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TO THE LIMIT ist eine durchdachte Zusammenstellung von 51 Songs aus den Studioalben und Live-Aufnahmen, die die Eagles zwischen 1972 und 2020 veröffentlichten. Die bekanntesten Titel der Band sind hier vertreten, darunter die Nummer-1-Hits "New Kid In Town", "One Of These Nights", "Best Of My Love", "Hotel California" und "Heartache Tonight". Mit Songs wie "Desperado", "Victim Of Love" und "In The City" enthält das Set auch viele Fan-Favoriten. Außerhalb des Studios beleuchtet TO THE LIMIT das beeindruckende Tournee-Erbe der Eagles mit mehr als einem Dutzend elektrisierender Live-Tracks. Dazu gehören Ausschnitte aus Eagles Live (1980) - darunter der Top-40-Hit "Seven Bridges Road" - sowie Songs aus Hell Freezes Over (1994), The Millennium Concert (2000), Live At The Forum '76 (2017) und Live From The Forum MMXVIII (2020).

The YUM YUMS, Europe's ambassadors of power-pop are back with a brandnew album!!! Their sixth full-length is called "Poppin' Up Again" you you can be sure that whenever they have a new album poppin' up, it's gonna be a hit record!!! It's stacked with catchy hi-energy, guitar-driven power-pop songs, complete with sugary multi-layered harmonies and lyrics that seems to be stolen from some 12 year-old girl's diary. Like Joss Hutton once wrote in Bucketfull Of Brains Magazine, "Let's consider the three minute pop-song for a second or two: so simple in it's construction, so inscrutable in it's perfection, so many who have tried and failed! For me the YUM YUMS have been THE band to watch over the past few years, their perfect (yep, it's true) take on the "power-pop" thang is a source of constant pleasure and amuzement". A pretty good description that is, but what more can we say about the undisputed kings of pop? This time they deliver their idea of REAL POWER-POP, where the word power is written in capital letters and fill it up with a perfect dose of classic rock'n'roll. Putting together the essential ingrediences of the music of the RAMONES, the REAL KIDS, the PLIMSOULS, the DEVIL DOGS, the early SWEET and the OHIO EXPRESS, the 6t's and the 7t's, bubblegum, glam and punk, pop and r'n'r, they create their very own YUMMY sound. So, what we're talking about is extremely catchy pop-music with a fat, rockin' guitar sound, well executed vocal-lines, ridin'-on-the-waves drums and a crunchy punk feel to it. It simply makes you feel good!

PHANTOM OF THE AFTERS is the 3rd album from Irish rapper Kojaque, out on his very own Soft Boy Records. With landmark projects Deli Daydreams and Town’s Dead, that saw him 2x nominated for Choice Music Prize, receive support from Radio 1, 1xtra, 6Music, support Loyle Carner & Lana Del Rey and headline festivals across Ireland, Kojaque changed the rap landscape (and Irish culture) for good. Collaborations on his latest project include Biig Piig, Wiki, Charlotte Dos Santos and Gotts Street Park. The album traces blurred outlines of childhood trauma, depression, grief and love, interweaving the physical and emotional journey of central character Jackie Dandelion with bigger questions about immigrant identity, homesickness, cultural stereotypes and ultimately the reconciliation of self. Kojaque has created a cinematic-universe that is bigger in scope but also more tender and intimate in approach than ever before. It’s this willingness to be vulnerable - grotesque, even - that’s captured in the album’s iconic artwork, which subverts the bigoted depictions of Irish caricatures in 19th and 20th century Punch Magazine cartoons and sees this particular Phantom of the Opera remove not just those distorted masks, but also his own.

With songs that are cocksure and contemplative, brutally honest but also refreshingly myth-making, PHANTOM OF THE AFTERS marks a new era from Kojaque: one of his generation’s most unique talents. In suitably audio-visual style, the album traces blurred outlines of childhood trauma, depression, grief and love. It interweaves the journey of central character Jackie Dandelion from Dublin to London with bigger questions about immigrant identity, homesickness, cultural stereotypes and ultimately the reconciliation of self. It’s this willingness to be vulnerable - grotesque, even - that’s captured in the iconic artwork, which subverts the bigoted depictions of Irish caricatures in 19th and 20th century Punch Magazine cartoons and sees this particular Phantom of the Opera remove not just those distorted masks, but also his own.

