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One of our all-time favourite artists and extended Circus Company member The Mole returns to the label for a proper presentation of his album The River Widens. Originally a limited, cassette-only release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle, midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets, from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with another limited edition cassette run - we hope you enjoy the ride as much as we do!

BLUE MOON PHASE VINYL

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

Orange Vinyl

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive.

When the franchise relaunched in 2018, Halloweenshattered box office records, becoming the franchise’s highest-grossing chapter and set a new record for the biggest opening weekend for a horror film starring a woman. In 2021, Halloween Killsearned the biggest opening weekend for any horror film in the pandemic era and simultaneously set a new record for a non-live event premiere streaming on Peacock.

As Halloween Endsmarks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Together they once again bring the celebrated music score to the horror movie series, one of the most distinctive aspects of the franchise to date

Similarly to the last two soundtracks, Halloween Endswas recorded in its entirety at John Carpenter’s home studio and Daniel’s studio. “The three of us compose,perform, and record all the music, and everything is mixed by Daniel together with John Spiker” says John Carpenter.

The unmistakable mix of software synths, vintage analogue equipment, and live instrumentation is utilized once again to provide the signature sound of Halloween. However, rumors have it that Halloween Ends is going to be somewhat different from the previous two films in the trilogy. With that comes an expanded soundtrack, one that matches the tone of a tangible rise in stakes and conveys the climatic feel of the film. The soundtrack of the third installment broadens old themes whilst creating new ones

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive.

When the franchise relaunched in 2018, Halloweenshattered box office records, becoming the franchise’s highest-grossing chapter and set a new record for the biggest opening weekend for a horror film starring a woman. In 2021, Halloween Killsearned the biggest opening weekend for any horror film in the pandemic era and simultaneously set a new record for a non-live event premiere streaming on Peacock.

As Halloween Endsmarks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Together they once again bring the celebrated music score to the horror movie series, one of the most distinctive aspects of the franchise to date

Similarly to the last two soundtracks, Halloween Endswas recorded in its entirety at John Carpenter’s home studio and Daniel’s studio. “The three of us compose,perform, and record all the music, and everything is mixed by Daniel together with John Spiker” says John Carpenter.

The unmistakable mix of software synths, vintage analogue equipment, and live instrumentation is utilized once again to provide the signature sound of Halloween. However, rumors have it that Halloween Ends is going to be somewhat different from the previous two films in the trilogy. With that comes an expanded soundtrack, one that matches the tone of a tangible rise in stakes and conveys the climatic feel of the film. The soundtrack of the third installment broadens old themes whilst creating new ones

Erstmalig als CD und LP erhältlich ist dieses Album das Synthwave, Rock, Metal, French House und 80er Jahre Filmsoundtracks vereint. Vector Seven aus Deutschland zitiert mit Vorliebe John Carpenter, Carpenter Brut, Gorgio Moroder, Pertubator u.a.

The debut album from post-folk travellers Immaterial Possession, a quartet, half of whom came from an artist commune and half who were card-carrying Elephant6 alumni. ‘Immaterial Possession’ is a rich tapestry of a record, a gorgeous, melodious return to a time when influences co-habited freely and whatever was close at hand made the music of the day. All set to Syd Barrett-era Floyd and Nico with haunting lines, it’s perfectly tinged with gamelan harmonies, evocative Spanish guitars and xylophone. Exuding mystical symbolism; they wear luscious threads, they’re part of something/anything; perhaps a neo-modern-folk commune of artists in search of a canvas to stretch out over their juxtaposed influences. Immaterial Possession was conceived by Atlanta natives, Cooper Holmes and Madeline Polites, who met while living together at an Atlanta artist commune that was integrated into the DIY music, theatre, and arts scene. Some years later the duo moved to the neighbouring musical town of Athens, GA. They were soon joined by seasoned drummer, John Spiegel, and eventually fulfilled with multi-instrumentalist Kiran Fernandes (keyboards, clarinets, flutes) - descendant of the Elephant 6 Collective scene. It’s eastern, it’s eerie dream pop, it’s spacious and ethereal… A perfectly wild trip, and where it ends is immaterial.

