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Superb 45 featuring two Hammond-led instrumentals! We caught up with Mr Guy Hamper for an insightful Q&A_ Q: What a cracking single this is! 'Instrument of Evil' in particular has a very eerie vibe. What was the inspiration for it? A: The track is the sequel to '7% Solution', which featured on the last Guy Hamper Trio LP with Thee Headcoats standing in as rhythm section. A 7% Solution being the amount of morphine Dr Watson administered to Sherlock Holmes. For 'Instrument of Evil' I took Sherlock Holmes' later designation of his syringe as "an Instrument of Evil". This is originally a quote from the bible: "Wicked men do at times reject God's purpose for the state, transforming the good of civil government into an instrument of evil." Point of interest: Morphine addiction happens to tie in with another aspect of the song. In the section that nods to Elmer Bernstein's main title theme to the film of the book The Man With the Golden Arm, in which the main character is also a morphine addict. Another ingredient - we added six-string bass to that section in tribute to Jet Harris - he formerly of top group The Shadows, who recorded a great version of Bernstein's classic. To top it all off the record sleeve references the fine graphics of the great Saul Bass. Phew! Q: The track features contributions from Tom Morley (trumpet) and Anna Jordanous (sax). What's it like working with them? A: They are great and easy to work with. I basically make a playground and let them loose in it with very little direction, apart from pointing out the swings and location of the roundabout. I told Tom "You're a Spanish trumpeter stood on a hill in Spain." For Anna, I think we said "go low and nasty." Q: On the flip side you have 'Incense Rising From a Censer'. A very evocative title for an evocative track. Do you have lyrics in mind for this for a possible later release? A: No lyrics have sprung to mind as yet - but it's always possible. The title is from The Elders observation in Dostoevsky's The Brothers Karamazov, a book I really recommend. Prayer rises to God on the smoke of the incense burning in the censer. I imagine this track being some kind of antidote to 'Instrument of Evil'. Q: This single marks your first time in the new premises of Jim Riley's Ranscombe Studio. What's the new place like? A: The studio is great - the sound - using my old Mighty Caesars drum kit, and Jim engineering, is pure, easy with a better sound than the old premises. Q: Any more Guy Hamper Trio releases in the pipeline? A third album perhaps? A: Again, anything is possible. Me and Jamie (James Taylor, Hammond organ) have talked of writing together in the future. Jamie is a truly great musician - the cherry on the cake if you will. We're just busted old eggs, sour milk, and some gunk. Q: A live Guy Hamper Trio show would be amazing. Any chance of that happening or will it remain a studio-based project? A: It could happen if someone came up with a very cunning plan.

The latest by UK rave reanimator Low End Activist is a nine-track suite of skeletal hardcore, pointillist drum n bass, and deprivation chamber dub, chopped and brewed in homage to the countryside sites of golden age dance gatherings: Airdrop. From Waterstock to Yarnton Road to White Horse Hill, England’s early 90’s dance summits loomed large in LEA's familial and artistic landscape as a youth, trading tapes and pumping tunes across long weekend afternoons: “Fast music to soundtrack slow days.”

An atomized stew of stabby samples, bubbling bass, airhorns, echo, and blitzed BPMs, the cuts take cues from key heroes of the “where were you in ‘92” set – Tango & DJ Ratty, Top Buzz, DJ SS, DJ Seduction, Dr. S Gachet – then fling them to the four corners. Skittery, stripped, and elevated, this is mad scientist music of voltage, vision, and rewired brains, scraped to its raw genetic essence and deployed for peak kinetic liberation.

A nice boxset with 3 LP and a poster. Including all the greatest blues artists: LIGHTNIN" HOPKINS, JOHN LEE HOOKER, SCREAMIN" JAY HAWKINS, BO DIDDLEY, MUDDY WATERS, HOWLIN" WOLF, T-BONE WALKER, B.B KING...

New Jersey Dub Techno stalwart Eric Louis delivers Rollings Hills, featuring remixes from Thule Records artist OHM, Vuo Records boss Tm Shuffle and Australian rising talent Dan Goul (Mixcult, Berg Audio) on remix duties. Feedback and support from Andrey Pushkarev, Sascha Dive, grad_u, Eric Cloutier. Vinyl only.