The record drops alongside one of its more brooding moments, ‘WHAT IF?’: a soulful ode to anxiety, and the crippling impact of fear in moving forward in life or your relationships. “I’ve been obsessed with Charlotte Dos Santos ever since I heard her project Cleo,” Kojaque comments. “She’s just got such a distinct voice and sound. I sent the track over hoping she’d be into it and she sent me back a near perfect hook.” A fully independent artist, Kojaque has brought a stellar lineup of guests together on his latest work: from Biig Piig, Charlotte Dos Santos and NY rapper Wiki (who featured on ‘JOHNNY MCENROE’) to Gotts Street Park (‘BAMBI’) plus production credits such as Calvin Valentine (Ryan Beaty), Tony Seltzer (Eartheater, Freddie Gibbs) and Karma Kid (Hak Baker, Shygirl).

PHANTOM OF THE AFTERS will see Kojaque continue to blaze a trail around the world. He first came to prominence with the genre-bending concept record Deli Daydreams: it became the first mixtape to ever be nominated for the Choice Music Prize, and demonstrated his prowess not only as a polymathic artist, but DIY label-head (co-founding Soft Boy Records, which was subject to a Boiler Room documentary) and visual artist (Kojaque has received a prestigious Royal Hibernian Academy Award for his film-making). Even as the rest of the world sat up and paid Irish Art some long-overdue attention, Kojaque’s creative output has remained thrillingly uncompromising. Tour-de-force debut album Town’s Dead examined everything from gentrification, masculinity and mental health to a gnarly love-triangle unfolding on New Year’s Eve, held together by a multi-hyphenate attitude. Once again nominated for the Choice Prize, Kojaque played a sold-out UK & European headline tour around the restrictive local lockdowns, with the album landing additional support across the likes of Radio 1, 1xtra, 6Music, plus shows with Lana Del Rey and Loyle Carner (who also sampled Kojaque on hugo). With his landmark projects to date, Kojaque changed the rap landscape (and Irish culture) for good. On PHANTOM OF THE AFTERS, you sense he’s just getting started.

Released in 2012, debuting at Number 8 on the Billboard 200, Number 21 on the Canadian Albums Chart, Number 65 in the UK Albums Chart and Number 18 on the Australia Album Chart, ‘Vulnerable’ was the fifth studio album by The Used. Production and mixing was handled by John Feldman. ‘Vulnerable’ is now available on silver vinyl. “There are so many kids out there who are special in their own way, and I want people to understand that this record is for the misfits and for the outcasts and for anyone who’s never really fit in. There’s a place for all of us in this world. We can all find it if we just keep looking,” said frontman Bert McCracken to Alt Press.

Serving up eleven tracks of rhythmic garage-psych goodness, ‘Boots N Cats’ is the third full-length from Melbourne outfit Beans and the first of two albums set for release in 2024. The long-awaited follow-up to 2018’s ‘Babble’ and 2020’s ‘All Together Now’, it’s a record that finds Beans frontman (and The Murlocs drummer) Matt Blach putting percussion at centre-stage. “I’ve always wanted to make a drum-based album, dedicated around the beat first and then everything else follows”, Blach says, explaining his desire to explore “different production approaches, like hip-hop and crunched drums, and show an admiration and appreciation for the likes of The Meters, Wu-Tang and James Brown” as much as the acid-soaked 60s/70s rock you’d expect. What emerges from the beat-first approach on ‘Boots N Cats’ charts mutant garage-rock boogies ('Groove', 'Silhouette') and festival tent psychedelia ('Haunted', 'Dreaming Daisy'), by way of blissed-out funk instrumentals ('One To Four', 'Siamese Blundstone'). The line is constantly skirted between a loose, carefree vibe and interesting, meticulous musicianship – never falling into the trap of taking itself too seriously. It’s a sunny kaleidoscope of chugging guitars, driving basslines, soaring organs and warm, echo-soaked vocals – driven always by the tightly-wound rhythms and grooves that Blach has been in pursuit of since he was a kid: “The title of the album comes from me learning drums from my dad. He had a background of German heritage and during lessons would jokingly say ‘nein, boot’n’cats’n’ like a simple 1,2,3,4

Carpool have long since achieved and outgrown their initial goal of playing that city’s 200 capacity Bug Jar venue, their hometown is still embedded in their DNA. This record is a wonderful homage to where they’re from – and also serves as a warning to the rest of the world what Rochester has already known for years. Recorded with Jay Zubricky (Every Time I Die, Pentimento and Marigold, among others)My Life In Subtitles is an album with a cohesive thematic and musical narrative. “The way I like to listen to music is to put on an album and listen to it start to finish. I like albums that take me on a journey and that show me what those songwriters were feeling while making you feel the same way,” said Colasanto.

