the late 1980s. The beauty and character of its voice was delicate and mysterious, tuneful and surprising. You can experience it with just a cursory websearch, a haunting cri de coeur from the last century. If the poor O’O is consigned to history, then life is just beginning for this French duo, based in Spain, who’ve won plaudits and awards already in their short musical lifespan.

O’o are about to release their sublime debut album Touche. This is not an endling, it’s just the beginning: “I found the name on a website of weird English language words, and I loved the way the letters were arranged like a pair of glasses,” says O’o singer Victoria Suter. “Afterwards, I went onto YouTube and started listening to the last bird of its species, calling for a mate that would never come. I thought: ‘Oh my God, that’s so sad’. Then we talked about the name and we thought it could be a nice thing to honour it and keep it alive in some way.”

Suter met her musical partner Mathieu Daubigné at college in Agen, South West France, when the pair were studying music theory in their teens. Victoria moved to Barcelona in 2010; Mathieu followed six years later. Their debut EP, Spells, appeared in 2018 a beautifully crafted patchwork of vocals and samples that is redolent of the uncanny vocalese of Laurie Anderson. The bird makes an appearance at the beginning of the EP: “Sweet tooth beak. Soft melody peak / Oh O’o, go round and round in circles / Looking for a honeydrop, til you vanish, til you drop”.

That sense of profound longing for something lost is carried over to Touche, as well as the same heightened sensory awareness of the world around them. What has developed in spades is the creative process. O’o have blossomed organically, augmenting their pop sensibilities. Avant-garde techniques have been brought to heel as the pair create off-kilter pop music that warms the heart and nourishes the brain. The catalyst that enabled this bold pop transformation came with the song ‘Touche’ itself, a saucy chanson at the heart of the album. Suter’s wry narrative about a botanical femme fatale is inserted into a lithe and skittish song with reggaeton beats and an inviting, balmy atmosphere.

“The song is about a flower which attracts male insects, producing the very same smell as the female of the species,” explains Victoria. “The poor male is fooled by the sex-appeal of this botanical trap, and gets so excited that he exhausts himself and wastes all his other chances of ulterior mating and having any offspring. The flower entices the insect in in mermaid-like fashion, to come nearer and touch her. It’s the hot track!”

‘Touche’ reaches into hitherto unexplored areas of pop, while the rest of the album is accessible in the way that James Blake, Radiohead or Kate Bush are accessible, and it always challenges, in a way that pop isn’t supposed to. Suter writes playful, poignant, observational songs that tell stories as well as tell us something about ourselves. Songs like ‘Dorica Castra’ are built upon the voice as an instrument, centrifugal and layered from its core.

Complimentary to this method is Daubigné, who brings startling innovation with found sounds, samples and clever vocal manipulations—creating unique, otherworldly sonic flourishes. A guitar whirs like a musical spinning top on ‘Spin’, created in Ableton; an Ondes Martenot appears to make a guest appearance on the title track, though it’s the ingenuity of the Prophet 8 synthesiser. “I’ll often say to Mathieu, ‘what’s that?’” says Suter, He’ll reply, ‘that’s your voice’.”

O’o found their own voice when they won a competition held by the legendary festival organisers Primavera Sound. Victoria entered the band into a competition she saw on Instagram, sending off rough demos on the final day of entry, thinking little more about it other than the fact Mathieu might be annoyed. Soon they would have to build a live set from scratch and figure out how to present their music for the first time. At stake was seventy hours of recording time at Aclam studios, used by Rosalía and Kendrick Lamar, and for the winner a coveted spot at the festival. A pool of 350 acts were whittled down, and then O’o triumphed at a Battle of the Band style face off.

The O’O might be extinct, but O’o the band have learned how to fly. Just watch them go.

Helsinki quartet OK:KO releases their third album "Liesu" with We Jazz Records on 15 April. The band, led by drummer/composer Okko Saastamoinen and including saxophonist Jarno Tikka, pianist Toomas Keski-Säntti and bassist Mikael Saastamoinen (of Superpostion & Linda Fredriksson "Juniper") is a scene favourite in Finland and has recently garnered some international attention with their melodic, dynamic and original approach. The OK:KO sound is adventurous yet accessible, and contemporary yet rooted in the lineage of acoustic small group jazz.

When listening to OK:KO, you can feel that their influences also come from out of the musical realm. After all, isn't this just how it should be? Making music from your own life. Here, you can tell that the landscape of rural Finland, its poetic, at times even melancholy beauty, is ever present. It's folk song country. But don't be fooled, these guys form a real flesh and blood jazz band. That means that the music just starts when the first note hits, and onwards from there, we're in for a wild ride.

Whether punchy like on "Anima", solemn like on "Arvo", or just trekking out there a skiing lane of their own like on "Vanhatie", what you'll get is pure OK:KO. Melodic, interactive, honest and forward-reaching contemporary jazz music. That is something we appreciate – a lot!