Diane Birch emerges as a formidable American singer-songwriter and pianist, boasting a repertoire of critically lauded releases spanning a rich decade-long career. With an eclectic array of musical influences stemming from a globe-trotting childhood - ranging from her humble beginnings as a preacher's daughter in Zimbabwe and South Africa to her transformative years as a gothic teen immersed in the vibrant cultural underbelly of Portland, Oregon. Her discovery while living in London via Myspace led to a record deal in New York, where she then spent the next few years.

Diane's journey is as diverse as her sound. Her profound experiences have culminated in a unique musical blend, characterized by her stint performing soulful covers and original pieces in the swanky lounges of the Beverly Hills elite. Receiving widespread attention with her debut album "Bible Belt" and her follow-up projects "Speak A Little Louder" and "Nous", these works not only cemented her position in the international music scene but also earned her accolades and respect from esteemed peers including Prince, Daryl Hall, Mark Ronson, Dave Stewart, Questlove, Elvis Costello, Bryan Ferry and Stevie Wonder.

Returning with her latest work, "Flying On Abraham", Diane presents a meticulously crafted collection of original compositions. This album is a heartfelt homage to her vast and varied musical roots, weaving together the rich tapestry of 70s AM radio, soul, jazz, classic rock, 80s/90s pop and R&B. Despite the eclectic mix, Diane's sound remains distinctly her own - her voice a blend of raw emotion and refined grace, echoing the legacy of iconic artists like Carole King, Carly Simon and Rickie Lee Jones, yet standing out with an authenticity and individuality that is unmistakably Diane Birch. Produced by renowned English musician Paul Stacey, known for his work with Noel Gallagher and the Black Crowes, "Flying On Abraham" was recorded in the UK, backed by an impressive lineup of musicians. This album is not just a collection of songs but a narrative of her artistic journey, offering a window into the soul of a woman who has traversed continents and musical genres to create something truly extraordinary.

With "Flying On Abraham", Diane Birch reaffirms her status as a musical virtuoso, continuing to enchant audiences worldwide with her evocative lyrics. It represents Diane's enduring vision of "making American music with an English sensibility."

High Roller Records, reissue 2024, black vinyl, ltd 200, insert, remastered and restored by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2024, black vinyl, ltd 200, insert, remastered and restored by Patrick W. Engel at Temple of Disharmony

If the setting is right, magic will happen. And so, this record came into being. Sunburned Hand of the Man, three decades into their one of a kind run, still possess the ability to amaze, stupefy and astound - even themselves. Recorded over a week at Big Blue, Adam Langellotti’s (Kurt Vile & The Violators) studio/house, "Nimbus" sees the band's amorphous lineup produce results such as high-test workouts, cryptic readings & a choice cover (Sun City Girls). A record that this band could only produce in 2024 and the required next step for the devoted fan base and or those interested in doing some self-work in an unconventional setting.

"Nimbus" by Sunburned Hand Of The Man includes the following tracks: "Ishkabibble Magoo", "Lily Thin", "Walker Talker" and more.

If the setting is right, magic will happen. And so, this record came into being. Sunburned Hand of the Man, three decades into their one of a kind run, still possess the ability to amaze, stupefy and astound - even themselves. Recorded over a week at Big Blue, Adam Langellotti’s (Kurt Vile & The Violators) studio/house, "Nimbus" sees the band's amorphous lineup produce results such as high-test workouts, cryptic readings & a choice cover (Sun City Girls). A record that this band could only produce in 2024 and the required next step for the devoted fan base and or those interested in doing some self-work in an unconventional setting.

"Nimbus" by Sunburned Hand Of The Man includes the following tracks: "Ishkabibble Magoo", "Lily Thin", "Walker Talker" and more.

Find all the greeatest songs of the King of Rock & Roll in a nice 5LP boxset

DJ Support: Danny Krivit, Craig Charles (BBC Radio 6 Music), Hallex M, Jazzanova, Delite Radio, Mi Soul, Pointblank, Totally Wired Radio, XFM, Radio Solar, Tony Minvielle, Simon Phillips, Chris Phillips (Jazz FM), KCRW DJs, Ian Friday, Aroop Roy, Samantha Badd (Café Del Mar), Mr. V, Simon Harrison (Basic Soul), Greame Park, Mike Fossati, Timo Mass, Deli G, Servino (Horse Meat Disco), Hyenah.