SUPER Limited private press release !!
80's infused synth soul, song based project by artist, BYAMM: The Anthropomorphic Fantasy EP

The project includes some really fresh creative UK soul talent inc singers Ade Omotayo (Gorrilaz / Amy Winehouse), Kevin Mark Trail (The Streets / Mike Skinner), Derek Green (Robbie Williams), Sharlene Hector (Basement Jaxx), Emily Holligan (Michael Kiwanuka), bass player Dale Davis (Amy Winehouse's Music Director), guitarist Tony Reme (Incognito/OMAR), guitarist Rob Harris (Jamiroquai) & Barima Yaw Asante (songwriter / keys / producer ) & Matt Myatt (beats / co-production)...aka the initials BYAMM...we hope you dig it!

Mystery Circles is busy at the moment with a great series of tapes, albums and 7"s all dropping in relatively quick succession. This one is a nice heavy 180-gram vinyl long player with only 100 copies pressed. It's Brooklyn's Tyler Gilmore, aka BlankFor.ms, at his best, if you ask us. His highly textured ambient uses gorgeous spinet piano, dusty and degraded tapes and analog synthesisers to make for something that evokes deep memories and transports you to places you had long forgotten. It is a touching record that leaves an indelible mark.

With so much going on in the world right now, it's safe to say we need to spread far more Joy then is circulating…

And who else deliver's Joy of this magnitude? The king of disco, Dr Packer. The Legendary Champion Records has enlisted the mirror ball man of the last decade to flip this absolute classic from Staxx and the gorgeous vocals of Carol Leeming. Perfect for sunsets AND sunrises, charge your cocktails!


DJ Feedback:

David Guetta - tasty update

Utah Saints - Minitsry Of Sound / FFRR - Cool groove. Production on point

DJ Kue - Dope!

MING - Nice one, I'll Play !!!

Steven 'Sugar' Harding - Milk & Sugar / M&S Recs - Love it!

DJ Rae - Good memories, nice work

Ember - Huge!

D.O.N.S. - Cool House tune. Support!

Black Legend - Defected / Simma Black - big one

Ruben Mandolini - Snatch! / Mother / Saved - Nice!

Sugarstarr - Defected / Toolroom / Vienna - Excellent

Tommie Sunshine - PACKER ALWAYS DELIVERS!!!

Vanilla Ace - Nice sounds

Kyle Kinch - Realm / Solotoko / Farris Wheel / HUGS - groovy

Severino - sweeet

MB Mgmt - top draw !

Jerk Boy - I've been eye'ing of this for a reboot for years ! I played this to death back in the day!..great remix !

Yolanda Be Cool - Sweat It Out / Club Sweat - cool...

Industrialyzer drops ‘Snake Whisperer’ on Rekids, backed with two Radio Slave remixes

Industrialyzer, real name Ricardo Rodrigues, is a Lisbon-born, Amsterdam-based DJ and producer who has released music on the likes of Ben Sims’ Symbolism, Tronic, Suara, and his Groove Matters imprint, under both his Industrialyzer alias as well as one half of The Advent. Arriving on Radio Slave’s Rekids for the first time, the DJ/producer delivers one hard-hitting original track backed by two stellar remixes from the label boss.

The original mix of ‘Snake Whisperer’ leads the release, bringing floaty bleeps, pounding drums, and grinding synths across the A-side. For the first of his remixes, Radio Slave extends elements of the original into a 10-minute trip with hypnotic low-end colliding with razor-sharp percussion. Rounding out the release is Radio Slave’s ambient version, which sees the Rekids head honcho stripping all percussion and emphasising the gorgeous pads and vast, reverberant atmospherics.

