Search:fred a

The original 7-inch versions of these two tracks by the cult vibes man. The A-side is a long-time jazz dance favourite, whilst its flip is a furious soul dancer.

IDLES return with their new album, ‘CRAWLER’, an album of reflection and healing
amid a worldwide pandemic that stretched the planet’s collective mental and physical
health to the breaking point.
 Frontman Joe Talbot says: “We want people who’ve gone through trauma,
heartbreak, and loss to feel like they’re not alone, and also how it is possible to
reclaim joy from those experiences.” IDLES albums have always been anchored by
these overarching themes, but the ability of the band to juxtapose beauty and rage
with humour and drama has never felt more satisfying than on ‘CRAWLER’.
 These stories are vividly brought to life through IDLES’ most soul-stirring music to
date, recorded with co-producers Kenny Beats (Vince Staples, Freddie Gibbs) and
IDLES guitarist Mark Bowen.
 Previous album ‘Ultra Mono’ was Number 1 album in the UK, with over 35k sales
week one.
 Huge 2022 January UK tour including five Brixton Academy dates, three at Glasgow
Barrowlands, two at Manchester Warehouse and more. Over 20k UK tickets sold in
the first hour of release.
 Three high budget music videos, written and directed by LOOSE (Lucy Hickling,
Stink Films).
 CD in digipak packaging.
 Deluxe LP mastered at half-speed (45rpm), pressed on deluxe heavyweight 180g
black double vinyl and housed in a gatefold jacket with printed inner sleeves.
 Eco-Mix coloured vinyl LP housed in a single-sleeve jacket and printed inner sleeve.
Eco-Mix vinyl production uses leftover wax that’s already in the factory, meaning
each record is different and the colour is completely random and unique.
 Standard black vinyl LP housed in a single-sleeve jacket and printed inner sleeve.

King Gizzard & The Lizard Wizard announce an album of remixes of tracks from ‘Butterfly 3000’, their second studio LP of 2021 alone. ‘Butterfly 3001’ features reworks courtesy of (among others) DJ Shadow, Donato Dozzy, The Scientist, DāM-FunK and The Flaming Lips!


"We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in Da Club!!!" - Joey Walke

King Gizzard & The Lizard Wizard announce an album of remixes of tracks from ‘Butterfly 3000’, their second studio LP of 2021 alone. ‘Butterfly 3001’ features reworks courtesy of (among others) DJ Shadow, Donato Dozzy, The Scientist, DāM-FunK and The Flaming Lips!

"We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in Da Club!!!" - Joey Walke

Following on last year’s standout 7” release from Diogo Strausz, RNT now reveals the incredible extended mixes of the original pair of tunes, along with a strikingly beautiful remix of the title track by the inimitable Ron Trent. Originally conceived by the Brazilian producer to be long form songs that showcased the deep musicianship of Strausz and his cohorts, extended organ and piano solos and instrumentation now stretch out in all their jazzy glory across one side of a heavyweight 180g 12”.

On the the A-side, Ron Trent takes Emancipação positively interstellar, with added instrumentation and mounting percussion that builds toward a soulful and hypnotic peak, the way only he can do!


Emancipação:
Drums by Patrick Laplan. Moog, organ, electric piano by Rafael Vernet. Sequences and bass by Diogo Strausz. Mixed by Fred Deces.

50 Anos Em:
Grand piano by Rafael Vernet. Sequences, bass, congas, wurlitzer by Diogo Strausz. Additional production by Antoine Gaillet. Mixed by Diogo Strausz and Fred Deces.

Remix and additional production by Ron Trent.