‘Badly Written Songs’ is, of course, a tongue-in-cheek title. It comprises a carefully structured and well-produced array of songwriting, topped and tailed with live instrumentation, commanding vocal performances and high-end production: the result of years of sound engineering and music production experience. Since the last album, Ross Hillard has continually honed his skills whilst earnestly crafting this sophomore long player. As well as developing a range of audio plugins, Ross also manages recording sessions at his own Paddocks Recording Studios: huge live spaces boast cutting-edge technology, integrated with distinguished analogue kit. The studio is complemented by a collection of prized microphones, together with a fully-restored vintage Raindirk mixing desk.

The opening track and first single from this album is the positively-anthemic gem entitled ‘Good Morning Sunshine’. It tells a forward-looking story promoting the merits of getting back into the driving seat of life. It’s propelled further by superb jazz-inspired drums and live horns that build up to an exhilarating crescendo. Featuring the vocal talents of Sophia Marshall, the story she paints is supported by a wonderful, darkly humorous cartoon video. An animated cadaver hilariously acts out her notions of positive living.
Other tracks also destined for a single release include: ‘Loving You’. It’s a song written around love lost. A bouncing house composition lays the foundations for Sophia Marshall's beautiful vocal that narrates the many facets to be found in loving another person. ‘Better’ again echoes jazz-inspired drums behind Sophia's vocals, drawing attention to how so many people are lost on their devices, missing out on the awesome world around them. A catchy chorus chants the notion behind this song, i.e., that you ‘could be better!’ This single is also supported by another fantastic video featuring the same comical, deceased character introduced through the ‘Good Morning Sunshine’ video.

Twentysix artists, lots of wine and pizza, no agenda. This compilation is a collection of vibes and memories from our PLYGRND Beat Retreat in Tuscany, Italy, wrapped in songs. Featuring tracks by Kiefer, Sara Kawai, Flozigg, Adia, Kaelin Ellis, Molly McPhaul, Burrito Eats, DAO, Desh, Dhanya, Elaquent, Elijah Fox, Glimlip, Joe Bae, K Le Maestro, Louk, Mad Keys, miamore, Miri, Nokiaa, Paul Grant, DEOVI, Relyae, Saltyyyy V, Sebastian Kamae, and Tom Doolie. Driving up a hill lined with pine trees and grapevines, arriving at a beautiful arrangement of terracotta colored houses embedded in an unreal scenery made of grapevines and verdurous greens. Roaming this area, worrying about nothing but the day that lies ahead. Bumping into fellow creatives who share the same passion for music and art. Collaborative energy coming out of this; exploring new sounds with new souls. You capture yourself getting lucky, and think to yourself: Don’t take it too seriously, it’s not that deep. But also, make some beautiful stuff, if you can. This year's compilation is a testament to the rich diversity of talent on display. The PLYGRND Beat Retreat Compilation 2023 is not just a collection of tracks; it's a celebration of the artists who brought their A-game to our event. Get your hands on this exclusive gatefold-vinyl, and immerse yourself in the sounds that defined the PLYGRND Beat Retreat 2023. Limited edition, high-quality, and a must-have for any music enthusiast.

The legendary Norwegian rockers Backstreet Girls, was founded in 1984 (!) and have delivered hard rocking, no-compromise boogie rock inspired by AC/DC, Ramones, Rose Tattoo, Hanoi Rocks and Status Quo to their faithful fans ever since. "Let's Have It" is the band's fifth studio album, originally released on Warner Music in 1992, and was the first and only studio album featuring the swedish singer Olle Hillborg. Now available on vinyl for the first time.

Ein neues Lava-Mix-Vinylformat der 2022er Debüt-LP "I'm Scared That's All There Is" der US-Emo-Band Ben Quad. Das Quartett aus Oklahoma City bietet die genau richtige Balance aus zarter Verletzlichkeit, rasanter, gitarrengetriebener Energie und melodischem Einfallsreichtum. Trotz der augenzwinkernden Behauptung, es sei "Emo-Butt-Rock", nimmt die Band ihre Songkunst ernst, und das Ergebnis ist eine lebendige chemische Mischung aus Sensibilität, einer charmanten Prise Albernheit und treibenden, hookreichen und clever geschriebenen Songperlen.

