Buscar:fun

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”

Discount DJs are back with their third drop. This release features four fresh cuts from the squad.
Just like their first release, this one hits you with a mixed bag of vibes produced by the same various artists. Felix and Olli, Oski & EE deliver two sun-drenched, housey grooves that will get any dance floor bouncing. Meanwhile, Lou Raw and B take you on a late-night ride with two deep, experimental tracks that shimmer with a moonlit glow. Buckle up and enjoy the trip.

Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat.

The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry.

Founded by Lamarr’s wife and manager Amy Novo, the trio started from humble beginnings in 2015, but since then has released two Billboard charting albums and toured the world to sold out venues. The trio returns now with their second studio album, I Told You So, with even heavier grooves and more confidence. It may have been several years since their most recent studio effort, but they haven’t missed a beat.

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

New one-off pressing coloured vinyl 18th anniversary edition of the long-out-of-print Studio One Soul 2, the long-awaited second volume of one of the largest selling Soul Jazz Records’ Studio One collections.

Studio One Soul 2 takes us deep into Jamaica’s long-standing fascination with American Soul and Funk music.

Featuring a host of seminal Reggae artists who all first established their careers at Studio One before finding worldwide success. Featured artists include Horace Andy, The Heptones, Cornell Campbell, Ken Boothe, Jackie Mittoo, Jacob Miller and many more A-Class Studio One legends interpreting both classic and littleknown American Soul and Funk tunes by the likes of Curtis Mayfield, Bill Withers, The Five Stairsteps, Marvin Gaye, The Stylistics, Lee Dorsey, Al Green, Syl Johnson and more.

Curtis Mayfield is without a doubt the main soul influence for many reggae groups in the 1960s and 70s. Cornell Campbell’s ‘Ten to One’ featured here is a stunning recut of the original Studio One single by The Mad Lads who first covered this Curtis-penned hit for the Impressions. Another great Curtis Mayfield production, The Five Stairsteps and Cubie’s ‘Don’t Change’, is interpreted by Studio One soul man Winston Francis. Similarly, Devon Russell’s superb ‘Make Me Believe in You’ is, if anything, superior to Curtis Mayfield’s ground-breaking original.

While American Soul and Funk remain a constant source of inspiration on this album, classic DJs such as Prince Jazzbo and Little Joe also used these rhythms to ride vocal toasts over to serious effect. This selection features a mixture of classics, super-rare and unreleased tracks from Studio One all lovingly digitally re-mastered for this release. The vinyl edition also comes on super-loud double vinyl housed in gatefold sleeve and with download code. The new CD edition comes as digipack plus booklet. Another essential Studio One release.

