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Alcatrazz was Jimmy Waldo's teddy bear's name as a kid, from there the band chose the name; originally they were to go with "The Rosie O'Donnell Experience", but later felt that would indicate sympathy with the celebrity. The band's initial line-up consisted of Graham Bonnet (lead vocals), Yngwie Malmsteen (guitar), Gary Shea (bass), Jimmy Waldo (keyboards, vocals) and Jan Uvena (drums, vocals). Shea And Waldo were previously members of the group New England. Uvena had worked with Alice Cooper. Malmsteen had been in the Swedish Prog-Metal band Silver Mountain and had recently come to the US and joined the band Steeler for one album. Alcatrazz's material was written by Malmsteen, Bonnet, Waldo and Vai. Shea dubbed the group "Alcatrazz". Features all of their greatest hits.

Daga Voladora's last album came out in 2016. To alleviate such a long wait, only a couple of celebrated singles. Now, finally, Cristina Plaza (identity gracefully hidden under the Daga Voladora name that was before Gran Aparato Eléctrico and also a quarter of Los Eterno and half of Clovis) releases an album and does it, for the first time, in vinyl format. "Los manantiales" is the title of the happy and long-awaited return of an artist that never completely left.

"Los manantiales" ("The Springs") refers to all those sources from which I drink to make my songs: Stereolab, Broadcast, Galaxie 500, Cate Le Bon... And also some of the flamenco language. Flamenco in my own way, of course," explains Plaza. "Los manantiales" will also bring echoes of acts that the artist has not practiced as much such as Esclarecidos, Vainica Doble, Ana D or Kikí d'Akí. Deep voices for songs with substance.

But there is also that other idea of the spring that gushes forth when it can no longer be contained. "It has taken me so many years to make this album because I had a prejudice related to the previous one "Primer segundo" in which there was a coherence. Not finding that concept or thinking that this or that wasn't Daga Voladora, I couldn't get into it. Until I decided that maybe I didn't have to impose such a rigid direction on myself..."

Sketched in a town bordering Ávila where Plaza decided to get lost in the summer of 2022 and then finished off in a basement in Madrid for several months, the nine songs of "Los manantiales" make up a short album, premeditatedly short ("I don't like the songs to be longer than 2:50") but, above all, varied. Because, as can be sensed in the song Quise ser ( "I wanted to be a fictional hero, an expressionist painter, a promising actress"), here are all the imagined Cristinas and their different lives ("The song Lejos de la multitud is that longing of mine to be a vagabond"), an unmistakable sign that, as the artist confesses, "I am my own spring". And all this joyful dispersion comes from the premise with which Plaza approached the album: "I said to myself: 'Let's play'. I set out to have a good time. Suddenly, I wanted to do a dub track and I came up with Fosforito or a rock song like Lou Reed in the 80s and there was 'Me vi penando'. I wanted a rock record, an experimental record, something like Broadcast, and a musical! I wanted to do a thousand things!"

The result is a playful album, very enjoyable; but above all elegant and extremely precise. In both form and substance. Thus, the melodies are so rounded at first listen; the music would work perfectly on its own, stripped of lyrics that respond to the maxim, so often ignored, that there is really only one way to say things. "I have tried to refine the texts a lot. There are some phrases taken from Steinbeck, other things that emerge in a somewhat magical way. There's also Gary Snyder, Kerouac and his Dharma Bums, echoes of California..."

It's an album made, as usual with her, in the most absolute solitude (except for the collaboration of Andrés Arregui on sax and the final mix by Fino Oyonarte). Bareback. "I recorded everything with my computer, with my instruments, my analog keyboards, my rhythm boxes, little noises I make around... I don't make demos. I just do it. In a rough way. What I do do is repeat. The good thing about this method is that many things happen spontaneously and that's where they stay".

An album that, for all of the above, responds to the best notion of caprice. A whimsical whim, signed and finished off by the splendid cover designed by Beatriz Lobo, which feartures a painting ('La chica del King Creole') by the legendary artist Javier de Juan.

In "Los manantiales" there are many possible worlds, as many dreamed ones. Of course, those of Daga Voladora (not in vain, the album opens with a song titled Cristinópolis), but also those of any curious and sensitive listener who, by the way, will find more than one musical wink along the way. You just have to be attentive.

Es ist fraglich, ob unter den Pionieren der ersten britischen Punkrock-Welle noch jemand zu finden ist, der in der Gegenwart so aktiv und relevant ist wie TV Smith. Seine Band The Adverts galt 1976 bis 1979 als eine der wichtigsten Gruppen der Szene und hatte mit "Gary Gilmore's Eyes" einen veritablen Hit. Doch während es um viele der damaligen Protagonisten mit den Jahren still wurde und einige unter die Räder kamen, durchlief TV Smith eine eindrucksvolle Entwicklung und macht bis heute einfach immer weiter.

Welcome back to Demon’s ‘Disco Discharge’ series, originally issued in a series of 2CD collections between 2009 and 2012. The themed compilations of full-length, extended Disco originals, lovingly curated by the mysterious “MrPinks” and with detailed sleeve notes by author and Disco aficionado Alan Jones, have remained in-demand among collectors and the club cognoscenti. This time around, the series kicks off with ‘Classic Disco’ and ‘Disco Fever USA’. Doing exactly what it says on the tin, ‘Classic Disco’ mixes 12 undeniable dancefloor landmarks on 140g orange vinyl, from recognizable names like Change, Manhattan Transfer and Cheryl Lynn, with deeper cuts from exotic names like Dr. Buzzard's Original Savannah Band (an early incarnation of Kid Creole!), The Peter Jacques Band and Double Discovery. And as if to prove a cool Disco track could come from anywhere or anybody, ‘Classic Disco’ also features an essential re-edit by The Glitter Band!

Revision of new beats on the horizon
Every 20 years or so, certain musical movements come full circle. Young musicians are inspired by genres dating back two decades, channelling them through their modern sensibility. The legendary J Dilla’s Donuts album was released in 2006 and instantly marked a starting point for the work of musicians worldwide, laying the foundations especially for the beat scene in Los Angeles. A whole young generation of musicians brought up on the new, instrumental and abstract hip-hop has carried jazz into a new era. The four London-based musicians who make up Uniri have gone one step further by abandoning the idea of a jazz band and "bedroom production" in favour of collective composing, creating a new look at the new-beat aesthetics, framing it as a road novel set in an unspecified time and space.

Uniri translates as ‘one unified dream’ and is the key driving motto of the project conceived by Chiminyo (Cykada, Maisha), the band's founder and head honcho. The project materialised in his private studio, where he invited fellow jazz musicians Amane Tsuganami (Jorja Smith, Maisha), Al Macsween (Nubya Garcia, Gary Bartz, Kefaya) and Luke Wynter (Nubyan Twist, Golden Mean) to spontaneously compose together. Hence, despite this being the band's first album, it wouldn't be right to call them rookies. The result of Uniri's collaborative work is the psychedelic, rhythmic album Infinite Reflections, packed with cosmic and warm synths, which neatly balances hip-hop beat and jazz composition. It's safe to say this music is even more appealing when played live, although it's equally suited to the club dancefloor.

UK Jazz has become a permanent fixture in the London landscape, but also across Europe and the US. Today, the musicians who shape the new wave of jazz are drawing on more and more genres, reducing solo improvisation for the benefit of composition and increasingly drawing on influences from the beat scene. Among such formations are the British NOK Cultural Ensemble, the Polish Błoto, the Belgian ECHT!, and the Dutch Comité Hypnotisé. Uniri is part of this emerging yet already international trend, creating an entirely fresh aesthetic that echoes artists such as Flying Lotus, Samiyam, Dorian Concept, Ras G and Nosaj Things oriented around the Californian 'new beats generation' scene.