Freddy vs. Jason hit theaters in 2003—60 years after the release of cinema’s first monumental monster team-up, Frankenstein Meets the Wolfman (1943). Directing this long-anticipated monster mashup was Ronny Yu, a Hong Kong action director,

The brand new single from The Delines - whom will be releasing their new LP next Feb 2022 - much of which is inspired by Amy Boone and Willy Vlautin's shared love of Tony Joe White. Little Earl will be the lead track for the new album and Myrna and McCaughey will be exclusive to this single on physical formats. Recorded with longtime producer John Askew in Portland over 2019/2020 just before Covid hit. It features the classic line up of the band whom gave the world 'The Imperial' lp which was number 1 for two weeks on the official Americana charts with Amy Boone (vocals), Willy Vlautin (guitar/songwriting), Sean Oldham (drums), Freddy Trujillo (bass) plus the amazing arrangements by Cory Gray (keys and horns).

Exclusive Fronk-en-steen Green Vinyl! Original London Cast Recording - Mel Brooks' Young Frankenstein Presenting the original London cast recording of Mel Brooks' Young Frankenstein on Vinyl LP! Legendary filmmaker and comedian Mel Brooks brings his classic monster musical comedy Young Frankenstein to life on stage in a musical collaboration with Tony-award winning Broadway director and choreographer Susan Stroman. Recorded live in London's West End. Grandson of the infamous Victor Frankenstein, Dr. Frederick Frankenstein (pronounced 'Fronk-en-steen') (Hadley Fraser) inherits a castle in Transylvania leading him to fulfill his grandfather's legacy by bringing a corpse (Nic Greenshields) back to life. With help and hindrance from hunchback henchman Igor (Ross Noble), buxom assistant Inga (Summer Strallen) and needy fiance Elizabeth (Dianne Pilkington), his experiment yields madcap success and monstrous consequences. After opening on Broadway in November of 2007 the show ran until 2009. A revised version of the show opened in London's West End in October of 2017 to mostly positive reviews. ABC was set to air Young Frankenstein Live last October and delayed it due to COVID-19 restrictions. The show has been rescheduled to air October 2021 on ABC. Mastered and mixed at Abbey Road Studios. This is the first LP release of music from either of the Young Frankenstein live shows.

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.
In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.
In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).
In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison's recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase.
It is on WENHA that Harrison released the opus: DREAMS OF A LOVE SUPREME (1980), which we are presenting you today.
DREAMS OF A LOVE SUPREME is a monster album that features an all-star line-up that includes Phil Ranelin (Freddie Hubbard, Solomon Burke, Mulatu Astakte) on trombone, Harold McKinney (Tribe) on Keyboards and Roy Brooks (Yusef Lateef, Chet Baker, Mingus) on percussion. Although you can hear the 80ies creeping in with a smoother sound, more synths, and disco/R&B vocals… this remains a very spiritual (and soulful) jazz record. The record’s an irresistible blend of soul jazz combined with funky electric instrumentation…a groovy sound which is very much of its time, yet overtly timeless and as relevant today as it was back when it was initially released.
Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘Dreams of A Love Supreme’ since its release in 1980. This official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies) and comes with an unreleased bonus track.

Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
Best-selling album in jazz history; mastered from the original master tapes by Bernie Grundman
Pressed at Quality Record Pressings using Clarity Vinyl® on a manual Finebilt press
Purest possible pressing and most visually stunning presentation and packaging!
Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history.

Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording — a five-track masterpiece of melancholy mood and melody.

It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wyton Kelly playing piano on "Freddy the Freeloader."

Now Analogue Productions, together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.

The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick," Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them." Kind of Blue is, in a sense, all melody — and atmosphere.

None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.

Miles remained proud of the album, performing at least two of its tracks — "So What" and "All Blues" — for years after, until his musical path took him in a different direction.

History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.

A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What," "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s.

Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.