A new album by Medway's premier alt-folk outfit The Singing Loins! Yes indeed. We caught up with Rob Shepherd to find out more about their brilliant new LP Twelve_ Q: "The new album is called Twelve. Could you settle an office debate - is it your 12th album or have you called it that because it has twelve songs on it? (We thought Here On Earth was your 12th but not according to Discogs. Also, our ability to count accurately has diminished over the years!)" A: "A bit of both. Course, there's the 12 songs, but then, depending on how you count, it's also our 12th album (from 91-98, there's the 1st 4 LPs that Damaged Goods collected together on The Complete & Utter - that's a comp though, so we can't count that eh - then there's At The Bridge with Billy, so that's 5_..we can skip Alive In Dunkerque as well cos it's a live album....then there was 2004-13 where we made four more with you, then in 2019 we got back together and made 13 Moon Songs From Merry Hell, released on the Vacilando 68 label...so that's 10_and then we did another record with Billy, The Fighting Temeraire_ so yeah, that makes this one number 12)." Q: "The album has features newly recorded versions of several Loins classics. Was it a difficult decision deciding which back catalogue songs to record?" A: "No, pretty easy - it's basically the 12 songs we enjoy playing the most with the current lineup. Saying that, it's been a bit of a meandering road getting to this point. Since Brod passed away, Arf & me have done few nights of Loins songs - and it's felt good - celebrating the songs we all wrote together - so that started the selection process. Oli, Arf's lad, joined us on percussion and then Rich, who Billy had introduced to us, joined on violin - then Chris came along to play the drums, so Oli switched to guitar - and through all that we were refining the set of songs, and we got a point where we felt that, yeah, we've sort of worked out how to do this (you know, respecting and celebrating our past, without coming on like a tribute band to ourselves), so it made sense to make the album - just to reflect where we'd arrived at....so we went into Jim's Ranscombe Studios and bashed them all out live in a couple of hours....no overdubs, no fussing over mistakes....just sing and play the songs as if it was a gig." Q: "It's been 33 years since the debut Loins' LP - How does it feel to be the elder statemen of Kent's alt-folk scene?" A: "Ha ha, are we? We don't know any other folk bands, alt or not, so it doesn't feel as though we're qualified to be the statesmen of anything! Elder, certainly, but statesmen? Nope." Q: "There's been plenty of gigs recently with more to come around the album's release, including some European dates. For people who've not seen you before what can they expect from a Loins gig?" A: "Yeah, as I said, now that we've worked out how to do this, and as we're having so much fun with it, we thought we'd get out & about. We're off to Serbia immediately after the album's release, so that'll be an adventure - Serbia was always special for us (Aleks, the promotor, took us out there to play seven or eight times in all) and we've stayed in touch over the years, so it'll be lovely to see everyone out there again. As for what can anyone expect when they see us? "Riotous fun filled joy" I've just been told, but best let everyone else be the judge of that!" Q: "The Singing Loins wouldn't have existed of course if it wasn't for Chris Broderick. Chris sadly passed in 2022. What would he have thought about the fact you're carrying on with the band and recording new music?" A: "Yeah_ he'd be happy. In the week before he passed away, he asked Arf & me over, basically to say goodbye and tie up any loose ends. And he told Arf that we should carry the Loins on. So yeah, I think he'd be pleased and proud that we're keeping the songs, and his words, alive."

Mingus is the tenth studio album by Canadian musician Joni Mitchell. It was released on June 13, 1979, and was her last studio album for Asylum Records.1 The album is a collaboration between Mitchell and Charles Mingus. It was recorded in the months before and after Mingus' death in January 1979 and is wholly dedicated to him. The album is one of Mitchell's most experimental and jazz-centric works. Mingus originally wrote six compositions ("Joni I-VI") for Mitchell to write lyrics for; three of these were included on the album. Two other tracks written exclusively by Mitchell are included, alongside a new version of Mingus' standard "Goodbye Pork Pie Hat", featuring lyrics written by Mitchell. In addition to these, five spoken word tracks (denoted as "raps") are dispersed throughout the album.

a A1. HAPPY BIRTHDAY 1975 (Rap) [0:57]
[b] A2. GOD MUST BE A BOOGIE MAN [4:33]
[c] A3. FUNERAL (Rap) [1:07]
[d] A4. A CHAIR IN THE SKY [6:40]
[e] A5. THE WOLF THAT LIVES IN LINDSEY [6:33]
[f] B1. I’S A MUGGIN (Rap) [0:07]
[g] B2. SWEET SUCKER DANCE [8:06]
[h] B3. COIN IN THE POCKET (Rap) [0:11]
[i] B4 THE DRY CLEANER FROM DES MOINES [3:22]
[j] B5. LUCKY (Rap) [0:03]
[5:41]

The next album in our Cuban Classics series is a hard one to pigeonhole. It’s a real oddity, unique and not in keeping with the majority of Cuban albums we know, but it's all the better for this. Coming courtesy of Juan Almeida, the Fantasia LP is an eclectic and epic, instrumental ride through Latin jazz-funk, trippy electronics and orchestrated classical music. Sounding at points like a full-blown orchestrated score to a dusty animated film extravaganza, with phrases and passages repeating like the appearance of ghostly spectres throughout the recording. At others, it busts into exotic funk, psychedelic-trippiness and Afro-Cuban percussion.