The title Infinite Reflections alludes to a phenomenon observable on the open sea or during intercontinental flights. Gazing at the horizon blurs the boundary between the ocean and the sky, forming an infinite palette of blue shades. This inspiration sparked an elusive musical narrative, navigating between a sea voyage and an astral journey, destination unknown.

"Joe Pernice has been writing for a long time—most of his life, in fact—and has crafted a remarkable catalog that boldly reinterprets and recasts classic American pop. Who Will You Believe may be his most moving and nuanced album yet; it’s certainly his timeliest. “These songs were all written during the same time period,” he says, “and they all seemed to tap into a mood I was in at the time. I go through spells where I’m a certain way for three or four months. I might be more reticent than usual, or more outgoing. With all of my records—and especially with this one—the songs all feel like they belong together, probably because they all arrived during the same stretch of time.”

In a single six-month stretch he was left reeling from the deaths of three close friends, including David Berman, poet and songwriter for Silver Jews and Purple Mountains, and Gary Stewart, the Rhino Records co-founder and tireless Pernice Brothers supporter since their first album in 1998. “That was such a bad patch when David and Gary both took their own lives. And my cousin Joe Harvard, who started Fort Apache Studios in Boston and was like a brother to me—he died, too. It was such a tough year. I was thinking about them a lot and watching how divided America had become. I was doing my best to try and take nothing for granted.

”

Pernice has been releasing albums for over 25 years. And with age comes a greater patience and an immense appreciation for the act of creation. Who Will You Believe showcases a beautiful balance between such sadness and moments of solemnity with warm humor and camaraderie."

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

LIVERPOOL’S LONG LOST 90’s INDIE ROCK NOISEMAKERS. COMPILING THREE SINGLES AND UNRELEASED TRACKS. “If these guys were American they’d have a massive following” STEVIE CHICK. Back in the 1990's PLAYHOUSE were Liverpool's premiere 'honey souled indie rock band' (NME, 1997). They had a devoted following around the country after supporting the likes of Sleater Kinney, Unwound, Penthouse, Pavement, Sebadoh, Feeder and Gary Numan. With three 7" singles under their belt and support from the NME and John Peel, the band were due to record their debut album until disaster struck when the drummer, Simon, broke his leg in a bizarre incident. Simon later went on to play with the rock band - Black Spiders and now performs under the name of Blobb Ross. Singer and guitarist Pete continues to write songs, over a 1000 at this point. He is Liverpool's most prolific and enigmatic figure, writing some of the most beautiful songs around. Bassist Jason went on to perform with Mugstar, Sex Swing, Klamp, Domes, Twin Sister & JAAW. 'Dynamo' compiles the three singles they released, alongside unreleased tracks, including a cover of Sebadoh's 'It's So Hard To Fall in Love'

Repress!

40 year anniversary release of this in demand modern soul masterpiece. For their third vinyl outing, Selector Series dig into the Archives of New Jersey’s Debbie Records from 1981 to re-issue this storming boogie re interpretation of The Carpenters standard, which found itself a legion of fans in the UK thanks to Gary Dennis’s championing of it.

In a pre Discogs era, this record attracted a £400 price tag amongst serious collectors back in the late eighties, with the original pressings still going for £500+ even now. The album has been re issued by several different labels over the ensuing years, but this double header is being made available for Record Store Day on a seven inch format for the first time officially, featuring the original album sleeve artwork.

The first-ever best of of Nim Vind is called Anthology 1 and is released by Sunny Bastards Records! This collection of audio medicinals created in a UFO vibrating in the Key of NV is guaranteed to blow your mind. Experience the energy and indulge in some Halloween candy with Nim Vind's 180-gram Vinyl album. This collection includes Nim Vind's most popular tracks from regular albums Fashion Of Fear, Stillness Illness & Saturday Night Seance Songs, along with some special versions or tracks that have never been released before. Nim Vind was introduced to Europe through Zillo Magazine and the Goth club "Pagan Love Songs". This led to the release of his first album, "Fashion of Fear", on Fiendforce Records Germany. The album was recognized by Metal Hammer UK, Maximum Rock n Roll and many other magazines that support underground artists. Rue Morgue Magazine (the world's biggest Horror Entertainment Print magazine) selected Nim's album "Saturday Night Seance Songs" as the Album of the Year. He has shared stages with the likes of Gary Numan, Filter, Blitzkid, The 69 Eyes, Todd Kerns (Slash with Miles Kennedy and the Conspirators), Peter Murphy of Bauhaus, and many more. The album kicks off with NV classic "Killing Saturday Night", which has garnered 1.7 million plays on Spotify and more than 330,000 views on YouTube. The collection attempts to showcase some of the songs that have been a part of his story, bringing us up-to-date with his current work. If you're a Horrorpunk, Goth, Post-Punk, Rock N Roll or Alternative collector, this collection is a must-have! Vinyl only compilation, for fans of MISFITS, JERRY ONLY, CHRIMSON GHOSTS, BLITZKID, THE OTHER.

Gatefold Heavy black vinyl with diecut sleeve!
Scheming Bruce Robertson (James McAvoy), a bigoted and corrupt policeman, is in line for a promotion and will stop at nothing to get what he wants. Enlisted to solve a brutal murder and threatened by the aspirations of his colleagues, including Ray Lennox (Jamie Bell), Bruce sets about ensuring their ruin, right under the nose of unwitting Chief Inspector Toal. As he turns his colleagues against one another by stealing their wives and exposing their secrets, Bruce starts to lose himself in a web of deceit that he can no longer control. His past is slowly catching up with him, and a missing wife, a crippling drug habit and suspicious colleagues start to take their toll on his sanity. The question is: can he keep his grip on reality long enough to disentangle himself from the filth

James McAvoy (X-Men: First Class) gives the performance of his career and he is joined by a fantastic cast, including Jamie Bell (The Adventures of Tintin), Imogen Poots (Fright Night), Oscar winning actor, Jim Broadbent (The Iron Lady), Joanne Froggatt ('Downton Abbey'), Shirley Henderson (Trainspotting), Eddie Marsan (The Illusionist), Emun Elliott (Prometheus), Martin Compston (Sweet Sixteen), Shauna Macdonald (The Descent) and Gary Lewis (Gangs of New York).

Written by Jon S. Baird who also directs, Filth is produced by Ken Marshall, Will Clarke and Irvine Welsh.

Die Versuchung, Bill Fay zu mythologisieren, kann überwältigend sein. Sein Status als unbesungener Held hat sich langsam, aber stetig, über fünfundzwanzig Jahre hinweg entwickelt und mit jedem neuen Album kommen Fans hinzu, darunter prominente Musiker wie Jeff Tweedy, Kevin Morby, Adam Granduciel und Julia Jacklin, um nur einige zu nennen. Fay war jahrzehntelang ebenso produktiv wie unterschätzt, innerhalb seines Katalogs ist die Bill Fay Group seine bedeutendste Zusammenarbeit. Nach seinem selbstbetitelten Debüt Bill Fay (1970) und dem Klassiker "Time of the Last Persecution" (1971) hatte Decca Records kein Interesse ein drittes Album zu veröffentlichen. Bill Stratton, Gary Smith, Rauf Galip formierten sich mit Fay zur Bill Fay Group und nahmen zwischen 1978 und 1981 in mehreren Sessions, trotz minimaler finanzieller Mittel, ein brillantes Album auf. Die Bandmitglieder beschwören ein elegantes Gegengewicht zu seinem Gespür für das Unauffällige. "Tomorrow Tomorrow and Tomorrow" bringt die galaktischen Qualitäten des frühen Rock, die Komplexität der Jazz-Improvisation und Fays erdigen Folk-Zauber zusammen. Zur Zeit der Fertigstellung fand sich aber leider kein Label für das Projekt. Erst 2005 brachte David Tibet auf seinem Label Durtro Records eine unvollständige, nur auf CD erhältliche Version heraus. Eine Neuauflage von 2006 machte das Album auf Vinyl erhältlich, allerdings mit stark gekürztem Tracklisting, es fehlten neun Songs. Jetzt endlich erscheint Tomorrow Tomorrow and Tomorrow weltweit in voller Länge. Es enthält die 22 Original-Songs des Albums, dazu 6 Bonustracks, sowie seltene und bisher unveröffentlichte Fotos von den ursprünglichen Aufnahmesessions von "Tomorrow Tomorrow and Tomorrow".