THE 2017 SEVEN TRACK RELEASE MARKING 30 YEARS OF AURAL
SICKNESS FROM US GORE LEGENDS AUTOPSY - PRESENTED ON MIDPRICE CD
A deformed sonic journey awaits that will make your flesh crawl & your speakers
puke. Chris Reifert (Autopsy) Marking 30 years of depravity, the highly influential
US death metal pioneers returned in 2017 with the Puncturing The Grotesque'
mini-LP, containing 7 tracks of blistering sickness & their first new material since
the pulverising Skull Grinder'. With the returning line- up of Chris Refiert, Eric
Cutler, Danny Coralles & Joe Trevisano, Autopsy once more delivered a rancid
concoction of slow brooding doom & high- octane metal madness injected with
twisted solos & an overdose of vocal insanity. As a nod to their origins for this
release, Autopsy also included a cover version of € Fuck You!!!', originally by West
Oakland 80's outfit, Bloodbath (the former band of Danny Coralles). Bloodbath
was an influential act in the lead up to the formation & early years, of Autopsy &
so it was ideal to include a rendition of this rarely ever heard track on Puncturing
The Grotesque'. Puncturing The Grotesque' was recorded at Earhammer Studios
(Violation Wound), in Oakland CA with engineering & coproduction duties carried
out by Greg Wilkinson. The delightfully distasteful artwork comes courtesy of
Dennis Dread (Darkthrone/Abscess). This edition of 'Puncturing The Grotesque' is
presented on mid-price CD.

Poolblood, the musical nom-de-plume of Toronto's Maryam Said, is an
ethereal spirit of punk rock, swirling and dancing in the air with a
collection of gorgeously orchestrated bedroom pop music
Raised in a religious household at arm's length from popular music, they
nonetheless found themselves drawn in by the music of Yusuf Islam (Cat
Stevens), who left an indelible imprint on their relationship to music and
songwriting. The results of their upbringing "time spent practicing chords in guitar
class, learning about hardcore from friends after school and honing their
songwriting as an early teen "is a winding path of melody, making stops along the
way to dabble in everything from noise rock to lush and gorgeous pop hooks.
poolblood is a pastiche of genres and styles working in blended harmony.
poolblood understands the tender urgency in crafting stories around deep and
abiding intimacies, romantic and platonic, that run so far below the surface they
become the root of everything that grows on the surface. These stories have
come together to create the ethereal bedroom pop songs on their debut LP
"mole" out on Next Door Records.
It is fitting that on an album so much centered around the connectivity of deep
and abiding friendships that "mole" is awash with collaborators, each bringing
their own unique talent and skill into the mix. Louie Short and Shamir Bailey
worked with Maryam as producers on the project, and played on a number of
tracks in addition to a cadre of musicians filtering in and out of each song.
Not afraid of letting their sly sense of humor bleed through the layers, poolblood's
"mole" is rife with humor and wonder, dancing playfully along. Pressed on Aubade
Blue Color vinyl.

My Life Is A Dog by The Cowboy Mouth remastered by Paul McGeechan
for vinyl
The Cowboy Mouth formed in 1994 by Grahame Skinner (Jazzateers, Hipsway),
with all songs written by Skinner and Douglas MacIntyre. Mick Slaven on bass,
Gordon Wilson on drums, Paul McGeechan on keyboards.

Lous and the Yakuza commence à peine à changer la face de la musique francophone. Elle a débarqué en 2020 avec son premier album Gore, et sa flopée de titres personnels, Dilemme (70 millions de streams), Tout est gore ou encore Solo (6 millions de streams), se voyant nommée dans la catégorie Révélation aux Victoires de la musique l'année suivante. Son deuxième opus, que Lous appelle Iota, va plus loin dans sa volonté de proposer un son singulier. Elle y déploie une musique éclectique sans coquetterie, ni calcul. L'album est un statement sur l'amour dans une forme rare : ce qui reste, une fois que la passion a déserté. Les titres égrènent les effusions, les déceptions comme dans ce jeu enfantin où on arrache les pétales de fleurs pour décrire son état amoureux. (Je t'aime) Un peu, beaucoup, passionnément, à la folie, plus du tout... un Iota. Lous nous refait le film de ses relations dans un projet produit en partie par le fidèle El Guincho (Rosalía) dans toute l'incandescence où la mène les errements de son coeur. D'ores et déjà adoubée par la critique, on a récemment pu la retrouver en Une de Vogue France ou encore en interview dans les Inrocks.