As rich and varied as the record, so too was Juan Almeida's (Juan Almeida Bosque) life. A descendant of African slaves born in a poor neighbourhood in Havana in 1927, Almeida went from bricklayer to university law student, through which he would meet Fidel Castro. He played a key role in the Cuban revolution, becoming the only black commander and famously voicing “Aqui no se rinde nadie!” (“Nobody here surrenders!”) when outnumbered at the start of the offensive. Castro would later make him one of his vice presidents, but Almeida’s legacy does not stop there. He also became the composer of over 300 popular Cuban songs, many of them recounting his days as a guerrilla.

Produced, orchestrated and conducted by Rafael Somavilla, who worked on a vast array of Cuban recordings including Raúl Gómez's 'Instrumental' which we also reissued on Mr Bongo, the feel of Fantasia is big, luscious, grand and pop-classical. It has become a highly sought-after, cult Cuban rarity amongst collectors and like many great albums, every repeat listen brings with it new elements previously unnoticed. Such is its richness and depth. A truly mesmerising, off-the-beaten-track instrumental record.

This year's compilation is once again dedicated to the Bärenherz children's hospice here in Leipzig.
The people in this organization do such incredibly important work, but unfortunately it is all too often "invisible" - because if we're honest, it's not a topic you like to deal with unless you are directly or indirectly affected yourself. And then you realize that the costs of care, accommodation, supplies and psychosocial therapies are only partially covered by health insurance. The children's hospice does not receive any state subsidies, and that's why it is dependent on private donations.

We asked a few old friends from our new hood (now that we are no longer just mentally but also physically located in Leipzig) for tracks, as well as new ones - from Connewitz to Chicago - bridging the gap between Neo-Soul, good old Boom Bap, Modern Funk, Electro, Synthiepop, Breaks and of course, House Music in all its shades.

One love goes out to all artists and supporters!

LIMITED REPRESS ON 180g DOUBLE VINYL WITH DOWNLOAD CARD. This is the debut album from multi talented musician and producer Quantic. Having just turned 21 years old at the time of completion, this album was a positive indication of things to follow. Like the Bonobo album Animal Magic , this entire album was recorded in the writers bedroom - showing that DIY culture is strong and healthy in the UK and that good creative music can successfully be made and released to an appreciative audience without unnecessary hype. 'The 5th Exotic combines a variety of influences from jazz to soul to funk to hip hop. All the tracks have a strong musical element and a variety of tempos but each individual song has a connection which makes the album work as a whole. Like any good album this is one that grows on you with each listen. Richard Dorfmeister (Kruder & Dorfmeister) described The 5th Exotic as one of the best beats albums I have heard . Overall, The 5th Exotic is a truly accomplished debut album with a sound and style that is truly original.

Die brasilianische Thrash-/Crossover Band Possuído Pelo
Cão ist in ihrer Heimat eine Kultband, nicht nur aufgrund
einiger Mitglieder, die man auch als Violator, DxFxCx, Terror
Revolucionário und Innocent Kids kennt. Das erste Demo
„Semen Churches“, welches von Possessed Sänger Jeff
Becerra öffentlich gelobt wurde, erschien im Jahr 2006 und
wurde damals digital und nur in einer kleinen CD-Auflage
veröffentlicht. Eine Wiederveröffentlichung (CD only) auf
Golden Core erfolgte im Herbst 2024. Die politischen und
gesellschaftskritischen Texte sind typisch für das Genre, aber
selbstredend wird auch der Fun großgeschrieben. Das hört
man dem energetischen Debüt „Possessed In The Circle Pit“
auch durchgehend an. Die Spielfreude und die Energie sind
einfach ansteckend, auch auf Tonträger.
Seit 2010 gab es dieses 2008er Debüt nicht mehr auf Vinyl.
Der Zeitpunkt ist perfekt, denn die Band ist seit einigen
Monaten wieder aktiv und möchte nun auch endlich in Europa
fußfassen. Dabei hilft nun die Neuauflage der LP, erstmals
adäquat für Vinyl gemastert und im Gatefold, sowie die
kürzlich ebenso bei Golden Core erschienene EP von 2006
„Semen Churches“