Another bonafide classic from the all time heavy lifer Scott ‘Wino’ Weinrich. If The Obsessed, St. Vitus, Shrinebuilder, Probot and The Hidden Hand aren’t enough to bring his CV to legendary status, stop reading now. Spirit Caravan’s debut, originally released in 1999, was another massive step in his career, taking his doom-laden guitar work to new heights, with slow ferocity and acidic perfection. Wino, Dave Sherman and Gary Isom weave tight numbers creating a blueprint that is here to stay. Now remastered and released for the first time as a 4 side double LP the album includes beautiful cover art by Daniel Higgs. "Jug Fulla Sun, Spirit Caravan's debut, follows a sonic continuum that began in the late '70s when Scott "Wino" Weinrich emerged from the outskirts of Washington, D.C., with the Obsessed, his stripped-down hybrid of biker rock and metal. That outfit made tremendous strides in bridging the gap between the long-haired metal contingent and the still developing, though already rabid, D.C. hardcore scene. Jug Fulla Sun shows Wino augmenting his trademark brand of doom-laden guitar work and slow-fuse vocal ferocity with greater lyrical depth and overall textural breadth. The songs are rich, refined, articulate, and created by a lifer, a true veteran of the hard music scene. Wino has obviously gone to great lengths here to subordinate his outlaw vision to a more expansive, comprehensive view of mankind, and of greater truths. The somewhat nebulous scope of his lyrics is enhanced by Lungfish vocalist/tattoo artist Dan Higgs' cryptic cover painting. An excellent album

This is the story of the one the great disco labels, a legendary label who were at the forefront of a genre during it fruition and creative peak. Sam Weiss started SAM Records in Long Island City, New York in 1976. Sam, and his brother Hy, were born in Romania before moving to the Bronx in New York City when they were young. Sam and his brother were no strangers to the music business having been in the industry since the mid-50s running labels Old Town and Parody Records. • During the mid-1970s Disco took New York by storm and emerged into a revolutionary musical force that re-shaped the face of the City. It was however a genre major labels largely ignored initially. It was the smaller, independent labels that led the way in disco’s early years. Founded in 1974, Salsoul was the first. Sam’s new label SAM Records arrived a year later, followed by West End and Prelude in 1976: four labels from which umpteen disco classics emerged. • This compilation compiles all of the classic material that SAM release during the years 1975 and 1983. Offering up a treasure trove of disco essential this compilation features tracks from Gary’s Gang, John Davis & The Monster Orchestra, Komiko, Rhyze, Convertion, Vicky “D”, Greg Henderson alongside deeper cuts by Lucy Hawkins, K.I.D and more. • The audio used here has been sourced from the SAM archives and in many cases the mixes are appearing in their truest 12-inch form. The set is complete with extensive liner notes by The Guardian’s chief music critic and disco authority Alexis Petridis. • SAM Records has forever left its footprint on the Disco and music history, and this compilation is an essential addition to anyone’s collection.

All true improvisation involves an element of chance: the coming together of a nexus of influences impulses and actions that result in spontaneous creation. Often in the world of jazz these creative sparks blaze briefly in performance, and then disappear as the sonic vibrations fade from the air, but sometimes chance intervenes again, and moments thought to be gone forever can resurface in unexpected ways. As master drummer Jeff Williams sorted through his archive of cassette tapes from his extensive international career, he had no idea that hidden within it would be a recording of a 1991 evening when he joined storied NYC legend David Liebman for a set of spontaneous performances. Reunited together fifteen years after the breakup of their seminal band Lookout Farm in 1976, the two players reaffirmed their deep musical bond with a set of free-flowing exploratory dialogues in front of a receptive audience. Believed lost for many years, these performances can now be experienced again, with all their fearless freshness and pure committed musicianship undimmed by the passage of time.

Jeff Williams has established a formidable reputation as a drummer, composer, educator and bandleader on both sides of the Atlantic. His relationship with Liebman was forged in the exciting, expansive atmosphere of the New York scene in the early 70s: the meeting of Williams, the laid back Midwesterner, and Liebman, the mercurial, quintessential New Yorker, was an inspired coming together of opposites that always made the creative sparks fly. Williams remembers the journey that led to the Bar Room 432 on that 1991 evening:

“Just as I was leaving my home town of Oberlin, Ohio to move to New York City in 1971, I was given David Liebman’s phone number by someone who told me that Dave had started an organisation for jazz musicians there. I knew of Dave, from Ten Wheel Drive and John McLaughin’s My Goals Beyond, but I couldn’t have imagined what a significant role he would play in my musical life. Shortly afterwards, Dave would leave Elvin Jones and Miles Davis to start his own band, with Richie Beirach, Frank Tusa, and myself, (later adding Badal Roy), naming it Lookout Farm. We released two albums on ECM and one on A&M to wide critical acclaim, and toured across Europe, Japan, India and the US.”

“Following the dissolution of Lookout Farm, Dave and I embarked on a short duo tour opening for Gary Burton. That would be the last time the two of us would play until the occasion of this recording, fifteen years later.”

“Fast forward to 1991 when I discovered an attractive bar located on the far West Side of 14th Street in Manhattan. Bar Room 432 would become a six night a week jazz club for a few years, providing me, and many others, with the opportunity to perform our music. Catching wind of this, Dave suggested we do a duo performance there.”

“Luckily, I recorded it.There was no preparation, no set music to be played - we simply improvised, picking up where we’d left off. David’s mastery of the soprano saxophone is in full bloom here, as well as his incredibly resourceful musical mind.”

The performances are revelatory, moving in pure improvisation from clear, songlike melody to furious density, from ambience to pulsing groove, from light into darkness and back again. Cleaned up and remastered by Alex Bonney, the sound of the tape captures the warm, wood-lined ambience of the room, allowing the full power and dynamics of William’s drums and the warmth and fullness of Liebmans’ soprano sax to sing out, engaging the contemporary listener just as it engaged the hip Manhattan crowd thirty three years ago.

Amazing floaty modern soul / disco goodness out of late 70s Queens, NY. 'Love Is The Same' two brilliant and different versions, both dancefloor fire…

Mark Beiner met Ben Iverson in 1976 when I was 17 years old, at the time he was a junior at Newtown High School in Elmhurst, Queens. Mark had taken a part time job as a Produce Clerk at Walbaum's Supermarket on Northern Boulevard in Jackson Heights, Queens, where I met Ben Iverson, the "Frozen Food Manager."

Back then Mark remembers, 'I was going to work early just to talk to him about his musical background and his time spent in the 50's and 60's with the Ohio Doo Wop Group, "The Hornets", or better known as, "Ben Iverson and The Hornets."'

In 1978 after Ben and I discussed getting together and composing music, I started writing poetry and expressing in writing my break-up with my college girlfriend, Paula. Ben and Mark went on to writing two albums worth of material, which in turn gave us a lot of time and presence on stage at our live gigs.