Now Available On Cassette Tape! Music By Madlib Arranged By Kieran Hebden. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieran Hebden AKA Four Tet

La Musique Que J’aime is Johnny Hallyday's profession of artistic faith. Accompanied by Greg Zlap, Freddy Koella, Denis Benarrosh and Laurent Verney, Yvan Cassar - Johnny in an acoustic blues version full of feeling and respect Johnny like you've never heard before . Limited to 100 in the UK.Reviews and Ads – R2 and London Macadam

DJ Cam & sommelier Frédéric Beneix present Wine4Melomanes, an eclectic and unique
compilation album concept, matching fine wines with rare pieces of music produced in the
same year.
Connecting the complexity, sensuality, liveliness of a drink with the harmony, arrangements,
voice, orchestration, rhythm and melody of a song, Wine4Melomanes tours France,
Germany, Holland, the USA and even Slovakia in search of only the finest musical flavours.
Ranging from jazz, to pop-rock, to blue-eyed soul from the early 70s right through to 2016,
Wine4Melomanes is defined by its sense of musical opulence, with warm rich tones and
understated quality evident throughout. DJ Cam is known for his pioneering abstract hip-hop musical
compositions, his virtuoso use of technology and his fascination for acoustic jazz gaining him
international acclaim.

Emilie Levienaise-Farrouch’s dark, throbbing score to
Prano Bailey-Bond’s horror debut ‘Censor’ is out now on
vinyl, after previously being released on digital platforms.
 The vinyl is pressed on clear vinyl with black smoke effect
and comes housed in a deluxe spined sleeve with double
sided printed insert featuring beautiful imagery from the
film.
 Emilie Levienaise-Farrouch manages to inhabit a space
between Ennio Morricone, Goblin and John Carpenter in
her stunning score to ‘Censor’.
 “I wanted the original score to focus on two different
elements of the film’s storytelling which slowly intertwine
as the movie progresses,” Emilie told Booklyn Vegan.
 “One sound palette represents the trauma of our lead
character Enid, with a use of manipulated vocals and
synthesisers, slow moving, almost suspended, and at
times disorientating cues, with short melodic motives, little
lullabies Enid might softly sing to herself to sooth her
anxiety and guilt of having lost her sister. The other palette
is much more anchored in the time period (1980s) and
genre the film explores.” She calls that second sound
palette a “love letter to classic Carpenter and Goblin
soundtracks, using vintage synths, rare Japanese
instruments and choirs to bring us deep into the fun,
surreal, and meta elements of the film.”
 ‘Censor’ received critical acclaim upon its release,
including a 5-star review in The Guardian, and is available
to watch now.

The Groove Chronicles is the second solo album release of Bouklas and his very first on vinyl.

The album is based mainly on Soul and Funk samples, chopped, flipped and pitched up by Bouklas and filled with his characteristic Boom Bap beats, giving an extra funkiness on this particular work. Bouklas has clearly been influenced by Gramatik on this LP and he took it to the next level by having some strong international guests on board.
The album includes the rapper INTeLL, son of U-God from the legendary Wu-Tang Clan, Mic Bles, a respected underground Hip-Hop MC from California, DJ Groove Sparkz from Lyon, the 3xDMC French Champion, IDA Vice World Champion and official tour DJ of L’Entourloop and the French vocalists, Cam & Nelly. Furthermore, there are featurings from talented local Greek artists, the vocalists Martzi and Alida SoulMama and the Turntablist DJ Moya, one of the best Scratch DJs in Greece.
The Groove Chronicles will be released on vinyl by the label Mind The Wax on May 2019 and includes 12 tracks.
Bouklas has been active on the Hip-Hop scene as an MC and a producer since 2002 with more than 10 independent projects to date. As a producer, Bouklas has collaborated with some of the most important names in the Greek Hip-Hop scene as well as with the rap veteran Masta Ace, Freddie Gibbs and the Grind Mode Cypher.
Furthermore, Bouklas has shared the stage with international artists such as the R.A. The Rugged Man, Dead Prez, Afu-Ra, Freestyle (of Arsonists), Foreign Beggars, Dope D.O.D., Killa Kela and DJ Vadim & Yarah Bravo.