On their seventh long player The Breaks - their second for Joyful Noise Recordings - SUUNS are lost in limbo. For some artists, being caught in flux may result in songs that are either naive, out of touch or both, simply as a consequence of being cut off from human civilization. But for SUUNS, a band who have grown more than comfortable in the oblique and the intermediate, it actually had the opposite effect. The Breaks marks the Montreal experimental rock outfit's most emotionally resonant and tonally rich collection of music to date. The trio of Ben Shemie, Joseph Yarmush and Liam O' Neill leans more zealously than ever into their pop instincts. Yet remarkably enough, with that same dauntless abandon, SUUNS have mined a more extreme sonic palette this time around, one that stretches far beyond their core fundamentals as a band. The Breaks finds Shemie, O'Neill and Yarmush gleefully experimenting with loops, synths, samples and MIDI-instruments like a post-millennial Tangerine Dream messing with downtempo triphop beats. O' Neill took point in the producer's chair for The Breaks, arranging, structuring and editing many of Shemie and Yarmush's ideas from sporadic rehearsal sessions into Pro Tools, reimagining the songs over and over during a two-year time frame. Forged between countless plane rides, road trips, van tours and text threads, The Breaks became a product of endurance and a lot of trial-and-error. It's a record forged in tight fissions of freedom, where spells of whispered intimacy - like on the stunning ballad "Doreen" - are allowed to branch out into the vast glacial dreamscapes of the album's majestic title track. It captures SUUNS at their most panoramic, curious and exuberant: a constant relay of being adrift and enlightened anew, geared up to eleven. And guess what: the wheels keep on spinning.

Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.

In den letzten 10 Jahren hat das britische Alt-Pop-Duo HONNE unglaubliche Höhen erreicht - seit ihren ersten bescheidenen Aufnahmesessions in East
London haben sie mehr als drei Milliarden Streams erreicht und mehr als 200.000 Tickets für Headline-Shows auf der ganzen Welt verkauft. Es ist eine
Geschichte des Wachstums, der Reife und der Verwandtschaft.
Auf ihrem bezaubernden neuen Album - dem spielerisch betitelten OUCH - sind James Hatcher und Andy Clutterbuck bereit, sich wieder auf ihr
Fundament zu besinnen und die Art von melodischem Überschwang und herzzerreißendem Songwriting zu verwirklichen, die nur HONNE bieten
können. Das Ergebnis ist ein tadellos detailliertes und wunderbar mitreißendes Album, das von den tiefgreifenden Veränderungen in ihrem eigenen
Leben geprägt ist. Es folgt einer Erzählung, die mit einem Teenagerschwarm beginnt und mit der Verantwortung des Familienlebens endet.
Von der Hip-Hop-Produktion der frühen 90er über den glatten Pop des 21. Jahrhunderts bis hin zu Balladen - OUCH zeugt von der frenetischen
Kreativität, die nur HONNE hervorzaubern können, denn sie haben jeden einzelnen Aspekt dieses Projekts selbst geschrieben, aufgenommen und
produziert.

"It's Love" war das erste von drei Alben von The Softies zwischen 1995 und 2000. Herzschmerz, Sehnsucht und ultimative Finesse wird zu Ultra-Pop, dem man sich nicht entziehen kann. Rose Melberg (Tiger Trap, Gaze, Go Sailor) und Jen Sbragia (All Girl Summer Fun Band) kreieren mit zwei Gitarren und zwei Stimmen Songs, die sich tief in dein Herz und deine Seele bohren - und die du nicht mehr loslassen willst. Die Musik von The Softies hat eine Kraft, die nicht nachlässt, und die Songs brechen über einen herein, pure Schönheit. Der hier enthaltene Song ,This House" wurde von Lil Peep für seinen Song ,Ghost Boy" gesampelt. Das Cover von "It's Love" wurde von dem weltberühmten Comiczeichner Adrian Tomine gestaltet.