Check point Catherine

“In the afternoon we performed in a rather austere theatre in East Berlin. Then I remember we crossed Checkpoint Charlie that evening to play in a club in West Berlin. The atmosphere was completely different. I felt as though we were living in a black and white spy movie.” Nicolas Fiszman recalls that chaotic day of 13 June 1982. Two outstanding guitarists, Philip Catherine and Nicolas Fiszman, who at the time was only seventeen years old, were taken from one side of Berlin to the other in pouring rain to perform to unlikely audiences. At both concerts, they played the same programme of seven pieces written by Philip, with the exception of “Crystal Bells”, composed by Charlie Mariano. The pair were not master and student. Rather, Philip remembers Nicolas like a young brother he might have taken to the beach. After the 1960s, Philip became a major figure on the jazz scene, working with the greatest: Charles Mingus, Chet Baker, Stéphane Grapelli, Dexter Gordon, to name only a few. Nicolas has played with Charles Aznavour, Vanessa Paradis, Francis Cabrel and Eric Serra, and travels the world with Sting.

On that gloomy afternoon, the two guitarists, alone on stage, decided to brighten up the morosity that reigned. The pieces they played bore titles such as “Janet”, “Babel” and “Petit Nicolas”. It is hard to believe that this varied, well-constructed, polyphonic music was not entirely written down on paper. Philip says, “Nothing is written from beginning to end. I compose the themes and some harmonic bridges. Then we have a chord chart … and that’s it.” The foundations are written; inspiration, taste, fantasy and friendship do the rest. We feel as though we are taking a nonchalant walk through Rio or Miami. The concert is punctuated by thunderous applause.

For these brief minutes in that year 1982, the East Berliners were able to fly over their tightly closed borders.

We are privileged to have unearthed this unique concert where two outstanding artists bring together two cultures to create an intense blaze of happiness.

Philip Catherine, Guitar
Nicolas Fiszman, Guitar & Bass
With the kind authorization of the Artists

feat. Maurissa Rose

The new Parrish single appears on vinyl in the form of two mixes differing in vibe but consistent in quality and suitability for DJ use. The original rides along on a shuffling, almost Afrobeat version of house, with Maurissa Rose's gorgeous vocal floating above the gloopy, hypnotic bassline which gets the full filter treatment. The instrumental dub places that b-line very much at the centre of the mix, starting from a single kickdrum before building up to a more techno-edged, vocal free climax. all throbbing bass, solid bears and minimal, glitchy keyboard interjections.

The old adage about Elvis Presley is that his soundtrack work never held a candle next to his studio albums. Though true for a majority of his film-related outings, the traditional notion is forever disproved by his Blue Hawaii set. Originally released in 1961 in support of the film in which he starred, the triple-platinum LP spent nearly five months at the top of the Billboard album charts; outsold his two prior studio efforts; and ultimately, remains the second-best-selling soundtrack of the musical-dominant 1960s. And now, it has received sonic treatment befitting rock royalty.

Recorded before the King started to burn out on soundtracks and go into a creative tailspin, Blue Hawaii presents him in tremendous voice. The newly uncovered layers of detail, body, emotionalism, and tonality on this SACD bring that treasured element – as well as the brilliance of the arrangements and accompaniment – to light like never before. Presley's warm crooning alone warrants unmitigated attention. It's not for nothing that this record – replete with panache, whimsy, romance, and seriousness – forever altered the course of his career.