DJ Moplen has outdone himself with this reimagining of Machine’s disco classic. Sticking purely to elements from the original, he’s managed to completely redesign the song, starting with an extended version of the soulful piano intro. Punching up the kick drums and handclaps moves the track into house territory, complemented by a funky guitar riff that was completely buried in the original. When the bass enters front and center Moplen practically forces you to the dancefloor, leaving you vulnerable to August Darnell’s controversial lyrics. Fresh from a career-making start with Dr. Buzzard’s Original Savannah Band, lyricist/vocalist Darnell’s collaboration here with Machine was only months from his next incarnation as Kid Creole. Just like those groups, Darnell here fills his song with the politics of race, religion, and sexuality under the guise of a great beat. This release features that rarest of things: a dub just as good as the original. Rather than just removing the vocals, Moplen again rearranges the song, removing the slow intro and building a killer groove from the ground up. As well as the 1979 version, this 12” also features Timmy Regisford’s 1994 house mix and an alternate “acapella reprise” take of that mix, both of which capture the dark energy of the song perfectly.

Happy we can introduce a new addition to our catalog THINNER005, an EP called

“ & . . “

as the title tells, it’s a joint release by our friends, KOOLMFL, Sonic Weapon &. . Lemmi Ash

“& . . “ EP includes three club tracks, which been power played by Powder over these years in many different moment.

Each track can add a distinctive touch to the night, as like completing your cocktail with lemon and/or lime.

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KOOLMFL, fka K-LINE and Sonic Weapon is our regular suspects from Nagoya, motor city of JAPAN.

Some may know them putting out a shared EP “G” before on Thinner Groove and now they back to it again.

atonbow by KOOLMFL features words of a space traveller in state of peaceful sorrow, seemingly communicating their honest thought to the loved one who might not be hearing, Can you hear me ? … Hi astronaut, at least we can :)

KOOL’s clicky drum work pass the words to the floor, and the party breaks down with sudden synth and take all of us home.

,

On track HOMIE, Sonic Weapon shows his signature fast boogie style again in a new approach with much dubbed out, ear pleasing, filtering, minimalistic, and stylistic way. The texture keeps changing but keeping the groove.

Feels like the beauty of watching a bridge getting slowly collapsing after somehow you made it to the other side.

& . .



We also want to introduce Lemmi Ash, a Swedish duo formed by Samo DJ and Martinou, newly joining the TG spectrum,

The duo previously had a release from ESP institute and each of them countless solo appearance on various releases . . .

Nonetheless, they a good long time friend and perfect fit for this release.

The duo features comfy calming ear tickling electronic sound with some kiddish, animalistic, or primitive humor in their own balance. This track Presence grooves with a leaning forward racing gamey phrase drifting around the mini synth explosion, feels like a joyful cruise during regardless the intense highway.

We're happy to offer "As Bold As Brass" by Booze & Glory as a 10 Years anniversary Edition. This album was sold out for more than 5 years. The refreshed Artwork comes as Gatefold Cover with UV Print, glossy artwork with matte background. Also the Music got a new mastering By Rafal aka "Teddy Bear" z STone Studios. Strap on your suspenders, grab a pint of beer and a fistful of friends and sing along as loud as you'd like. This is Oi! the way it was meant to be played.

London soul star Jordan Mackampa returns with a new album titled Welcome Home, Kid! out 16 February 2024 via AWAL. This new music sees Jordan come back to his love of R&B, soul, funk and gospel with references to Dru Hill and Blackstreet, producing a new sound that nods to his earlier soundcloud works and the nostalgia of his childhood. It's brazen and bold and presents an incredibly assured artist that is no longer afraid to show off their Blackness, queerness, or sexual expression in all their forms. Getting to this place has taken Jordan decades of growth, patience & gruelling lessons to reach this state and now he can stand in his Blackness proudly. This album tells the story of how he got to this place of self-worth and the stories of the varying complex but beautiful perspectives about the Black experience. He is open and honest about sex, intimacy, imposter syndrome and how he navigates healthy love, toxic heartbreak, friendships and forgiveness. The core theme of this record is introspection with Jordan explaining, “This was a big theme for me in writing a lot of these songs because no one else has lived life in my shoes, I really had to take other peoples’ opinions & stories out of the writing and put myself at the forefront of everything. Which in turn, made me put the guitar down more and stand centre stage naked in a way. This new album for me feels even more personal now - I use more self language of “I” over “we” because all of these stories are about me and my life in even more depth than the first record touched upon, whilst covering more bases either through my own first person story telling of something current I’m dealing with or a past situation I’m using music to heal through. The debut was me figuring out shit, this album is me putting the last puzzle piece on the board.”