The regular Coast to Coast Band members consisted of Ben Iverson on Lead Vocals, Rhythm Guitarist and Co-Executive Producer, Joe Crowley, who is known today as "New York Congressman Joe Crowley." Carl (Woody Wood) Morton on Bass Guitar, Jimmy Johnson on Keyboards. Lead Guitarist, Lou Jimenez, currently owns his own recording studio, Music Labs in Elmont, Long Island. On Drums, Eddie Byam, on Alto Sax, Jay Cohen, who in the 70's used to record for "Gary U.S. Bonds." Gary Pevols on Trumpet. On Bone, Scott Burrows, Trumpet player, Steve Becker, along side Neil Levine, Stan Stockley, Tom Russo.

From acclaimed director James Carney (‘Once’, ‘Sing Street’, ‘Begin Again’, ‘Modern Love’). Album features tracks performed by the film’s actors, including Eve Hewson, Joseph Gordon- Levitt and Oren Kinlan, with additional vocals by Lianne Carr Wyllie, Adam Hunter and Gary Clarke.

Starring Eve Hewson (‘Bad Sisters’, ‘Behind Her Eyes’, ‘The Knick’, ‘Robin Hood’), Oren Kinlan (‘Sunlight’, ‘Taken Down’), Jack Reynor (‘Midsommar’, ‘Sing Street’, ‘Glassland’) and twice Emmy-winner Joseph Gordon-Levitt (‘Create Together’, ‘HitRECord on TV’, ‘The Trial of the Chicago 7’, ‘Lincoln’).

Two tracks submitted for Oscar consideration - ‘Meet In The Middle’ and ‘High Life’.

Gonzalez Smith's debut album: "Roll Up A Song" is an album of classic popular songs with music by Jay Gonzalez and lyrics by Pete Smith. Best known as the guitarist/keyboardist for rockers Drive-By Truckers, Jay's musical tastes range from 'baroque' to 'A.M. Gold' and 'power' pop. His collaborations include local pop legends The Possibilities, power pop stalwart Scott McCaughey (The Young Fresh Fellows), and performances with Chris Stamey of The dB's and Bill Berry of R.E.M. Pete Smith, acclaimed lyricist, made waves with his contributions to the legendary jazz composer Gary McFarland's album "Butterscotch Rum". His journey led him to comedy writing for Adult Swim's animated shows. Classic pop composer Brent Cash's exceptional string arrangements elevate the album's depth and emotion, enriching Gonzalez and Smith's melodies and lyrics. Jay Gonzalez and Pete Smith are like a modern day Bacharach/David, if Burt spent his nights tearing it up with one of the best live rock bands in America, and Hal was a writer for Space Ghost Coast to Coast and The Brak Show. Their debut album as Gonzalez Smith, "Roll Up a Song," is a seamless fusion of power pop, piano ballads, bossa nova, and pure spun sugar confection. Jay brings the same multi-instrumental compositional skills found on his first three solo albums, and Pete pens lyrics by turns honest, romantic, arch and comedic, sometimes in the same verse. The results are so stellar, it's a shock to find out that the Drive-By Truckers guitarist/keyboardist and the Adult Swim comedy scribe haven't been writing together for decades. Arriving in December 2023, via Bobo Integral Records, "Roll Up A Song" transcends eras and genres. It's a harmonious journey, uniting melodies and lyrics into a timeless masterpiece. Get set to roll up the music, immersing in captivating soundscapes.

Top-rated West Coast garage sounds from the vaults of maverick genius Gary S Paxton. Acknowledged classics, tantalising obscurities and several previously unheard gems, all from the original master tapes, including tracks by Limey & The Yanks, The Avengers, The Whatt Four, The Buddhas_ among many others. Vintage garage rock is only one of the many tributaries of popular music that the maverick Gary S Paxton recorded and produced in his 1960s heyday, and compared to other genres, the off-kilter genius behind 'Alley Oop' and 'Monster Mash' was hardly prolific with it. But for a producer-engineer of his repute, it was inevitable that Paxton would cross paths with the sudden surge of teenaged rock groups that emerged in the wake of the British Invasion. We've gathered the best of them on "Lost Innocence", and for any aficionado of the genre, a treat is in store. As well as a brace of acknowledged Californian punk classics present and correct for the first time direct from master tape, this rockin' little disc also shares further booty from the Garpax vaults, including some obscurities well worthy of re-appraisal, along with completely unreleased nuggets of note. Counting among the well-known are the Avengers, Bakersfield's top dogs in the punk bracket thanks to snot-nosed missives such as 'I Told You So' and the controversial 'Be A Cave Man'. Ken & the Forth Dimension and Limey & the Yanks serve up the highly regarded items 'See If I Care' and 'Guaranteed Love' respectively, with a trio of ear-opening unissued tracks from the latter as a bonus. Riverside's Whatt Four weigh in with the popular ear-burners 'Our Love Should Last Forever' and 'You're Wishin' I Was Someone Else'. And the Buddhas' title cut is still the most eloquent ode to carnal knowledge in the entire 60s punk pantheon. Compiled by genre expert Alec Palao and originally released by Big Beat/ACE on CD only a few years back, it is now available on vinyl for the first time.

Gaucho — Steely Dan's Grammy-winning seventh studio album now on UHQR!
Definitive reissue Ultra High Quality Record, the pinnacle of high-quality vinyl!
45 RPM LP release limited to 20,000 numbered copies
Mastered by Bernie Grundman from a 1980 analogue tape copy originally EQ'd by Bob Ludwig
Pressed at Quality Record Pressings using 200-gram Clarity Vinyl®
Purest possible pressing and most visually stunning presentation and packaging!
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing


Gaucho — the iconic seventh studio album by Steely Dan, released in November 1980 — and Grammy-winner for Best Engineered Non-Classical Recording, was also Grammy-nominated for Album of the Year and Best Pop Performance by a Duo or Group with Vocals. The album represents the band's musical evolution towards a more polished and sleek sound, featuring a collection of meticulously crafted songs that blend jazz, rock, and pop music, while exploring themes of decadence, longing, and disillusionment.

Gaucho opens with the title track, a jazzy instrumental piece that sets the tone for the rest of the album. The standout tracks on the album include "Hey Nineteen," a catchy and upbeat tune that features a memorable saxophone riff and lyrics about an older man's attraction to a young woman, and "Babylon Sisters," a funky and groovy track that showcases the band's impeccable sense of rhythm and melody.

The sessions for Gaucho represented the band's typical penchant for studio perfectionism and obsessive recording technique. To record the album, the band used at least 42 different musicians, spent more than a year in the studio, and far exceeded the original monetary advance given by the record label. Still, the album features multiple layers of instrumentation, carefully crafted arrangements, and the use of top-notch session musicians to create a lush and sophisticated sound that is uniquely Steely Dan.

Despite its critical and commercial success, Gaucho was a challenging album to make. During the two-year span in which the album was recorded, the band was plagued by a number of creative, personal and professional problems. MCA, Warner Bros. and Steely Dan had a three-way legal battle over the rights to release the album. After it was released, jazz musician Keith Jarrett was given a co-writing credit on the title track after threatening legal action over plagiarism of Jarrett's song "'Long As You Know You're Living Yours."

Gaucho marked a significant stylistic change for the band, introducing a more minimal, groove- and atmosphere-based format. The harmonically complex chord changes that were a distinctive mark of earlier Steely Dan songs are less prominent on Gaucho, with the record's songs tending to revolve around a single rhythm or mood, although complex chord progressions were still present particularly in "Babylon Sisters" and "Glamour Profession." Gaucho proved to be Steely Dan's final studio album that Donald Fagen and Walter Becker would make together until the year 2000.