Vinyl editions available on opaque white / black vinyl, with inside-out 3mm spine sleeve and a polylined black inner sleeve.

Re-issue of The Hasbeens "Make The World Go Away". 3 timeless energetic Mechanical Disco tracks with dark new-wave/synth atmosphere.

Roxy Music veröffentlichen am 10. Juni eine neue Half-Speed gemasterte Version ihres Albums “Siren“. Das Album wurde 1975 veröffentlicht und brachte die Singles ”Love Is the Drug” und ”Both Ends Burning” hervor, die auf Platz zwei bzw. 25 der britischen Singles-Charts landeten. ”Love Is the Drug” wurde Roxy Music’s meistverkaufte Single in den USA und erreichte Platz 30 der Billboard Hot 100. “Siren“, ein fesselndes Werk von Roxy Music, zieht einen bei jedem Hören immer mehr in seinen Bann. Das Album wurde von Miles Showell in den Abbey Road Studios neu gemastert. Um die verbesserte Audioqualität widerzuspiegeln, wurde das Artwork überarbeitet und mit einer glänzenden Laminierung versehen, sodass das Album nicht nur eine Schallplatte, sondern ein Kunstwerk ist.
“Siren“ erscheint als 1LP.

Blame It On Gravity is the seventh studio album and the first new album
in 4 years from alt-country pioneers Old 97's
The album finds the band turning up the amps and returning to the satisfying
crunch with a mix of rock, punk, pop and classic country that defined the band's
sound on earlier albums. The band credits the new album's enthusiasm to their
return to their hometown of Dallas, TX to record, the first time since their initial
independent release. The band, still comprised of original members Rhett Miller,
Murry Hammond, Ken Bethea and Philip Peeples, deliver what they believe is the
finest album of their 15-year career.

Propelled by his 1956 Lee Hazlewood-produced hit "The Fool," Sanford Clark was already a rockabilly legend in his own right by the time he swapped his hair gel and switchblade for a pair of cowboy boots on They Call Me Country. Recorded between 1965-67 and originally released as a series of singles for Phoenix's Ramco label, the 12 tracks on this LP borrow Bakersfield's outlaw sound and ignore Nashville's countrypolitan flair, standing as a true lost masterpiece of country music's third generation. Clark's booming baritone tells tales of bar fights, heartaches, and drinking til you can't stand, while Waylon Jennings provides a backdrop of fuzzed out guitar twang. Mastered from the original session tapes and back on vinyl for the first time since the Nixon administration.

Superchunk’s Incidental Music: 1991-1995 is the band’s second compilation of singles, B-sides, and EPs, originally released in 1995 shortly after their landmark album Foolish. It collects fan favorites from soundtracks such as “Shallow End” and B- sides like “On the Mouth,” as well as covers of The Magnetic Fields, The Verlaines, The Chills, and even Motörhead. AllMusic’s Fred Thomas says it all: “Incidental Music is an essential piece of the Superchunk discography and a snapshot of the band as it transitioned from the scrubby radiance of its early days into the more nuanced songwriting machine it became throughout the mid-’90s.” Exclusively for Record Store Day 2022, the double LP makes its first reappearance on vinyl since its original release, with LP1 on opaque green and LP2 on opaque orange housed in a gatefold jacket.

Michelle Lynn Johnson, better known as Meshell Ndegeocello (born August 29, 1968), is an American singer-songwriter, rapper, and bassist. Her music incorporates a wide variety of influences, including funk, soul, jazz, hip hop, reggae and rock. She has received significant critical acclaim throughout her career, being nominated for eleven Grammy Awards, and winning one. She also has been credited for helping to "spark the neo-soul movement”.

Meshell is releasing her 1999 third studio album on vinyl for worldwide release in 2022. The album peaked at #105 on the Billboard Top 200 in 1999. The album also peaked at #13 on Billboard's Top Internet Albums chart and #40 on Billboard's R&B Albums chart.

In the post-pandemic era that we now live in, some artists have used its abnormal reality as an abstract muse or a reason to expand their repertoire into unseen territory or styles. Fortunately, the Charlotte, NC native with the gritty, gospel-flecked croon does neither. Instead, Hamilton returns with familiar collaborators (9th Wonder, Jermaine Dupri, James Poyser) and his signature Southern grit and lyrics, planting those winning elements, ten toes down, into contemporarily-rendered, yet unabashedly-influenced,1970s-era soul. Sometimes those aspects are shimmering and glossy, such as the awe-struck, surrendering ode, "White Hennessy," the buoyant Curtis Mayfield-channeling title track and "Real Love," a boom-bap-heavy groove with a mellow, half-spoken and half-sung tribute to the emotion (with FL's Rick Ross anchoring the bridge). His Generation X roots are also in display on the bass-dropping and ice-flossing "I'm Ready," with ATL's own Lil Jon.
"Back in the black." "Black Power!" "Give me five on the black-hand side." "Always bet on Black." In a literal sense, the color black is created by the complete absence of light or the total absorption of all shades. It represents solemnity, sophistication or literal all-encompassing darkness. But for the people residing within its varying hues, blackness signifies all that is meaningful, fly and pertinent to their culture and way of life. The rich contrasts of black life, and the layers of emotion in-between, are what Anthony Hamilton is exploring throughout his seventh studio album, Love Is the New Black