Lo-fi, low budget, and low key, The American Analog Set's suite of hypnotic, neo-psychedelic, Texas sloth-kraut LPs appeared briefly on Austin's Emperor Jones label and slunk quietly into the sprawling indie underground as the old millennium crested. Gathered here are "The Fun Of Watching Fireworks", "From Our Living Room To Yours", and "The Golden Band" albums, garnished with period b-sides, outtakes, and demos. Remastered from the original analog tapes,this early-career spanning 5xLP box includes lyrics, photos, and ephemera from the before times.

Lo-fi, low budget, and low key, The American Analog Set's suite of hypnotic, neo-psychedelic, Texas sloth-kraut LPs appeared briefly on Austin's Emperor Jones label and slunk quietly into the sprawling indie underground as the old millennium crested. Gathered here are "The Fun Of Watching Fireworks", "From Our Living Room To Yours", and "The Golden Band" albums, garnished with period b-sides, outtakes, and demos. Remastered from the original analog tapes,this early-career spanning 5xLP box includes lyrics, photos, and ephemera from the before times.

and the novelty goes on: mule musiq welcomes another fresh producer to its vast catalogue of music from all around. this time andro gogibedashvili aka saphileaum. he is coming from tbilisi, georgia and already released an impressive body of work, considering he just publishes music since 2016. countless eps and albums, digital, on tape, documenting his feverish creative urge on labels like not not fun records, good morning tapes, diffuse reality, or vodkast. they cover a comprehensive stylistic range from ambient and downtempo to tribal, house, and techno nuances. a deeper shade of soul, precisely fashioned, growing from different playgrounds of inspiration. he was born into a musical family. as a kid he studied georgian folk. in his school rock band, he sang, and the guitar was his love. then electronic music called the tune, and techno hit his heart. in the midst of it all the 26-year-old never lost contact with his spiritual home. “i find deep inspiration in georgian myths and legends, occultism and esoteric teachings, lost civilizations, earth, unity, truth, information, and the secrets of the universe. these things, to name a few, inspire me daily and help me create the music I make.” saphileaum reveals. “exploring together”, his debut album for mule, navigates all these elements through a merry-go-round of gentle driven rhythm zones. fourth-world spheres, balearic tropes, field recording zones, tropical downbeat, tribal percussions, trancing sounds, balafon hums, mallet airs, hooky house – it’s all there, circling the eavesdropper into a dreamland of melodic undercurrents. “my loops come from tribal and cosmic inspirations. tribal, as below, and cosmic as above. the combination of these two, is very interesting to me”, he clarifies, while joking “but, to put it super simply, loops are super handy for djing”. which brings us to the final promotion of “exploring together” - it’s playability. its vast. multifunctional. spiritual. made for gatherings, were all dance time away. lost in music actions, only touched by the hand of rhythm and sound. his ten tracks are created for such flashes, wide spreading a musical narration of illuminating durability. “cosmic, relaxing, fun, tribal, and mystic.”, as saphileaum declares.

EP compilation of essential UK house cuts recorded between 1987 - 1990. TIP!


Before British house and techno found its’ distinctive groove at the turn of the 1990s, one act led the way: Bang The Party, a trio who emerged from London’s vibrant underground party scene in the mid 1980s and proved, beyond any doubt, that UK producers could make music every bit as magical as the pioneering productions put forward by their counterparts in Chicago, Detroit and New York.

By the time long-running DJs and party promoters Kid Batchelor and Leslie Lawrence joined forces with trained engineer Keith Franklin at legendary North-West London reggae studio Addis Ababa in 1987, they’d spent years as DIY dance music activists in Britain’s capital city. They channelled these experiences and their love of imported house and techno sounds into a new project, Bang The Party, in the process becoming the first British act to appear on Transmat, a reflection of the quality and authenticity of their music.