Gaucho reached No. 9 on the U.S. album chart and was certified platinum-selling. "Hey Nineteen" reached No. 10 on the U.S. Singles Chart and went to No. 1 in Canada. Pitchfork, in its review, describes the almost "pathologically overdetermined production" as elegant, arid and a little forbidding. "Every last tinkling chime sounds like it took 12 days to mix, because chances are, it did." The New York Times deemed Gaucho the best album of 1980, beating out Talking Heads' Remain in Light and Joy Division's Closer.

Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations.

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Gaucho remains a testament to Steely Dan's enduring musical legacy and their ability to create timeless music that transcends genre and style.

Powerhouse R&B/Soul vocalist and Canadian Idol finalist. Gary Beals, is thrilled to be releasing his new album, The Melody Within. The Melody within is a musical journey that unfolds across two sides, much like a story that reveals new layers with each turn. The album is more than just a collection of songs; it's an emotional guide that beckons us to explore the depths of our own feelings and explores navigating emotions, self discovery, and nostalgia through soulful melodies. "This album serves as the aftermath to my previous album, "Bleed My Truth". It's a continuation of my musical journey, a fusion of soulful melodies and diverse influences that mirror both my personal and artistic evolution," said Gary Beals. "Each song is a chapter, a piece of my heart and soul, inviting listeners into my world of emotions, experiences and connection. It uncovers the melody that resides within. The anticipation is building as I look forward to sharing this collection of new music, and I hope it resonates deeply, offering a meaningful and memorable musical experience enriched with a multitude of emotions." With this new body of work, Gary had the opportunity to work with two talented primary producers,Beatchild (Drake, Justin Nozuka, Glen Lewis) and Myles "Losh'' Schwartz (Allan Rayman, Tobi, The Game, Pretty Lights). Additional production credits on the album include, Chris Guirguis, Frizzy Astro (Raz Fresco, Daniel Son), Jordan "Tempo" Farmer, Kobebeats (Rodwave, Kcamp, Sevyn),Sid Aakowa, Ty Danelley (Popcaan, Tory Lanez, Pressa) and Warren Williams, who all helped to shape the makings of the album while maintaining a consistent synergy. Side A of the album draws inspiration from the likes of Al Green, Aretha Franklin, Otis Redding, Marvin Gaye, and James Brown, and pays homage to artists who have played an integral part in shaping Gary's musical roots. This side includes Gary's previously released singles, "Good People, Good Vibes" and "All of Me," and the album's title track "The Melody Within," that commends the process of self-discovery and introspection. Also included is the album's 5th single, "Self Revolution," which will be released on October 27th along with the official music video. On Side B, you'll encounter a fusion of R&B and pop elements while still staying true to the album's soulful essence. Included on this side, is Gary's third single "I Like That," featuring JRDN and KAYO ,and the new single "How Do I Say (I Love You)," released September 22nd. "How Do I Say (I Love You)" dives into the inner conflict of conveying affection, showing vulnerability, and the bravery needed to expose one's heart to someone else. About Gary Beals: Two decades ago, Gary embarked on his musical journey when he, a small-town kid from Nova Scotia (now calling Toronto home), made a remarkable entrance onto the national stage as a part of Canada's inaugural season of Canadian Idol. This month marks the 20th anniversary of the finale where Gary was crowned as the "runner up" on the show. The experience ignited a transformative period of self-reflection and discovery that propelled Gary toward personal growth, shaping his life and musical career in lasting ways.

Fast forward through three albums and twenty years, Gary's work and talent have made a remarkable impact and received widespread critical acclaim. Among his accomplishments are debuting in the top 10 of the Canadian sales chart, being nominated for a JUNO Award for "Best R&B/Soul Recording," winning an East Coast Music Award and seven African Nova Scotia Music Awards, as well as scoring nominations for an Urban Music Award and a Canadian Radio Music Award. These accomplishments led to his home province's Premier officially designating November 22nd as Gary Beals Day in acknowledgment of his achievements.

With his return, Gary is poised to make a positive impact on the ever-expanding global community as he prepares to release his new album The Melody Within. The album will stand as a tribute to the strength that resides within all of us and a reminder that true fulfillment comes not just from achieving goals, but from discovering the intricate beauty that lies within our own hearts and souls.

Craig Charles is a big supporter of Gary Beals and spun his single 'All Of Me' for three weeks in a row on his Funk and Soul Show on BBC Radio Six

Bob Balch here. In November of 2022 I went out to Joshua Tree for a day of jamming with the guys in Yawning Man with the intention of calling it "Yawning Balch." No riffs were planned. We just plugged in and played. The only discussion beforehand was that Gary Arce and I wanted to mess with tons of guitar pedals. I knew that while we were jamming it sounded great, but it wasn't until I got home and listened to it all that I realized we had something special. It's hard to believe that we jammed for five hours and got two full length LPs and then some out of it. Every player killed it on these recordings and I'm beyond grateful to have my name involved with this legendary band. Fingers crossed they invite me back out annually for more jam sessions. I hope you enjoy these jams and please use responsibly.

Bob Balch here. In November of 2022 I went out to Joshua Tree for a day of jamming with the guys in Yawning Man with the intention of calling it "Yawning Balch." No riffs were planned. We just plugged in and played. The only discussion beforehand was that Gary Arce and I wanted to mess with tons of guitar pedals. I knew that while we were jamming it sounded great, but it wasn't until I got home and listened to it all that I realized we had something special. It's hard to believe that we jammed for five hours and got two full length LPs and then some out of it. Every player killed it on these recordings and I'm beyond grateful to have my name involved with this legendary band. Fingers crossed they invite me back out annually for more jam sessions. I hope you enjoy these jams and please use responsibly.

Exhausted from a 3 years in the making album called Lagarius released in 2023. Gary Martin had a plan to not work in the studio this summer until he realized his Facebook keyboard playing friend named Brian Mars was a.k.a. Javonntte the writer of an exceptional good song on The Mahogany compilation released that year.

Gary created the beat for The Infinite Time and Brian sent the bass line and the keys. Then, picking the exotic scale called Persian was how the creation of Zurvan started. Gary Made the beat and Brian sent the bass line and the keys and Lot’s of Teknotika studio wizardry followed to complete this concept Ep.

Bathed in a green haze, the crowd oozed to the mutant rock and roll roaring from the basement's dusty depths — everything and everyone was sweaty and sticky. But as Speedy Ortiz crammed into the back corner, their grins just inches away from ours, D.C.’s Dougout became a moshed-and-sloshed sauna of 20-somethings delirious on rock euphoria.

After spending much of the new millennium bored out of my skull by network soap indie, Speedy Ortiz — not to mention its pals in Pile, Ovlov, Grass is Green and the rest of New England’s burgeoning basement scene — was rock's wild howl. The songs were unpredictable, yet weirdly memorable, swaggering with a winky and wry sense of self. Riffs would twist with a topsy tenderness, then slam a ruptured discord. Sadie Dupuis' sphinxian-yet-sensitive lyrics were not only matched but accentuated by her coil-sprung vibrato. How could Speedy Ortiz not immediately become my new favorite band?

What began as a short-lived solo project recorded in Dupuis' off-hours as a rock camp counselor became a four-piece band in Northampton, Mass., by the end of 2011: Dupuis on guitar and vocals with drummer Mike Falcone, bassist Darl Ferm and guitarist Matt Robidoux. They made cool mixtapes, cracked inside jokes and gushed about teenagers that opened for them on tour. They freaked out (via LiveJournal) when they met the bassist from Polvo or Helium's Mary Timony, but also rolled their eyes at '90s indie-rock comparisons. The band's first single — the gender-bending got-laid grunge yowler "Taylor Swift'' — elicited that rare response of the simultaneous giggle and headbang. The Sports EP amped up the taut yet rubbery riffery.