Der aufstrebende Indie-Singer-Songwriter und Künstler Avi Kaplan hat die bevorstehende Veröffentlichung seines Debüt-Soloalbums „Floating On A Dream“ für den 20. Mai 2022 über Fantasy Records angekündigt.Mit Country, Blues, Soul, Tribal Drums und einem Hauch von Gospel untermauert er seinen elementaren, akustisch getriebenen Rock und erkundet in den 11 Original-Tracks des Albums Herzensangelegenheiten, Wahrheit, Moral und die Suche nach Relevanz. Im Mittelpunkt steht jedoch seine Stimme. Von einem
eindringlichen Falsett bis hin zu den tiefsten Basstönen ist Kaplans Instrument mit nichts anderem in der modernen Musik vergleichbar. Während einige dieser Songs kurz nach Kaplans Ausstieg bei Pentatonix im Jahr 2017 entstanden sind, wurden die meisten speziell für dieses Projekt geschrieben. Was sie zusammenhält, ist der Reichtum und die Flüssigkeit seines Stimmumfangs, der selbst langjährige Fans überraschen dürfte. „Floating On A Dream“ vertieft eine musikalische Entwicklung, die mit der 2020 erschienenen „I’ll
Get By“ EP begann und sich in der letztjährigen Single „Song for the Thankful“ fortsetzte, und erforscht Kaplans breite Klangpalette und seine rootsigen Einflüsse. Das Album ist als CD und LP erhältlich.

Melody Gardots Traumstimme hat unzählige Fans längst erobert. Ihr neues Album stellt diese Stimme jetzt verführerisch in den Mittelpunkt, nur begleitet von Pianist Philippe Powell. ”Entre eux deux“ ist eine Oase der Ruhe und musikalischen Konzentration. Als würde Gardot einem direkt ins Ohr flüstern, singt sie großartige neue Songs aus eigener Feder, die einem wie halbvergessene Evergreens erscheinen.

Dass bis auf einen Titel aus Feder von Filmmusik-Legende Francis Lai und einem von Philippe Powells berühmtem Vater Baden Powell alle Songs von Gardot und Powell selbst geschrieben wurden, ist eine
weitere Überraschung dieses Albums, das mit Sinnlichkeit und Melancholie gewinnt.

Out of print for almost 30 years. Includes rare never-before-seen vacation photos by Anna Lee Van Cleef who shot the original album cover. 1987's High Priest was the first full length solo record for legendary frontman Alex Chilton (Big Star/ Box Tops) since 1979's ground shaking Like Flies on Sherbert. It shows Chilton in full control of his faculties as both a musician and a musicologist. He leads a solid band of Memphis/ New Orleans studio heavyweights through 4 newly penned originals and a well curated list of covers. What it lacks in polish, it more than makes up in charm, verve and just plain ol’ soul. This could be what rock’n’roll is all about.” Trouser Press

hree years after the release of their self-titled debut LP, Shark Toys follow it up with ten more bursts of weirdo punk. Nine originals and cover of the Mekons classic, “Where Were You.” Ever since forming in 2008, the band has developed a reputation for sharp and choppy live sets, developing a loyal following around their home town of Los Angeles and around the US, from playing shows with bands like Ty Segall, Protomartyr, Parquet Courts, Terry Malts, the Urinals and many others. This batch of tunes were taken from the same session as the recent 7” single, a split with Florida’s UV-TV, on Emotional Response, earlier this year, recorded by Dave Fox of the Traditional Fools (who also recorded Fuzz, Scraper, Vial, and Wand). "A treble fueled look at Los Angeles that certain fans of Tyvek will consume lovingly. Usually the word shambolic would be thrown in for effect when describing bands attempting to transmit a Homosexuals/Tronics/Desperate Bicycles air, but this band does not have a shambling manner to these ears. They seem very propulsive and on target, with shards of errant guitar whipped into shape by the savagery of the rhythm. … They have a driving down highways at night nihilism that is hard to conjure … with ear slicing guitar “solos” somewhere between sneaker squeak and door creak. … Super catchy bedroom punk for people that clutch the Astral Glamour box set to their hearts and know all the words to Swell Maps B-sides …"— Maximum Rock N' Roll // “Much love for this synth-punk masterpiece, highly recommended by Strangeworld for members of Ausmuteants fan club.” - Strangeworld Records, Australia