The latest Rush Hour Reissue Series release offers a snapshot of some of the numerous gems nestled in the Bang The Party catalogue, delivering a much-deserved celebration of one of Britain’s most significant early acid house collectives. It features four fully remastered cuts recorded and released between 1987 and 1990 – on-point and far-sighted club workouts that sound as fresh and timeless now as they did when Britain was sweltering under its infamous ‘second summer of love’.

Fittingly, the EP begins with ‘I Feel Good All Over’, the group’s ground-breaking debut single. Dedicated to their home city and one of the earliest UK interpretations of house music, the track exists in the grey area between Chicago house and New York ‘garage house’ – all jaunty organ stabs, jacking Windy City beats, restless bass and soulful vocalizations. ‘Jacques Theme’, which follows, originally nestled on the B-side of that single release. An early, acid-flecked expression of hip-house with a British twist, breakdance-friendly bongo patterns and a dose of Larry Heard-inspired deep house dreaminess, the track remains an under-appreciated classic whose rap verses reflect the popularity of hip-hop in London at the time.

1988’s ‘Release Your Body’, Bang The Party’s most celebrated early release, was reissued in the United States by Transmat, reflecting the strong working relationship between Derrick May and Kool Kat Records’ Neil Rushton. A hypnotising affair propelled forwards by sweat-soaked drum machine beats, jacking fills and an addictive bassline, the track offers another near perfect distillation of the band’s Black American musical influences while delivering something genuinely new and fresh.

Rounding off the EP is a choice cut from Bang The Party’s sought after 1990 album Back To Prison. Doused in the star-lit synth sounds of the Motor City with jaunty organ stabs inspired by the kind of New Jersey jams championed at East Orange institution Club Zanzibar, ‘Let It Rip’ is a superb slice of deep house soul featuring a lead vocal every bit as emotive as anything laid down by Robert Owens. Like the rest of Bang The Party’s output, it has stood the time better than anything laid down by their London contemporaries.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Sourced from the Original Master Tapes and Presented in Audiophile Sound for the First Time: Mobile Fidelity’s Numbered-Edition 180g SuperVinyl LP Plays with Riveting Detail
Three decades before he released The Philosophy of Modern Song — an insightful book devoted to 66 tunes that both impacted his career and the music world at large — Bob Dylan issued Good As I Been to You. The under-heralded 1992 album, Dylan’s first solo acoustic album in nearly 30 years and first all-covers effort in nearly 20 years, can be seen as a prophetic prelude to what has become the Nobel Laureate’s celebrated late-career arc. It’s also an absorbing continuation of the custom Dylan has embraced since he first picked up a guitar.


Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton jacket, Mobile Fidelity's numbered-edition 180g SuperVinyl LP of Good As I Been to You reveals the immediacy, detail, and stripped-down nature of recording sessions that took place in Dylan’s garage studio in California. Simple, raw, and unplugged, the record presents Dylan in peak form — and showcases a diversity of vocal phrasing, soulful chording, harmonica accents, and close-up ambience that on this reissue emerge like never before. As the first-ever audiophile edition of this almost-lost classic, this LP also benefits from SuperVinyl’s extraordinary properties: a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces among them.

Recorded and mixed by Micajah Ryan, and supervised by Debbie Gold, Good As I Been to You took shape at Dylan’s home shortly after the singer-songwriter completed sessions in Chicago with a full band. Unaccompanied, he again gravitated to existing works — in this case, traditional folk music — and, with Gold serving as a trusted advisor, performed the songs in multiple keys and tempos until he arrived at what he desired. That careful, determined albeit loose, organic approach emanates from this reissue, on which each note, movement, and space come across more directly, fully, and immediately than on the original formats. It helps draw a through-line to Another Side of Bob Dylan (1964) as well as the similarly themed follow-up, World Gone Wrong (1993) and immersive old-world storytelling of Tempest (2012) and Rough and Rowdy Ways (2020).

Well before Dylan made those renowned 21st century LPs, however, he needed to find a way out of a funk that — save for his 1989 collaboration with Daniel Lanois, Oh Mercy — followed him for years. As author Clinton Heylin reported Dylan admitting in 1997: “My influences have not changed — and any time they have done, the music goes off to a wrong place. That’s why I recorded two LPs of old songs, so I could personally get back to the music that’s true for me.”