Much like the film itself, the music on Blue Hawaii subscribes to a feel-good aesthetic. Presley plunges into a stylistic deep end with equal parts fearlessness and fun. He delves into early rock ‘n' roll ("Rock-A-Hula Baby"); touching balladry ("Hawaiian Wedding Song"); playful rumba ("Beach Boy Blues"); relaxing luaus ("Hawaiian Sunset"); and naturally, island-inspired fare ("Ku-U-I-Po"). It becomes immediately evident that the King is enjoying himself and committed to the mission. Is Blue Hawaii all serious art? No, but it was never intended to be. Rather, it serves as a showcase of Presley's outgoing personality and chameleon-like ability – like that of Frank Sinatra – to inhabit different roles and entertain.

Of course, Blue Hawaii remains timeless for another reason: The inclusion of the timeless, gorgeous, and still-untouchable staple "Can't Help Falling in Love." Penned by Hugo Peretti, Luigi Creatore, and George David Weiss, the love song quickly transformed into an international standard – with Presley's definitive version hitting No. 2 on the charts and ultimately becoming the closing song to his concerts. Ranked among the 500 Greatest Songs of All Time by Rolling Stone, its conviction, sentiment, and depth testify on behalf of why Presley still reigns as the King.

However subtly, the staple also underscores another reason Blue Hawaii should never be overlooked in Presley's canon: the ace musicians involved in its creation. Guitarists Scotty Moore and Hank Garland; drummer D.J. Fontana; percussionist Hal Blaine; pianist Floyd Cramer; bassist Bob Moore; and iconic gospel backing vocalists the Jordanaires all contribute masterful performances. Hearing them with such expressiveness, openness, and realism on this 2LP 45RPM & SACD should forever alter how Presley's 1961 soundtrack – the finest of his career – is viewed. As he sings in the title track, dreams come true, indeed.

In an age where most contemporary bluesmen strive to mimic the past and pattern their music after the greats, Keb' Mo' is content to be himself. Original, charismatic, and immensely gifted, the guitarist/vocalist (born Kevin Moore) brings country blues in the late 20th century on his stunning self-titled Epic debut, which quickly climbed the charts and turned the former backing instrumentalist into a household name. Replete with gritty textures, close-up vocals, and resplendent acoustics, Mobile Fidelity's scintillating version of this 1994 set finally possesses the fidelity that brings Mo's Delta strains out of the backwoods and onto a lively back porch.

Half-speed mastered from the original tapes, this numbered edition 180g LP represents the very first time that Mo's watershed album has been given a much-needed sonic facelift. Gone are the hazes that obscured his singing, artificial ceilings that blunted the highs, and digital fog that interfered with the multitude of illuminating tones, details, and notes. What's revealed is startling intimacy and soothing emotion, Mo's gorgeous vocal timbres and inflections given equal space with his guitar, harmonica, and pace. Finally, a great-sounding contemporary blues record that doesn't resort to derivative recycling and bland revivalism.

The son of Southern parents, Mo' channels his heritage via a batch of superb folksy songs that relax, refresh, and regale. While he's since traveled in a more commercialized pop-oriented direction, Mo's initial salvo is nothing but raw, pure blues played with unbridled passion, tremendous conviction, and what is best deemed the essence of heart and soul. Keb' Mo' engages with a compelling mix of tradition and modernity, the headliner refraining from any attempt at assuming an artificial personality and instead basing his reputation on quality songs. As such, Mo's material resonates with deep, mellow vibes and extraordinary National steel guitar work, which complements his fluid, acoustic finger-picking and soulful strumming.

Mo' occasionally teams with an ensemble. But this record is mostly all about the basics: guitar, voice, and harmonica. Tunes such as "Victims of Comfort" and "Angelina" testify on behalf of his phenomenal country-blues songwriting; his covers of Robert Johnson's "Come On In My Kitchen" and "Kindhearted Woman Blues" speak to his reverence for the past. Shuffles, ballads, dance songs – Mo nails them all.

Keb' Mo' remains one of the finest blues albums made in the post-Stevie Ray Vaughan era. Don't miss this American gem that so many have since tried to copy.