Bernie Marsden was a founder member of Whitesnake, and wrote the global smash, “Here I Go Again”. Since leaving Whitesnake almost 40 years ago, Bernie has forged an impressive career. He has written and recorded with numerous music legends, composed music for film & TV, become a best selling author, amassed a priceless collection of guitars and of course continued to release outstanding albums as a solo artist. Most recently, the critically acclaimed #1 Blues album, KINGS. “CHESS” was the second album of Bernie Marsden’s “Inspirations Series”, representing his interpretation of tracks and artists which were instrumental in shaping his musical taste and guitar style. Featuring 10 songs that were originally issued by the legendary Chicago label, CHESS, this is another labour of love for Bernie. Releases by giants such as Howling Wolf, Chuck Berry, Bo Diddley and Elmore James, have all been given a new lease of life in these remarkably fresh recordings. Once again, two Bernie Marsden penned instrumentals inspired by Chess artists appear as bonus tracks on the album. Radio support from Radio Caroline, Planet Rock and blues specialist DJs regionally and online globally. Adverts booked in Blues Matters & Blues in Britain to promote the LP release. Features appeared / appearing in Blues Matters, Classic Rock, Fireworks, Rock Hard (Germany), Sweden Rock, Rock N Reel magazines, with great reviews given by most of the premier UK Rock, Blues and Guitar publications around the release of “CHESS”. Radio support at Planet Rock, The Max, Radio Caroline and the IBBA

Released for the first time in CD and Digital format in 2017 this is the sixth album by Luca Trevisi LTJ Xperience.

It contains some of his most played songs such as Get Down, Let There Be Groove, Put Me Down and the one that gives the title to the album Beggar Groove here in its two versions.

The release is in a limited edition double album on White vinyl. Luca LTJ Trevisi (LTJ Xperience) trained as a producer DJ in the late 1980s. Resident first at the Kinki Club in Bologna and then at Cap Creus in Imola, he is one of the first Italian DJs to program house and above all to re-propose Black Music, Jazz and Latin Bossa, all the genres that then over time gave way to Acid Jazz and Nu Jazz.

He began his work as an artist and producer with Irma Records and in the 90s also his activity as an international DJ who saw him play at the Blue Note and the Jazz Café in London, at the Giant Steps in New York and at the Jazz Festival in Montreux.

In 1999 he released his first solo album under the name LTJ Xperience. To date he has released 7 albums all on Irma Records, several compilations, many singles and remixes also collaborating with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R., Music For Dreams, Apersonal Music.

'The Best of Chet Baker' pressed on limited edition 180g violet coloured vinyl 14 Essential Chet Baker tracks recorded in Los Angeles, New York, Milan, and Paris between 1954 - 1959 and featuring Herbie Mann, Pepper Adams, Bill Evans and Kenny Drew among others.

Classic Elvis Presley LP 'King Creol' (original soundtrack recording)
pressed on orange coloured 180g vinyl - limited edition and includes a
sticker

If you are looking for nostalgia and rocksteady at its finest, all in one package, then this vinyl by Keith & Tex offers a good blend of both.



Born in the rocksteady era, Keith & Tex made their mark with a slew of hits and classics that have lasted over 50 years. From their haunting rendition of "Hypnotic Eyes" to the iconic guitar intro and solo of Lynn Taitt on "Stop That Train", you are treated to a unique style that still lives on after five decades. Since 1967 many of their songs have enjoyed great success and continue to be played and sung by a new generation of rocksteady lovers. This duo has a style that still seems surprisingly engaging and refreshingly innocent.





So lean back, turn up the stereo or plug in the earphones, and enjoy!

RIYL: David Byrne, Guy Clark, Bob Dylan, The Flatlanders, Randy Newman, John Prine, Lucinda Williams, Townes Van Zandt. The first-ever vinyl reissue of Allen’s manifold, moving fourth album, remastered from the original analog tapes. Deluxe LP edition features 140g virgin vinyl; a gatefold jacket, inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen and friends, insert with lyrics and original notes & DL. Deluxe CD edition features a trifold jacket & inner sleeve. On his manifold fourth album, acclaimed songwriter and visual artist Terry Allen contemplates kinship the ways sex and violence stitch and sever the ties of family, faith, and society with skewering satire and affection alike. Bloodlines compiles thematically related but disparate recordings from miscellaneous sources both theatrical and historical: two songs written for plays; two full-band reprises of selections from Juarez; the irreverent hellfire-hitchhiker-on-highway ballad “Gimme a Ride to Heaven Boy” (featuring Joe Ely); and the poignant eponymous ode to the arteries of ancestry and landscape (the debut recording of eight year-old Natalie Maines, later covered by Lucinda Williams). Since 1970, when they met in Allen’s studio in his hometown of Lubbock, Texas, one of songwriter and visual artist Terry Allen’s great foils and friends was the sometimes cantankerous but always brilliant art critic and writer Dave Hickey, with whom he sparred on topics musical, visual, and beyond (and to whom this reissue is dedicated in memoriam, in the wake of his passing in 2021.) Hickey, a fellow Texan paddling against the currents of the hermetic New York centric art world, was an accomplished songwriter in his own right, and he and Terry pushed each other to refine their respective practices. In 1983, the two were thick as thieves brothers in blood and Hickey’s wry but big-hearted presence haunts the history and periphery of Bloodlines, the album Terry released in June of that year. Hickey’s commercial doubts notwithstanding, critical recognition was not in short demand. In a 1984 review of Bloodlines, the L.A. Herald Examiner called Allen “one of the most compelling American songwriters working today … making the most unique art-pop of our time,” elsewhere comparing him not only to Moon Mullican and Jerry Lee Lewis, but also to the Velvet Underground and Philip Glass (probably the first time that unlikely quartet ever appeared together in one sentence). In 1983, against all odds, such sentiments were growing in underground prominence, as Allen’s records gained a fanatical word-of-mouth following they weren’t easy to find in those days. Recorded piecemeal at Caldwell Studios in Lubbock, in sessions spanning August 1982 through January 1983, Terry self-released it, like all his previous records, on his own Fate Records imprint. Despite his frustration with the protracted timeline and some anxiety about the correspondingly higher budget, the production on Bloodlines courtesy, once again, of master guitarist Lloyd Maines is slicker, cleaner, and more dynamic than prior efforts, and it reached a broader audience than ever before. UK label Making Waves reissued it in 1985, facilitating semi-reliable European distribution for the first time as well as a 1986 UK tour, on which the great BJ Cole filled in for Lloyd on pedal steel. No veteran country songwriter sounds more attuned to the national mood. His songs still feel like little guidebooks for staring down a harsh universe. – The Washington Post // It has always been a fool’s errand to frame Allen in terms of other artists there was nobody like him before he showed up, and the subsequent 40 years have been equally light on plausible peers. Uncut