Truth: Few, if any, concepts better encapsulate Good As I Been to You. It resonates with the same originality, honesty, resolve, and age- and time-defying relevance as the seminal Anthology of American Folk Music that fired Dylan’s imagination as a kid in small-town Minnesota and, later, per Greil Marcus’ That Old Weird America book, informed Dylan and the Band’s Basement Tapes sessions. This record also contains the type of music Dylan was playing during his acoustic sets at his period Never Ending Tour shows; within a year of the record’s release, Dylan would play half the album’s songs live.

As for those songs: Rife with strange mystery, common circumstance, and epic adventure, the stories appeal to our base instincts. Their themes — jealousy, temptation, sacrifice, love, revenge, identity, opportunity — operate on a fundamentally human level immune to trends, generations, or eras. They’re ancient and modern, serious and comical, open and disguised, simple and multi-layered. They talk of vengeance and justice (“Frankie & Albert”; “Jim Jones”), romance and tenderness (“Tomorrow Night,” “Froggie Went a Courtin’”), the troubled and trouble-free (“Hard Times,” “Sittin’ on Top of the World”). They lend voice to lovers scorned and freed (“Blackjack Davey”), the used and users (“Diamond Joe”), the powerful and powerless (“Arthur McBride,” “Canadee-I-O”), the followed and followers (“Little Maggie”). And akin to much of Dylan’s finest output, things are not always what they appear to be.

Spanning country, folk, sea shanty, bluegrass, and blues motifs, Good As I Been to You re-confirms Dylan’s position as an elite interpreter and sculptor — not of just structure but emotion. Dylan delivers the tunes as if he’s known them forever. He plays with a subtle sense of mischievousness and retains a largely upbeat demeanour; his eyes seemingly twinkle as he sings and picks. His guitar serves as the guidepost for shuffles, boogies, ballads, and mess-arounds while his innate feel for each specific arrangement and melody helps inform pacing, tone, attack.

Like a great author, he understands the importance of adhering to concision, luring an audience, holding their attention, and maximizing the impact of details, actions, and unexpected turns. Though already coarse and ragged, his voice feels ideal for the subject matter and his phrasing — from the clever ways he stretches syllables to underline meanings on the surprise twists of “Canadee-I-O” to the sheer delight he gets from singing “rowdy-dow-dow” on the protest song “Arthur McBride” — outstanding.

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

Kid Katana Records teamed up once again with Dotemu, Tribute Games and Nickelodeon to release TMNT: Shredder’s Revenge Dimension Shellshock OST, a brand new musical experience composed by Tee Lopes!

Inspired by the music of one of the most iconic pop culture licenses of all time, this OST was fully composed by Tee Lopes, the talent behind the music of Sonic Mania and Streets of Rage 4: Mr X’s Nightmare and of course Shredder's Revenge vanilla game OST. His musical vision echoes the spirit of the turtles and this specific game specificities: tributes to classic TMNT tunes with a good dose of fun and switching fluidly between 80s/90s electro, funk, rock, and jazzy tunes with chiptune vibes.

This edition includes:
-> 1x 12-inch vinyl featuring the 15 tracks in the Dimension Shellshock DLC
-> 2 colored vinyl labels with the two new playable characters: Usagi Yojimbo and Karai

-> Exclusive sticker board with all playable characters and iconic items from the game