Released July 9, 2013, Major Arcana is filled with wedding chapel exorcisms, oiled-down attractants and criminally twisted puny little villains — this is Dupuis' haunted lexicon as she scales the toxic Aggro Crag of a breakup. And while Dupuis wrote these songs, the band's convulsing arrangements and diverse influences sprawled the squigglier edges of feedbacked fuzz to mete out matters of the heart. Falcone — who, it's worth noting, has a knack for vocal harmony — swung as much as he smashed the drums. In easily tipoverable songs, Ferm's burly bass and percussive overdubs gave the unruly glee its momentum. Robidoux ripped skronky guitar solos and countered Dupuis' riffs with decorative splatter. Over a four-day marathon session at Sonelab in Easthampton, recording engineer Justin Pizzoferrato sparked the studio imagination of Speedy Ortiz — not only leaning into gritty tones but layer-caking dense dynamics that made these songs pop and pulverize.

For all her sweet-toothed seething, Dupuis was not easy on herself. Everyone's allowed the idiot growing pains of your 20s and the misery that follows, but I can only imagine the emotional exhaustion that playing these songs on the road, night after night, must have wrought. "But you left something on my lips: a mark so sick," she repeats over the doomy destruction that ends the album. Thinking back to the many Speedy Ortiz shows I caught in those early years, including an unofficial after-after party for my own wedding, "MKVI" often served as the noisy down-and-out closer — heads would bang in solidarity as the crowd became co-authors in the chaos, the biting phrase now a hex, Speedy Ortiz forever our coven. —Lars Gotrich

To celebrate the 10th Anniversary of Major Arcana, Speedy Ortiz release a remastered edition on Carpark Records.

In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads' toes tapping. "Music Is Victory Over Time" is the band's 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form. Album opener "World People" is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler _ a triumphant call to arms to all peoples. Live fave "Too Gary"'s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means "that's too scary"). "T.A.S.C." (or "Theme For Anarchist Sports Center") is inspired by Sonny Sharrock's maligned 80's output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite "sitcom ending." The sun- scorched "Foams" - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of "Tumulus" might reference an ancient burial mound, but the music itself might be the group's most high-tech song to date, complimented by an arpeggiating sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. "There Goes Ol' Ooze" is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. "Song For The Gone" closes out the album, showcasing a sincerely tender moment for the gang, as an expression of love and resolve for dear friends who had recently, tragically died. Its cascading, bluesy melody attuning itself to our own collective unconscious grief. Having the distinct pleasure of being the first band to record in John Dwyer 's new LA-based recording studio Discount Mirrors, "Music Is Victory Over Time" boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. The band also had full access to the studio's epic armory of gear: amps, axes (it's Dwyer's Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe. The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown. Listening to "Music Is Victory Over Time", Sunwatcher's rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It's good to have them back. "Music Is Victory Over Time" is released worldwide digitally via most DSPs, on CD, black vinyl & a limited "Sunflare" blue/red splatter vinyl while supplies last.

In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads' toes tapping. "Music Is Victory Over Time" is the band's 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form. Album opener "World People" is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler _ a triumphant call to arms to all peoples. Live fave "Too Gary"'s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means "that's too scary"). "T.A.S.C." (or "Theme For Anarchist Sports Center") is inspired by Sonny Sharrock's maligned 80's output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite "sitcom ending." The sun- scorched "Foams" - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of "Tumulus" might reference an ancient burial mound, but the music itself might be the group's most high-tech song to date, complimented by an arpeggiating sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. "There Goes Ol' Ooze" is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. "Song For The Gone" closes out the album, showcasing a sincerely tender moment for the gang, as an expression of love and resolve for dear friends who had recently, tragically died. Its cascading, bluesy melody attuning itself to our own collective unconscious grief. Having the distinct pleasure of being the first band to record in John Dwyer 's new LA-based recording studio Discount Mirrors, "Music Is Victory Over Time" boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. The band also had full access to the studio's epic armory of gear: amps, axes (it's Dwyer's Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe. The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown. Listening to "Music Is Victory Over Time", Sunwatcher's rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It's good to have them back. "Music Is Victory Over Time" is released worldwide digitally via most DSPs, on CD, black vinyl & a limited "Sunflare" blue/red splatter vinyl while supplies last.

Cooltempo Records launches the first in a series of compilations and reissues starting with brit-soul
icon Kenny Thomas. Containing the biggest hits, fan favourites, and previously unreleased material.
Twice Brit-Award nominated Kenny Thomas is one of the UK's most successful Soul singers of his
generation, having had two Top 10 albums and numerous Top 40 singles over his illustrious thirty-year
career. His debut album Voices, released in 1991, sold over a million copies worldwide, going double
platinum in the UK alone and features the top 5 hit 'Thinking About Your Love'. Most recently, Kenny
appeared on the Top of the Pops BBC series to discuss his hits, having performed on the show no
less than 9 times. During lockdown, Take That's Gary Barlow invited him to sing for his Crooner
Sessions with the video garnering over 4 million views. Kenny is set to embark on a UK theatre tour in
support of the Best Of throughout November and December. The Best Of Kenny Thomas features his
'90s chart hits along with rare mixes and two previously unreleased tracks. The legendary UK radio
presenter Tony Blackburn has contributed a foreword to this stylish package.

Second album from the electronic lounge-jazz-dance hybrid of William Basinski, Preston Wendel (Shania Taint), and Gary Wright. Limited edition Opaque Red Colored Vinyl (TRR412LPC Edition of 1,500) is for Indie stores only. 1969. Two gorgeous young interns in the film industry get invited to a glamorous A-list Hollywood party in the Trousdale Estates in one of those fabulous pavilion-style mid-century modern homes at the top of Beverly Hills. They go in their best mod clewths. Eyes popping at the technicolor scene of Hollywood stars smoking and drinking in the sunken living room, they do as instructed and have some punch and watch wallflower style as drama ensues...oh, and the the house is owned by Foxy, the pimp and drug dealer who everybody there owes munty, hunty...and he’s ready to get paid! Oh yeah, and the punch is dosed with LSD25. They manage to make it home, panties and purses and shoes intact and will never forget this party for as long as they live.

Agnetha Fältskog, weltbekannte Sängerin, Songschreiberin, Mitglied der Kultgruppe ABBA und eine der bekanntesten Stimmen der Musikgeschichte, hat 'A+' angekündigt, eine neu aufgenommene Version ihres gefeierten Solo-Albums "A" aus dem Jahr 2013, das am 13. Oktober 2023 über BMG veröffentlicht wird.

Das Originalalbum erschien vor 10 Jahren und wurde nun für das Jahr 2023 komplett neu aufgelegt. Neben der Albumankündigung hat Agnetha auch die atemberaubende Single 'Where Do We Go From Here?" in diesem Jahr neu aufgenommen; einen brandneuen Song, der dem Album hinzugefügt wurde und damit die erste neue Musik seit 10 Jahren von Agnetha als Solokünstlerin darstellt.

Das Album wurde speziell für sie von dem gefeierten Songwriter und Produzenten Jörgen Elofsson geschrieben.

Im Vorfeld des 10-jährigen Jubiläums des Albums diskutierten Agnetha und Jörgen darüber, wie das wie das Album klingen würde, wenn es im Jahr 2023 entstanden wäre, und beschlossen, diese Idee gemeinsam zu verfolgen. Sie arbeiteten mit ihrem Produzenten Anton 'Hybrid' Mårtensson zusammen und überarbeiteten das Album, jeden einzelnen Song, wobei sie den Originalgesang von 2013 beibehielten, die alte Musik wegwarfen und für 2023 völlig neue Produktionen und damit auch eine neue Tracklist schufen.