An American soul vocal group that would go on to shape the sound of pop music much farther beyond their imaginations, The Ponderosa Twins Plus One featured two sets of identical teenage twins, Alfred and Alvin Pelham, and Keith and Kirk Gardner, along with Ricky Spicer. The group released a couple of singles and a lone album for Cleveland's Saru label in 1971, breaking up and disbanding as adolescence waned. A recent sample darling of both Kanye West and Tyler The Creator, "Bound" has revealed the Ponderosa Twins Plus One as the real Midwest kid soul deal. Numero is proud to present the first official American repressing of the original 1971 release, with fresh remasters from the original analog tapes, two previously unissued bonus tracks, and a replica tip on sleeve, making this an album you're bound to fall in love with.

Eurovision Song Contest: The Story of Fire Saga is a 2020 American musical comedy film directed by David Dobkin and written by Will Ferrell and Andrew Steele. The film follows Icelandic singers Lars Erickssong and Sigrit Ericksdóttir (Ferrell and Rachel McAdams) as they are given the chance to represent their country at the Eurovision Song Contest. Pierce Brosnan, Dan Stevens, and Demi Lovato also star.

“Volcano Man” was the first song released from the album and features vocals from Will Ferrell and Swedish singer Molly Sandén (credited as My Marianne). Towards the middle of the film, as the characters of Lars and Sigrit get fully immersed in the Eurovision magic, the audience is treated to a “Song-A-Long”, producers mash-up iconic pop classics into a celebratory party anthem. Cher transitions into Madonna, which transitions into homages to the aforementioned ABBA and Celine Dion, capped off with a little from The Black Eyed Peas. The cherries on top are vocal cameos from Eurovision champions: Conchita, Netta, Jamala, Loreen, and Alexander Rybak. The album also features the cult hit “Jaja Ding Dong”.

The soundtrack has been nominated for Best Compilation Soundtrack For Visual Media at the upcoming 63rd Annual Grammy Awards.

Eurovision Song Contest: The Story Of Fire Saga is available as a limited edition of 1000 individually numbered copies on “Lion Of Love” pink coloured vinyl. The package includes a 4-page booklet and printed innersleeve with movie stills.

Continuing with the theme of finding and releasing quality 21st century CD-only tracks on to 7” vinyl, Jai Alai now are proud to present their fourth release which showcases the stand-out tracks from the only two albums released under the name Sir Wick.
Chad ’Sir Wick’ Hughes is probably best described as a musician (trombone, piano, percussion), composer, teacher, adjudicator and clinician, but somehow that doesn’t seem quite enough to describe such a unique musical talent. Born in Detroit, and graduating from the same High School as Diana Ross, Paul Thompson, & Ron Carter, he went on to study composition and arranging, and holds regular clinics around the north and mid-west US states sharing his expertise.
The topside on this limited edition release is the lead track from his debut album “An Interpretation Of A Universal Language” (2007 Sir Wick Entertainment LLC) which features the sublime vocals of Sedalia Marie, a beautiful mid-pacer, whilst the other side “I Love You” features the mellow vocals of Anthony Saunders on a track from Chad’s opus work “A Tale Of Two Fools”, which he began in 1996 but only finally orchestrated and released as his second album in 2017 - a soundtrack featuring a full orchestra comprising eight woodwind parts, full strings, big band brass, and seven-piece rhythm section.
Originally intended as an operetta, it was evolving into something bigger; an opera, musical or stage play maybe, but he finally referred to it as a ‘novical’ (a musical novel), which best describes this story of a young musician falling in love for the first time. A biopic, maybe?
One could easily take these two fabulous tracks at face value as simply just another great double-sider, but isn’t it nicer to know the full story?