Die-cut sleeve. In the fall of 2013 Bry Webb was putting the finishing touches on his second album Free Will. Released on May 20th 2014, Bry, with his newly assembled band The Providers, spent the following few years traversing North America playing clubs, festivals and storied stages such as Toronto’s Massey Hall. Nothing new for an artist who had spent the aughts in a constant state of motion with Constantines, a band who on average had performed one of every three nights on a stage somewhere in the world. In fact, running in parallel to Bry’s solo touring schedule was a reunion with his former Constantines’ bandmates to once again present their incendiary live show and celebrate the 11th anniversary reissue of the band’s Shine A Light. It is what happened as the decade wound down that seemed out of character for an artist who had spent close to 20 years immersed in the studio and on the stage: the music stopped altogether. Bry explains his feelings at that time, “I lost the musical plot about 5 years ago and stopped playing music entirely, sold instruments and recording equipment, and committed myself to the idea that I was absolutely done”. Webb dedicated himself to his ongoing work in community radio, months turned to years and musical life seemed to be all but gone from view. Now in an unexpected turnaround 10 years on from the recording of his last studio album, there is not only a return to the stage for Bry but also a new record. Primarily composed in a season of upheaval, Run With Me contains some of Bry’s rawest sentiments. Fresh and painfully present there is an immediacy one can hear as emotional walls collapse in real time. Bry explains the context of the album’s creation: “In early 2023 my personal life exploded. In the process of dealing with that, I started writing music again and started recording at home. Advised that I needed to figure out how to ask for, and accept, help from other people, I sent early recordings of songs to friends from twenty-five years of music making - many folks I hadn’t connected with in years - and asked if they’d contribute anything to the songs. People came through in ways that overwhelmed me to the point that I cried when I wrote out the list of players for the liner notes. I felt incredibly cared for. From Andy Magoffin, who recorded the first Constantines album in 1999, to members of the Cons, to my nieces Addy and Ella playing drums, and a doppler recording of my daughter’s heartbeat, the record is a document of my creative life, and the people who made it possible to make music again.” If the cover of Run With Me looks familiar, it is with full intent. The album’s technicolor marbling and die cut text serve to signal the inclusion of the album in a trilogy started with Bry’s first record Provider. Just as that album starts with the track Asa, this new one introduces itself with the instrumental Webb. The trilogy is now completed with his daughter's first, middle and last names represented as the first tracks on each of the three albums. While the LP’s package signals its place in the collection, and tracks such as Older Than The Dirt and What I Do revisit their predecessor’s familiar sonic starkness, Run With Me is the outlier of the trio. A number of new tracks forego the quietude of Provider and Free Will, clearly recalling the rallying rhythms of Constantines’ anthems. Thunder Bay (instrumental backing courtesy of The Harbourcoats circa 2009), with its insistent kick drum and wall of electrics, support one of Webb’s most indelible melodies, and the not so subtly psychedelic Modern Mind reveal an expansion of Webb’s palette. Perhaps the furthest afield is the contextual centerpiece of the album, Goodbye, where we not only hear a joyful voice that lay dormant for years, but hear it reclaim its power. Backed by Constantines’ Will Kidman, Doug MacGregor and Dallas Wehrle, Bry belts out “I’m through with all the rage, now watch the light pour out of me.” As with all of Bry’s work, Run With Me’s lyrics take their time to settle in. Songs of self-examination, reconfigured love ballads, and songs for those who work to help others. Songs of singing abound. It’s there in Older Than The Dirt’s second verse: "Logic to the last intention, logic in the way we kept holding on forever, singing as the floor- was swept”, ten thousand birds sing a warning song in Thunder Bay and again in Goodbye’s telling of a cathartic return to one’s true self with its celebration of those “Who sing - sing all joy - all joy of language, in a single word”. Joining Bry in singing Run With Me’s songs of “death, transition and hope,” are kindred spirits Jennifer Castle, Julie Doiron, Daniel Romano and Steph Yates. All of these singers elevate the album’s healing sentiments and help express the album’s central plea; a prayer of sorts wrapped in the traditional Scottish Gaelic melody of She Is Here’s second verse: “Let the sun rise in the morning and any witness bring. Let all the blooming cosmos teach us to sing”.