Das 2013 erschienene "A" war Agnethas erstes Album seit ihrem 2004 erschienenen Coveralbum "My Colouring Book" und das erste Originalmaterial seit "Stand Alone" von 1987.

Gary Moore rocked the world of Blues and Rock with his virtuoso guitar playing and soulful voice. Having played in numerous legendary bands including Thin Lizzy and Skid Row, alongside his own solo career, Moore is regarded as one of the most influential Irish musicians of all time. Having been honoured by both Gibson and Fender with signature guitars, the Northern Irish star is still regarded as one of the best guitar players of all time.

Back To The Blues, was Moore’s 13th solo album, where he went back to his traditional blues style. This album has never previously been released on vinyl, and contains new liner notes written by Dave Everley. This release contains bonus tracks ‘Picture Of The Moon (Single Edit)’, ‘Cold Black Night (Live At VH1)’ and ‘Stormy Monday (Live At VH1)’.

Agnetha Fältskog, weltbekannte Sängerin, Songschreiberin, Mitglied der Kultgruppe ABBA und eine der bekanntesten Stimmen der Musikgeschichte, hat 'A+' angekündigt, eine neu aufgenommene Version ihres gefeierten Solo-Albums "A" aus dem Jahr 2013, das am 13. Oktober 2023 über BMG veröffentlicht wird.

Das Originalalbum erschien vor 10 Jahren und wurde nun für das Jahr 2023 komplett neu aufgelegt. Neben der Albumankündigung hat Agnetha auch die atemberaubende Single 'Where Do We Go From Here?" in diesem Jahr neu aufgenommen; einen brandneuen Song, der dem Album hinzugefügt wurde und damit die erste neue Musik seit 10 Jahren von Agnetha als Solokünstlerin darstellt.

Das Album wurde speziell für sie von dem gefeierten Songwriter und Produzenten Jörgen Elofsson geschrieben.

Im Vorfeld des 10-jährigen Jubiläums des Albums diskutierten Agnetha und Jörgen darüber, wie das wie das Album klingen würde, wenn es im Jahr 2023 entstanden wäre, und beschlossen, diese Idee gemeinsam zu verfolgen. Sie arbeiteten mit ihrem Produzenten Anton 'Hybrid' Mårtensson zusammen und überarbeiteten das Album, jeden einzelnen Song, wobei sie den Originalgesang von 2013 beibehielten, die alte Musik wegwarfen und für 2023 völlig neue Produktionen und damit auch eine neue Tracklist schufen.

Das 2013 erschienene "A" war Agnethas erstes Album seit ihrem 2004 erschienenen Coveralbum "My Colouring Book" und das erste Originalmaterial seit "Stand Alone" von 1987.

Mix a producer obsessed with 1970's Euro-Glam singles with a Los Angeles MC who's only about now & you get the freshest sound since 1988! Street smart/hood muthafukka MC meets a beat-smart/ill-informed muthafukka producer. A conscious melding of Trap Rap & Boom Bap, staying original, precise & exact. Whether you are 15 or 50, this sound will survive any fad's that will be. Special guests include Double Dee (of Double Dee & Steinski) & Don Bolles (Germs, 45 Grave). For fans of : Publilc Enemy, Gary Glitter, Jungle Bros. Roxy Music & James Brown, Twenty Dollar bills, 45 R.P.M. adapters, Fab 5 Freddy, American Muscle, Melvin Van Peebles, dogs, turntable #1 & turntable #2, Dave Lombardo (from Slayer), God & the Devil.

Now in its eleventh year and following hype for recent releases from Osaka's Kiji Suedo (Hosek EP & Riot album) and Edinburgh's George T (Roll On, King's Cross single), Edinburgh's Hobbes Music label burrows deeper into experimental ambient terrain with brand new signing Galun. With a discography over 15 years deep, Galun brings no shortage of his own props.

Galun is the solo project of Moscow musician, artist, and producer Sergei Galunenko (currently based in Tallinn), who has performed at numerous prestigious Russian events and collaborated on projects internationally in a career spanning more than 15 years, with a discography to match, turning his attention to myriad styles: IDM, funk, techno, juke, post rock, beatboxing, free improvisation, drone.

“In my project, Galun, I do not use musical instruments,” he explains. “All the sounds are produced with only the use of my voice through beatbox and special vocal skills. Some effects are used to produce electronic sounds.”

Hot on the heels of the new Golos album (out now via Berlin's One Instrument) plus a remix for US collaborator Alek Finn via Nevada's Mystery Circles label, Galunenko’s eighth studio album, Glagol (or Glagolь / Глаголь in Russian) is an ambient collection, recorded between 2013 and 2022. The title is an old Russian word which translates as ‘Speak’.

"This album consists of tracks written in different periods, so it turned out to be diverse," he says. "There are classic ambient tracks, as well as experimental ones in search of new possibilities for voice processing."

Why "glagol"? “Since the music on this album is 90 percent processed voice, it's a form of conversation for me," he reveals, “where I talk about my thoughts and mood, so speak music, while using my voice, is an amazing way of expressing.”

Five singles will be released on streaming platforms only, at intervals, over summer, with the full album released on digital 25.8.23 and a limited edition cassette plus lathe cuts out from 8.9.23.

"How gorgeous is that?! I have heard the rest of the LP and it is all equally gorgeous" DEB GRANT played ‘Mirror’ (New Music Fix show, BBC 6 Music, 17.8.23)

"'Glagol' translates as 'speak', an apt title when you consider 90 percent of the noises contained on it originated as recordings of his own voice, and that lends the ambient experiments here a very human, tactile feel. Closing tune 'Mirror' is a serene masterpiece, '1981' is an evocative phase-fest, the stuttery 'Stone' is endearing and enrapturing and Galunenko generally displays a knack for communicating clear emotions through abstract sounds. Recommended." ELECTRONIC SOUND
‘Really beautiful’ AVALON EMERSON (US)
‘Really loving the Galun tracks!’ INTERGALACTIC GARY (NL)

‘Super!’ JD TWITCH (Optimo, UK)
'Wow, this sounds amazing. Loving the atmosphere here, ambient with some groove somehow, really feeling this one.' DAN CURTIN (US/DE)

"Sounds great. Looking forward to getting into this properly" LORD OF THE ISLES

‘Wicked. It’s great stuff’ DRIBBLER (Pikes, Ibiza // Paradise Lost, Red Light Radio, Pure; SP)
‘Very nice, will play on Cashmere Radio here in Berlin. Keep up the good musical works x ALEX VOICES (DE)
‘Sounds really nice. The sort of thing I’d absolutely listen to on streaming etc’ AUSTIN ATO (UK)
‘Excellent stuff as always’ PAT BENSBERG (The Eccentric Selection, Phonic FM, UK)
‘Digging this one! Right up my street and just the ticket for my Radio Buena Vida show’ TOM CHURCHILL (UK)

Gold nugget vinyl (2023 repress)! A masterclass in cinematic psychedelia, `God Intentions' is the third studio album from Glasgow outfit Helicon and is due out April 28 on Fuzz Club. Their most ambitious and collaborative album to date, it was recorded at Dystopia, Glasgow with producers Luigi Pasquini and Jason Shaw, mastered by RIDE's Mark Gardener and includes contributions from the Rhona MacFarlane String Quartet, Lavinia Blackwall (Trembling Bells), Mark O'Donnell (Tomorrow Syndicate), Sotho Houle (French avant-garde violinist) and Anna McCracken. Talking about the new record, guitarist/vocalist John-Paul Hughes says: "`God Intentions' is inspired by my brother Gary's story and a few other influences. It's a journey through regret, redemption and resurrection. Our familiar darkness is there, but the record carries a fresh and uplifting positivity. I had a clear idea of how I wanted it to sound and feel long before it began. We're so pleased we achieved it. We managed to hold true to the idea whilst allowing the string quartet, Sotho, Lavinia, Anna, Mark, Jason, Luigi and other collaborators the space to put their mark on it. The album art, by San Francisco-based collage artist Nina Theda Black, captures the depth and breadth of themes and sounds we brought together to create a kind of motion in your mind."