Die definitive Vinyl-Neuauflage von Nancys drittem Album mit den Hits "Summer Wine" und "Friday's Child" und tollen Versionen von "On Broadway", "Wishin, and Hopin'" und "This Little Bird". Frisch remastered von den analogen Originalbändern durch den GRAMMYr-nominierten Toningenieur John Baldwin, enthält das LITA-Reissue vier Bonustracks: die kompletten 1969er Mickie Most-Sessions inklusive dem bisher unveröffentlichten "Colors Are Changing" Wunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet mit Q&A von Nancy und dem GRAMMYr-nominierten Co-Produzenten Hunter Lea PLUS nie zuvor gezeigte Fotos aus Nancy Sinatras persönlichem Archiv. "Strawberries, cherries, and an angel's kiss in spring_" waren die unsterblichen Worte, die die fünfundzwanzigjährige Nancy Sinatra an einem eiskalten Frühlingstag in London sang, während der Aufnahmen zu ihrer dritten LP innerhalb von nur vier Monaten! Das Album wurde 1966 in nur drei Tagen in den Pye Studios aufgenommen, in denen Mitte der 1960er Jahre auch The Kinks, Petula Clark und David Bowie sich die Klinke in die Hand gaben. Durch die Wahl von Songs wie "On Broadway", "Wishin, and Hopin'" und "This Little Bird" hat das Album einen eindeutig britischen Touch. Die LP enthält zudem das zeitlose Duett "Summer Wine" von Nancy und Lee Hazlewood.

Die definitive Vinyl-Neuauflage von Nancys drittem Album mit den Hits "Summer Wine" und "Friday's Child" und tollen Versionen von "On Broadway", "Wishin, and Hopin'" und "This Little Bird". Frisch remastered von den analogen Originalbändern durch den GRAMMYr-nominierten Toningenieur John Baldwin, enthält das LITA-Reissue vier Bonustracks: die kompletten 1969er Mickie Most-Sessions inklusive dem bisher unveröffentlichten "Colors Are Changing" Wunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet mit Q&A von Nancy und dem GRAMMYr-nominierten Co-Produzenten Hunter Lea PLUS nie zuvor gezeigte Fotos aus Nancy Sinatras persönlichem Archiv. "Strawberries, cherries, and an angel's kiss in spring_" waren die unsterblichen Worte, die die fünfundzwanzigjährige Nancy Sinatra an einem eiskalten Frühlingstag in London sang, während der Aufnahmen zu ihrer dritten LP innerhalb von nur vier Monaten! Das Album wurde 1966 in nur drei Tagen in den Pye Studios aufgenommen, in denen Mitte der 1960er Jahre auch The Kinks, Petula Clark und David Bowie sich die Klinke in die Hand gaben. Durch die Wahl von Songs wie "On Broadway", "Wishin, and Hopin'" und "This Little Bird" hat das Album einen eindeutig britischen Touch. Die LP enthält zudem das zeitlose Duett "Summer Wine" von Nancy und Lee Hazlewood.

The Deslondes are a five-piece group of dudes from New Orleans. The band splits up songwriting and lead vocal duties among its five members, continuing its democratic ethos and musical versatility. Multiple members have released solo recordings between their sophomore release, Hurry Home (2016) and their previous release Ways & Means (2022). Now, with their latest record, Roll It Out the band continues to build on their inventive take on New Orleans country and R&B. Roll It Out finds the band leaning on the country-folk of their debut along with the sometimes-psychedelic, electrified gospel-soul sound of their previous records The sound will continue to draw comparisons to the country-funkiness of The Band, Link Wray, and others but Roll It Out is the sound of a band that understands the history of American music, while embracing their own contemporary approach.