Germany-based metal band OBSCURA launch trilogy concept on stunning new album “A Valediction”. The group’s first (sixth overall) album for Nuclear Blast pivots on many fronts. Advanced, elegant, and yet refreshing, “A Valediction” sums up past endeavors effortlessly as it gazes with purpose and conviction into the future. OBSCURA are fan-renowned and critically acclaimed for challenging and then expanding upon norms. From “Cosmogenesis” (2009) through “Diluvium” (2018), the band flourished and made significant progress in a musical genre unprepared for a creative shot of German invention. “A Valediction” spearheads OBSCURA into a new era of extreme metal.

Guitarist/vocalist Steffen Kummerer founded OBSCURA in 2002. Early on, he set out to improve, redefine, and push forward. Under his self-label creation, the Bavarian released debut album “Retribution” (2006), followed by heavy touring throughout Europe. Word quickly spread that a brand-new band from the south of Germany was on the rise. Buzz lead to a deal with U.S.-based Relapse Records. The first record out was “Cosmogenesis”. In Europe, Metal Hammer Germany awarded the album 6/7 while in the U.S., “Cosmogenesis” hit the Billboard charts at #71. The cross-continental praise and fevered momentum landed OBSCURA on high-profile tours in Europe, North America, and Japan.

When follow-up “Omnivium” arrived in 2011, they upped their chart success (Billboard #11; Media Control #14), received more accolades from publications like Terrorizer, Rock Hard, and Decibel, had another massive round-world tour cycle, while enhancing and making progress on their clever brutality. OBSCURA further developed their sound on “Akróasis” (2016). Moored by jaw-dropping tracks like ‘Sermon of the Seven Suns,’ ‘Ode to the Sun,’ and the title track, “Akróasis” elevated OBSCURA to the highest levels of international renown, having climbed up the Billboard charts (#5) as well as earning top marks in Rock Hard (8.5/10), Metal Hammer Germany (6/7), and Revolver (4/5). The Germans toured the world yet again, playing over 100 shows in support of “Akróasis”.

OBSCURA’s most significant accomplishment was, however, just around the corner. The final part of a tetralogy, “Diluvium” (2018), fiercely pursued OBSCURA’s multi-album transformation into musical innovators and metal powerhouses. Music videos for the title track, ‘Emergent Evolution’ and ‘Mortification of the Vulgar Sun,’ in concert with a substantial interest in virtuosic, forward-thinking metal, posited OBSCURA in the good graces (yet again) of the worldwide press in addition to rocketing up, for the very first time, the official album charts in Germany (#58) and Switzerland (#93). The Germans also topped out at #3 on the Billboard Heatseekers chart with “Diluvium”.

OBSCURA‘s stats have been impressive: Twenty years active; six highly prized albums; over 600 shows on four continents. Worldwide fan and press engagement—the videos for ‘The Anticosmic Overload,’ ‘Akróasis,’ and ‘Diluvium’ have over 4.5 million views—is only getting stronger the longer OBSCURA continue to offer up and interact with (via play-throughs and member/gear spotlights) their very captive audience. This is only the tip of Kummerer’s custom ESP guitar, however. A Valediction finds OBSCURA turning the page to a new chapter in the band’s evolution. A year in the works, the songwriting sessions followed a new approach, where the framework was relaxed, allowing new inspirations, imagining, and opportunities to arise. Songs like the opening epic ‘Forsaken,’ the '80s-tinted ‘When Stars Collide’ (featuring Soilwork/The Night Flight Orchestra frontman Björn Strid), the brutal groove of ‘Devoured Usurper,’ the ethereal artistry of ‘Heritage,’ and the fleet-fingered title track benefitted compositionally (refined structures) and aesthetically (more dynamism) from OBSCURA’s restyled songwriting stratagem.

OBSCURA wrote, recorded, and finalized “A Valediction” during the pandemic. The stipulations of working during this time allowed OBSCURA to work cross-country, tracking each respective part—drums, guitar, and bass—in national studios across The Netherlands, Austria, and Germany. Once the pieces were completed, the recordings were shipped off to award-winning producer Fredrik Nordström and Studio Fredman (In Flames, Architects) in Gothenburg, Sweden, where Kummerer and Münzner completed vocals and acoustic guitars using custom-built ENGL amps. Nordström was also tapped to mix and master. The final result is a deeper, heavier, yet more rounded production.