Steve Hobbs (Solar Radio, Totally Wired Radio)

Sixteen great tracks, a dozen of which were Muddy Waters most successful recording for Chess Records, including 'Hoochie Coochie Man' and 'I Just Want To Make Love To You', staple repertoire of British blues bands during the 60s.

Bonus CD includes the complete album 'The Best of Muddy Waters' plus fourteen bonus tracks. Digipak presentation with updated liner notes.











[k] 11. I Want You To Love Me [aka Mad Love]

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

Don't let the postcard-generic cover art fool you, Summer Brings The Sunshine stands head and shoulders above nearly any major label country rock album crowding mid-'70s record bins. Next to the hundreds or even thousands of slick productions flowing out of Nashville and Los Angeles, Jimmy Carter scoured his rural Missouri surroundings for farmhands and semi-pros alike to lay down eight farm-isolated originals in 1977. Tasty female backing vocals, languid pedal steel, and feisty guitar licks abound on this exalted and near-peerless slice of Cosmic American Music.

Billie Holiday's first recordings for Norman Granz' Clef Records present the vocalist at the top of her craft. Originally issued as a 10 8243; LP titled 'Billie Holiday Sings', this 1952 session placed Holiday in front of small piano and tenor saxophone-led groups that including jazz luminaries such as Oscar Peterson and Charlie Shavers.

Includes the song 'If The Moon Turns Green' from the same session but not included on the original LP.

Repressed for the first time in a while, note small price increase. Etta James historic live recording from 1963! On stellar Blue vinyl, with the original album artwork and including 3 bonus tracks. Best known for the lush 1961 rendition of the ballad “At Last” – a slow-dance staple at wedding celebrations everywhere, she is also celebrated for having recorded one of the best live albums of all time, “Rocks the House.” Recorded in 1963 at the New Era Club in Nashville, James is captured at her performance peak. The foundation for her reputation as a fiery no-holds-barred performer was firmly established in this recording. Blues, soul, jazz, R&B, and rock vocalist Etta James, needs no introduction. An icon from early rock’n’roll’s pantheon of divas, she has inspired 5 decades of listeners and fellow artists with her vocal stylings. From Janis Joplin to Beyonce, her expressive and guttural style has been imitated but never quite matched. Jackpot Records is honored to release this momentous record on stellar blue vinyl, with the original album artwork and including 3 bonus tracks which have only ever been released previously on CD. Her powerful version of “Something’s Got a Hold on Me” will shake you. Her impassioned version of “All I Could Do Is Cry,” will break you.

Limited to 1000 copies.
Pressed on Blue Vinyl.
Includes postcard and poster.
The Bluebells have dug deep into their archive to give us the earliest recordings of these tracks, which have never been released before and are exclusive to this 7”
‘Everybody’s Somebody’s Fool’ is longer and more vibrant containing an extra verse and guitar solo which are not on previous versions. This is the closest recording to the one that was originally intended to be released on Postcard in 1981. The sleeve, designed by Bobby Bluebell features 2 of the earliest photos of the band.
THE BLUEBELLS were formed by songwriter / guitarist Robert Hodgens aka Bobby Bluebell in 1980. When deciding to form a group to start performing his songs, Hodgens remembered two punk musicians from Bothwell (brothers Ken and David McCluskey) he had interviewed for his fanzine, 10 Commandments. David (drums/ backing vocals) and Ken (vocals / harmonica) joined Robert and The Bluebells started performing live in and around Glasgow.
The Bluebells were soon involved in the burgeoning scene coalescing around Postcard Records in Glasgow (Orange Juice, Josef K, Go Betweens, Aztec Camera, Jazzateers), and it wasn’t long before The Bluebells were sharing stages throughout the UK with some of the Postcard groups. A single (Everybody’s Somebody’s Fool) was scheduled for release on Postcard, however after appearing on the
front page on Melody Maker and in NME / Sounds etc, major record companies started making serious offers to sign the group. The Bluebells appeared on BBC music program The Old Grey Whistle Test, the first unsigned group to do so, and it wasn’t long after this television appearance that the group signed a major record contract with London Records.
The Bluebells were soon in the studio working on songs for their debut album, with Elvis Costello producing. They were invited to open on UK tours for Haircut 100 and Elvis Costello & The Attractions, and started releasing singles to critical acclaim (Forevermore, Cath, Sugar Bridge). However it was their fourth single I’m Falling (co-written by Robert and Ken) that finally resulted in commercial success, chart success, and appearances on Top of the Pops.
The Bluebells released their debut album, Sisters, in 1984 to further commercial chart success, which was continued when their next single, Young At Heart, gave the group their second big hit single. However, when Young At Heart was reissued
in 1993, it reached number 1 in the chart for a month, making The Bluebells regular fixtures on Top Of The Pops