Featuring exclusive performances by Donnie Emerson and Noah Jupe, score selections by Leopold Ross, plus vintage classics from Donnie & Joe Emerson -Includes the original version of the cult-classic hit, "Baby" -LP release housed in a gatefold jacket -Mastered by John Baldwin at Infrasonic Sound -Directed by Bill Pohlad, Dreamin' Wild, stars Casey Affleck, Zooey Deschanel, Beau Bridges, Noah Jupe, Walton Goggins, and Chris Messina // Acclaimed label Light in the Attic proudly partners with River Road, Zurich Avenue, and Roadside Attractions to release Dreamin' Wild Original Motion Picture Soundtrack. The film follows the real-life story of brothers Donnie & Joe Emerson, whose teenage dreams of rock stardom suddenly came true 30 years later. The soundtrack blends vintage recordings by Donnie & Joe (including the cult favorite "Baby") with exclusive new performances by Donnie Emerson, Nancy Sophia Emerson, and actor Noah Jupe, plus original score selections by composer Leopold Ross (Black Mirror, A Million Little Pieces). Jupe, who portrays a young Donnie Emerson, re-recorded several of the duo's classic songs for the film, including their debut single, "Thoughts in My Mind." The wistful ballad, which was written and recorded while the brothers were still in high school, was originally released in 1977 on their own Enterprise & Co. label. The soundtrack also includes "When A Dream Is Beautiful," a new song by husband-and-wife duo Donnie Emerson and Nancy Sophia Emerson, and recorded in Nashville by the film's music producer and multi-GRAMMYr winner Dave Cobb. Also available are Donnie & Joe's 1979 album, Dreamin' Wild, as well as the acclaimed 2014 collection Still Dreamin' Wild: The Lost Recordings 1979-81, which culls highlights from the brothers' prolific collection of songs. Additionally, fans can find exclusive Donnie & Joe merch at DonnieAndJoe . Adapted from a profile by journalist Steven Kurutz and written, directed, and produced by Oscarr and Emmyr-nominee Bill Pohlad (whose extensive credits include Brokeback Mountain, 12 Years a Slave, and the Brian Wilson biopic Love & Mercy), Dreamin' Wild stars Academy Awardr winner Casey Affleck, Emmyr-nominee Zooey Deschanel, Emmyr-nominee Walton Goggins, Chris Messina, Noah Jupe, Jack Dylan Grazer, plus Emmyr and Grammy Awardr-winner Beau Bridges. A true story of love and redemption, Dreamin' Wild centers around Donnie Emerson (Affleck/Jupe), a middle-aged singer-songwriter who learns that a record label is interested in reissuing the album that he and his brother recorded as teens in rural Washington State. Suddenly, the Emerson brothers find themselves thrust into the spotlight, as their 30-year-old album is hailed as a lost masterpiece. While the album's rediscovery brings hopes of second chances, it also unearths long-buried emotions as Donnie, his wife Nancy (Deschanel), brother Joe (Goggins/Grazer), and father Don Sr. (Bridges) come to terms with the past and their newly found fame. Named for the brothers' 1979 debut album, Dreamin' Wild is a River Road - Innisfree Production, produced by Academy Awardr-winner Jim Burke, Academyr and Emmyr-nominee Pohlad, Kim Roth, Viviana Vezzani, and Karl Spoerri. Casey Affleck served as executive producer, alongside Emmyr-nominee Christa Workman, Dan Clifton, Steven Snyder, and Tobias Gutzwiller. More about Donnie & Joe Emerson: Brothers Donnie and Joe Emerson grew up on a 1600-acre farm in Fruitland, WA with dreams of musical stardom. Far removed from the punk and disco scenes of the late '70s, the boys' inspiration primarily came from a tractor radio, which they listened to for hours on end while working the fields. In between farm duties and high school, the brothers spent their remaining time on music, with Donnie serving as the primary songwriter, vocalist, guitarist, and keyboardist, and Joe holding down the beat on drums. Donnie & Joe's parents encouraged their sons' talents - so much so that they leveraged the family farm in order to build a state-of-the-art recording studio, where the brothers self-produced their debut album, Dreamin' Wild. Released in 1979 on their own Enterprise & Co. label, the album offered a lo-fi blend of FM rock, pop, soul, and funk - evoking such contemporaries as Marvin Gaye, Hall & Oates, and the Brothers Johnson in songs like "Good Time," "Dream Full of Dreams," and "Baby." Despite the Emersons' passions, however, Dreamin' Wild wasn't the bestseller that they envisioned. In fact, it tanked, nearly bankrupting the family in the process. Donnie and Joe's dreams did actually come true though. It just took three decades and a heavy dose of kismet. Around 2008, record collector, actor, and Out of the Bubbling Desk blogger Jack Fleischer discovered a copy of the LP at a Spokane antique shop. Initially intrigued by the jacket image (which features the boys in flashy, Elvis-style jumpsuits), Fleischer was blown away by what he heard. Before long, word began to spread about the Emerson brothers, while their soulful ballad "Baby" became a viral hit, eliciting multiple cover versions (most popularly by Ariel Pink & Dâm-Funk). Since its digital release, the track has been streamed over 30 million times on Spotify. In 2012, Light in the Attic brought Dreamin' Wild to the masses, giving the Emerson brothers a second chance at stardom and an outpouring of long-overdue accolades, including features in the New York Times, Los Angeles Times, and The Guardian, a shout-out from Jimmy Fallon, and praise from the likes of Pitchfork, which called the 1979 album "A godlike symphony to teen-hood." The Emersons' inspiring story caught the ears of writer, director, and producer Bill Pohlad, who recently told PEOPLE, "Being able to go deep to explore this amazing family was the real reason that I was drawn to this material. Dreamin' Wild ultimately became a story about family, faith and forgiveness for me."