Lyrically, “A Valediction” is layered in structure and meaning. The word ‘valediction,’ by definition, deals with goodbyes and farewells. In a way, this is auf wiedersehen to the four-part album series while also addressing complex topics of Kummerer’s personal life. Instead of obscuring issues of loss, death, and abandonment in metaphor and allusion, the German laid bare his torment across songs like ‘Forsaken,’ ‘Solaris,’ ‘In Unity,’ ‘The Neuromancer,’ and ‘In Adversity.’ But for every line of desperation, he also offers positivity. Indeed, new beginnings—physical, emotional, or environmental—can provide light in the darkness. Lauded artist Eliran Kantor (Testament, Helloween) was brought on board to visualize the leitmotif. The bronze-themed colourway Kantor used exemplifies OBSCURA’s resistance to individual and sonic corrosion.

In 2021, OBSCURA will lighthouse their musical prowess, thematic complexity, and lyrical ambition on “A Valediction”. The group continue to be a beacon for change. No doubt OBSCURA’s new stats will amaze, but what they’re focused on is the release of “A Valediction” and then taking it on the road. Several high-caliber tours of Europe, North America, and Asia are planned through to 2023, with routes are in the works for the band to visit Australia, South America, and beyond. Truly, there is no band quite like OBSCURA. “A Valediction” proves that persistence, perseverance, and enterprising minds can achieve anything. Welcome to the next level!

IDLES return with their new album, ‘CRAWLER’, an album of reflection and healing
amid a worldwide pandemic that stretched the planet’s collective mental and physical
health to the breaking point.
 Frontman Joe Talbot says: “We want people who’ve gone through trauma,
heartbreak, and loss to feel like they’re not alone, and also how it is possible to
reclaim joy from those experiences.” IDLES albums have always been anchored by
these overarching themes, but the ability of the band to juxtapose beauty and rage
with humour and drama has never felt more satisfying than on ‘CRAWLER’.
 These stories are vividly brought to life through IDLES’ most soul-stirring music to
date, recorded with co-producers Kenny Beats (Vince Staples, Freddie Gibbs) and
IDLES guitarist Mark Bowen.
 Previous album ‘Ultra Mono’ was Number 1 album in the UK, with over 35k sales
week one.
 Huge 2022 January UK tour including five Brixton Academy dates, three at Glasgow
Barrowlands, two at Manchester Warehouse and more. Over 20k UK tickets sold in
the first hour of release.
 Three high budget music videos, written and directed by LOOSE (Lucy Hickling,
Stink Films).
 CD in digipak packaging.
 Deluxe LP mastered at half-speed (45rpm), pressed on deluxe heavyweight 180g
black double vinyl and housed in a gatefold jacket with printed inner sleeves.
 Eco-Mix coloured vinyl LP housed in a single-sleeve jacket and printed inner sleeve.
Eco-Mix vinyl production uses leftover wax that’s already in the factory, meaning
each record is different and the colour is completely random and unique.
 Standard black vinyl LP housed in a single-sleeve jacket and printed inner sleeve.

The vinyl album Deo Volente is a collection of ten tracks taken from the last four And Did Those Feet recordings (originally released between 2001 and 2018), all featuring Eisteddfod blue-ribbon-winning vocalist Ina Williams and many of which have been played on Classic FM TV, BBC Radio 2 and BBC local radio. The album cover is graced with the iconic Fred Morley photograph entitled `Business As Usual', a propaganda shot taken at the height of the German bombings of London in the Second World War. The `milkman' in the shot was in fact the photographer's assistant. Deo Volente is a unique collection of songs in a classic cover. The LP is housed in a gatefold sleeve together with an accompanying CD in a digipak attached to the inner sleeve. Full lyrics are included and each LP is signed and numbered as part of a limited edition of 500 copies.