Father John Misty returns with ‘Chloë and the Next
20th Century’, his fifth album and first new material
since the release of ‘God’s Favorite Customer’ in
2018.
 ‘Chloë and the Next 20th Century’ was written and
recorded August through December 2020 and
features arrangements by Drew Erickson.
 The album sees Tillman and producer/multiinstrumentalist Jonathan Wilson resume their longtime collaboration, as well as Dave Cerminara,
returning as engineer and mixer. Basic tracks were
recorded at Wilson’s Five Star Studios with strings,
brass and woodwinds recorded at United
Recordings in a session featuring Dan Higgins and
Wayne Bergeron, among others.
 ‘Chloë and the Next 20th Century’ features the
singles ‘Funny Girl’, ‘Q4’, ‘Goodbye Mr. Blue’ and
‘Kiss Me (I Loved You)’

New pressing in soon!

Orgone is one of the most exciting bands in the new generation of funk bands; led by the powerhouse vocals of Adryon de Leon, Orgone recalls such legendary groups as Rufus and Sly & The Family Stone at their best! The band has backed Alicia Keys on her As I Am album and Cee Lo Green on his Grammy-winning track Fool for You. Beyond The Sun is the most complete fulfillment of Orgone s full spectrum of sound, ranging from the in the pocket funk of Don’t Push Your Luck to the evocative balladry of No Pain to the clubby-jam of the title track and the scorching instrumental workouts on Meat Machine and Sabi. A highlight is a hot version of Rufus - I'm A Woman (I'm A Backbone).

Wenn eine internationale Wochenzeitung einen Musiker als »weißen Papst der schwarzen Kunst« betitelt, klingt das verdächtig nach Altersmilde eines Bluesers in den besten Jahren, der die guten schon hinter sich hat. Von wegen! Bei Johnny Winter schlugen die Beurteilungen während seiner Tournee 2011 den Tonfall der frühen Jahre an, als das Blatt "Rolling Stone" den hageren Mississippi-Barden als »schielenden Albino mit langem, fließenden Haar« beschrieb, »der so ziemlich die flüssigste Gitarre spielt, die man jemals gehört hat«.

Ob gewollt oder nicht: man ließ Winter damit ein wenig an dem Rocker-Lorbeer schnuppern, der für den jungen Clapton und Jimi Hendrix reserviert war. Doch Winter lässt hören, dass er nur den Blues wollte, kratzbürstig, um Howlin' Wolfs oder Muddy Waters’ geigenden Höhlengroove zu beschwören, und doch fingerfertig genug an den Saiten, um mit verblüffend geschmeidigem Spiel Tongirlanden herbeizuzaubern, die haarscharf zwischen zwei Taktstriche passen.

Ziemlich cool bleibt Winter, wenn man persönliche Leidenskurven aus seiner Musik herauszulesen versucht: »Wenn ich Blues spiele, geht es mir gut«, diktierte er jüngst einem Journalisten ins Oktavheft. Dass dies auch vor über 40 Jahren schon so war, beweist das Debüt-Album auf beiden Seiten.

Aufnahme: 1969
Produktion: Johnny Winter

Die „britischen Eagles“ sind im Anflug. Am 15. Oktober erschien„Enjoy The Ride“, das neue Werk der
Frontm3n!

Das zweite Studioalbum von Peter Howarth (The Hollies), Pete Lincoln (Ex-The Sweet) und Mick Wilson (Ex-10cc) beeindruckt mit tollen Melodien, eindrucksvollem Harmoniegesang, frischem Sound und feinstem Songwriting!

Anders als bei ihrem 2018er Debutalbum, als das Star-Trio den Fans in der Mehrzahl noch tolle NeuArrangements der Mega-Hits ihrer „alten“ Bands servierten, enthält die neue Scheibe zwölf nagelneue,
selbstgeschriebene und von Mick Wilson fein produzierte Songs, die dennoch 1:1 nach Frontm3n klingen und auch Fans von Toto und den Eagles komplett auf ihre Kosten kommen lassen. - Jetzt auch als 2LP!

Das legendäre Label Def Jam veröffentlicht ein Compilation-Album seiner weiblichen Künstlerinnen auf Vinyl! Auf dem Album „The Women Of Def Jam“ sind unter anderem Teyana Taylor, Jhené Aiko, 070 Shake, Ashanti, Alessia Cara und auch Foxy Brown mit ihren größten Hits vertreten. Aber auch ein paar männliche Def Jam-Künstler haben es als Featuregäste auf das Album geschafft, darunter Jay-Z, Pusha T und Ludacris

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.

LA FAMILIA AUFLAGE!!!

GOLD, the follow-up to Alabaster DePlume's widely-acclaimed, 2020-
released cinematic instrumental LP To Cy & Lee: Instrumentals Vol. 1,
introduces the world to the artist’s truest self.