Setting out to create a future Balearic anthem while doffing a cap to street soul and synth-heavy Italo-disco B-sides of the early 1980s, Orbs of Light’s debut single, ‘Billion Days’ lands on Leng after a tip-off from Mind Fair duo Dean Meredith and Ben Shenton, who booked the duo to play live at their Rotation festival last summer.

Orbs of Light’s Baz Bradley and A Girl Called Kate have been friends for decades and have collaborated musically in the past, though it was only a couple of years ago that they dreamed up this project. It was first trialled via a 2021 remix for Andres y Xavi on Hollis Recordings (‘Perfect Timing’) on which Kate added new vocals to Bradley’s interpretation of the track. Since then, regular recording sessions have taken place, with the duo first crafting tight instrumental tracks before – in Bradley’s words – “dream up the best songs we can” with “melodies that will hopefully stay in your head all day”.

It would be fair to say that they’ve achieved that goal on ‘Billion Days’, a hooky and addictive affair whose vocal hooks and strong chorus could well inspire Balearic sing-alongs in the months ahead. Their original mix (B1 on the vinyl version of the EP, track 2 on the digital EP) is joyous, cheery and kaleidoscopic, with steel pan style melodies, bouncy synth stabs, jaunty lead lines and Kate’s wonderful lead vocal riding a shuffling, post street soul beat and a bubbly bassline.

The accompanying remix package is naturally very strong too. San Francisco crew 40 Thieves, fresh from dropping a killer single of their own on Leng (‘The Gift’, with disco legends Gary Davis and Cinnamon Jones), step up first with a take that stretches out and builds on Orbs of Light’s original mix – think wobbly nu-disco synth bass, fresh flute sounds, dubbed-out vocal snippets and a locked-in groove that’s just perfect for sun-soaked alfresco dancing.

Fittingly, the second and final revision comes from Mind Fair, whose email to Leng HQ about Orbs of Light got the ball rolling. Opting for a rubbery, body-popping beat inspired by vintage electro, they deliver a joyful, effects-laden Balearic dancefloor ‘Dub Mix’ that somehow makes a genuinely life-affirming record even more loved-up and saucer-eyed – despite the presence of only a fraction of Kate’s addictive lead vocal.

teely Dan's gold-selling third studio album Pretzel Logic, charted at No. 8 on the Billboard 200 and restored the group's radio presence with the single "Rikki Don't Lose That Number," which became the biggest pop hit of their career and peaked at No. 4 on the Billboard Hot 100. The 1974 album was produced by Gary Katz and was written primarily by Walter Becker (bass) and bandleader Donald Fagen (vocals, keyboards). The album marked the beginning of Becker and Fagen's roles as Steely Dan's principal members.

They enlisted prominent Los Angeles-based studio musicians to record Pretzel Logic, but used them only for occasional overdubs, except for drums, where founding drummer Jim Hodder was reduced to a backing singer, replaced by Jim Gordon and Jeff Porcaro on the drum kit for all of the songs on the album. Steely Dan's Jeff "Skunk" Baxter played pedal steel guitar and hand drums.

Pretzel Logic has shorter songs and fewer instrumental jams than the group's 1973 album Countdown to Ecstasy. Steely Dan considered it the band's attempt at complete musical statements within the three-minute pop-song format. The album's music is characterized by harmonies, counter-melodies, and bop phrasing. It also relies often on straightforward pop influences. The syncopated piano line that opens "Rikki Don't Lose That Number" develops into a pop melody, and the title track transitions from a blues song to a jazzy chorus.

Other standout tracks include "Any Major Dude Will Tell You," a reflective ballad with lush harmonies, and "Parker's Band," a playful ode to the jazz great Charlie Parker.

Lyrically, the album explores themes of nostalgia, lost love, and the struggles of the creative process. In "Barrytown," the band reflects on their early days as struggling musicians, while in "Through with Buzz," they offer a biting critique of the music industry and the pressure to conform to commercial expectations.

One of the defining characteristics of Pretzel Logic is its use of unusual chord progressions and unexpected musical twists and turns. The band's intricate arrangements and skilled musicianship are on full display throughout the album.

Rolling Stone praised the album, calling Steely Dan the "most improbable hit-singles band to emerge in ages."

"When the band doesn't undulate to samba rhythms (as it did on 'Do It Again,' its first Top Ten single), it pushes itself to a full gallop (as it did on 'Reelin' in the Years,' its second). These two rhythmic preferences persist and sometimes intermingle, as on 'Rikki Don't Lose That Number,' which jumps in mid-chorus from 'Hernando's Hideaway' into 'Honky Tonk Women.' Great transition." — the review said.

AllMusic gave the album 5 stars, with reviewer Stephen Thomas Erlewine noting that "instead of relying on easy hooks, Walter Becker and Donald Fagen assembled their most complex and cynical set of songs to date." Dense with harmonics, countermelodies, and bop phrasing, Pretzel Logic is vibrant with unpredictable musical juxtapositions and snide, but very funny, wordplay.

The album's cover photo featuring a New York pretzel vendor was taken by Raeanne Rubenstein, a photographer of musicians and Hollywood celebrities. She shot the photo on the west side of Fifth Avenue and 79th Street, just above the 79th Street Transverse (the road through Central Park), at the park entrance called "Miners' Gate."

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Overall, Pretzel Logic is a standout album in Steely Dan's discography. The album's blend of catchy hooks, complex arrangements, and thoughtful lyrics has made it a favorite among fans of classic rock and pop music.

Drummer and composer Tony Williams’ adventurous 1965 album Spring—his second as a leader for Blue Note—found him convening a stellar line-up with saxophonists Wayne Shorter and Sam Rivers, pianist Herbie Hancock, and bassist Gary Peacock. The five Williams originals presented here offer the musicians spacious realms in which to go exploring.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Trombone Shorty is back with his first album in 5 years and the eagerly awaited follow-up to his 2017 Blue Note debut Parking Lot Symphony, which the esteemed New Orleans music magazine OffBeat said continued his tradition of “stunningly good musicianship, crowd-pleasing good material, and just plain good fun.” The new album captures the explosive energy of his legendary live shows, and combines classic New Orleans sounds (funk, gospel, street rhythms, Mardi Gras Indian chants, and second lines) with modern lyrics, melody, and beats to create something fresh and unique. The album features special guests including vocalist Lauren Daigle & guitarist Gary Clark Jr.

Das Album ”Final Straw” von Snow Patrol feiert dieses Jahr sein 20-jähriges Jubiläum und wird neu veröffentlicht. Die Jubiläumsausgabe wird auf CD und Vinyl erhältlich sein. Alle Formate enthalten drei bisher unveröffentlichte Tracks aus den Album-Sessions, sechs Original-Demos des Albums und neue, ausführliche und aufschlussreiche Liner Notes, geschrieben von Snow Patrol’s Leadsänger Gary Lightbody.

Die 2LP wird auf farbigem Vinyl (gold) in limitierter Auflage gepresst, mit einem silbernen Laminat-Effekt auf der Klapphülle. Die 2CD enthält außerdem die 11 Final Straw-Tracks, die für den DVD-Konzertfilm Live at Somerset House von 2004 verwendet wurden.