That is... though DePlume’s now known across the globe as the saxophonist who created that collection of wonderful, wordless music, he’s most known to fervent fans in his home zone of London, UK, as an outspoken poet and orator, beloved for his inspiring words of encouragement and sing-a-long-able songs about vulnerability, humanity, and courage. GOLD is a sprawling double album that finds DePlume expressing both sides of his artistic character beautifully: (1) an articulate singer and songwriter who invokes the melodious crooning of Donovan as much as Devendra Banhart or Syd Barrett, whose tunes are almost like mini-sermons, full of existential comedy and spiritual enlightenment; and (2) a brilliant composer of simple, soothing, and viscerally nourishing instrumental melodies, with a gift for expanding them into intrepid collective improvisations, led by a delicate and distinguished saxophone tone that conjures the fluttery sweetness of the great Ethiopique Getatchew Mekurya.

Packaging specs: Black & 'Eye of the Sun' coloured Vinyl 2xLP in Heavyweight Gatefold Jacket with Gold-Foil Stamp over Reverse-Board print, with Insert Sheet, IA OBI Strip and Dome-Pattern Inner Sleeves

A harrowing classic, Billie Holiday's personal favorite among her '50s albums captures the singer 17 months before her death, her once honeyed voice, scarred and weakened from punishing life, its ravages highlighted by the 1958 session's crisp sonics and the contrasting "satin" of Ray Ellis' sleek string arrangements. Yet it is that very contrast that explains the power of these performances: In revisiting its torchy standards, Holiday reduces them to their core of pain and longing, transforming "I'm a Fool to Want You," "You Don't Know What Love Is," and "You've Changed" into naked declarations as mesmerizing and unsettling as a horrific accident. Any postrocker that presumes pop standards and string sections automatically translate to "easy listening" hasn't listened to this. This 1997 version adds unreleased takes and a beautiful 20-bit digital transfer to extract every shivering pang of Holiday's music. --Sam Sutherland

Perfect Location Records in close collaboration with Cherushii’s family is proud to present Nobody’s Fool, Starlight Express, and Manic on vinyl for the first time as 3 EPs. Originally released by Cherushii on her Bandcamp in 2015 and 2016, these 3 EPs encompass the radiant love, fluent creativity, and unapologetic joviality of not only the musical world of Cherushii, but also the person behind the music.

The hand-drawn artwork, which has become iconically synonymous with the Cherushii sound, are original creations by Cherushii’s sister, Sabrina Fox. With this reissue, we offer a continuation of the same visual candy with a new front cover by Sabrina: the nudibranch pattern. Chosen by Sabrina after a dream visitation, the nudibranch is a curious, resilient creature which harnesses its profound coloration to flourish in the oceanic infinity. It can only do so, however, once it sheds its shell.

Inside of 3 EPs you will find the original covers belonging to Nobody’s Fool, Starlight Express, and Manic as gloss sleeves for the respective EP.

3 EPs also features some of Cherushii’s talented friends and mentors, from her production with Golden Donna, lyrics by her longtime friend Kara Marie, and an appearance by her childhood music teacher Marcia Miget, to remixes by 100% SILK all-stars Bobby Browser and Magic Touch.

It is our hope that this vinyl reissue, with its beautiful, large gloss prints of Sabrina’s artwork, will further disseminate the legacy of Cherushii while contributing to the posthumous archive of a musical mastermind, viciously devoted and missed friend, and beloved sister.

In loving memory of Chelsea Faith 1983-2016









i F1 Manic (Magic Touch Mix feat. Colored Craig) Vinyl Edit









i F1 Manic (Magic Touch Mix feat. Colored Craig) Vinyl Edit

Lee Burridges’ All Day I Dream Presents Jim Rider’s Fantastic New EP, The Final Straw

The UK-Producer Revives the Labels’ Heavier Melodic Sensibilities Across 4-Originals

The title track opens an EP led by intention, accenting a time in the producer’s life where he was disillusioned with his day job and intent on pursuing music full time once again. “The Final Straw'' includes a romantic, husky narrative delivered by Namibian vocalist “Black Soda” (AKA Annely Ickua). Here we find him pulling from his musical upbringing - melodic elements afforded to him by his Mother, a folk musician and singer, and his focus on percussion fueled by his background as a drummer.

“Rascals” is a follow up to “Fools” from Jim’s 2021 Beatport category #1 EP “Popcorn & Politics”. It pays homage to the classic 1950s American TV show “Little Rascals” with eccentric keys and playful percussion alongside dazzling, eccentric elements from keys to tropical-inspired marimbas. “Los Que Caen,” as the name suggests, is inspired by Rider’s love of latin music and percussion and includes a heavy bass guitar riff, bouncy synths and a harp-led rhythm section. EP closer “The Cypriot” blends lead flute lines with plucky synths and a driving bassline while sporadic haunting vocal ad-libs and delayed keys add decoration to the track.