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

Die vierköpfige Band Courting aus Liverpool zweites Album 'New Last Name' ist gleichzeitig eine Sammlung ihrer besten Pop-Punk-Songs und ihrer seltsamsten Experimente.

Immerse yourself in the emotive sounds of Manchester's dynamic producer duo, Response & Pliskin.
Experience the exhilarating journey of their latest EP, "Live ur Life," a soul-stirring exploration within the realms of Breakbeat, Jungle & Drum and Bass. Enjoy!

Diese strikt limitierte Schallplatte beinhaltet Live Broadcasts aus den 80er und 90er Jahren des englischen Superstars und The Beatles Musikers Paul
McCartney. Inklusive allen Alltime-Klassikern sowie raren Songs. Limitierte Auflage, Originalaufnahmen, gelbes Vinyl.

It’s obvious listening to Sarah Shook and the Disarmers’ clear-eyed, biting, and unafraid songs that integrity is the most important thing to the Chapel Hill, North Carolina, country-punk outfit. “A lot of artists are in this industry for fame, recognition, and money but those things don’t mean anything to me,” says bandleader River Shook. “Songwriting is it for me. It’s the only real healthy coping mechanism I've ever had. It’s life-saving. I don't care about any superficial things when I’m making a record.” On their resonant fourth album Revelations, produced by Shook and out March 29 via Thirty Tigers, these raw and resilient tracks come first. Throughout, Shook’s deft storytelling documents regular people getting by and keeping on, all presented without filter or pretension. In 2022, Shook was remarkably productive. They released two albums: debut solo indie rock record Cruel Liars under the moniker Mightmare (Kill Rock Stars) and a third Disarmers full-length called Nightroamer (Thirty Tigers). Compared to every Disarmers record before that, which captured the in-the-room energy of the band with live recorded songs, the latter LP was instead more of a product of the studio with meticulous tracking sessions and an outside producer. While that effort was well-received, Shook believed the songs on Revelations deserved a more direct approach. “Since the Disarmers started in 2015, our strength has always been in our live performance,” says Shook. “To me, an album should capture the essence of a band. With this new set of songs that are all super special to me, I didn't trust anybody else to capture the songs and decide how to best serve each song.” Shook, who honed their production skills with their Mightmare LP and Izzy Ryder’s debut record, confidently took the reins during a blistering recording session, capturing 10 songs in two days. For Shook, it was paramount the recordings match the band’s tangible live ferocity because these songs boast their most immediate lyrics yet.

"For his fourth full length album, we see the proficiency of instrumentalist and composer Prins Emanuel in full bloom as he turns head deep into the techniques he established on the preceding outing of Diagonal Musik. Here, he revisit what he refers to as a diagonal approach in composing; i.e. starting at one point and then moving to the farthest point in the process, as a way for him to connect the dots somewhere in the middle, or - like I previously described it for the liner notes of that album - “something akin to drawing only shadows and then finishing with the contours”.
And in the tradition of great sequels, this is a much larger and intricate production. While relying on the guitar as a formative backbone to many songs, the layering of brass and woodwinds houses these compositions in bold and sharply lit structures. Mallets and percussion adds an air of momentum but also grounds these tracks in earthy hues.
Thawed and gracious, Diagonal Musik II in essence creates a space that bridges the various paths of Prins Emanuel’s musical universe. At once post-minimalist and avant garde in nature while also peeking through the door at both IDM and folk music, the lingering sensation is that of a well balanced palate that doesn’t break under the presence of repetition. Enveloped in a fourth world approach to jazz and incorporating the more contemplative side of post punk or art pop, there is a story hidden in here that gives cause to the appropriation of these influences.
The inherent warmth of certain instruments play their part in this story. Emanuel often builds on the notion of ‘organic music’ but broadens the definition via subtle electronic enhancements that sit naturally alongside their acoustic counterparts. Take for instance the voice emulator sequence that opens “Kadens Tre” and is dashed on by guitar slides and flute drills to roll further down a hill of staccato percussion. A few tracks in, the lines are so blurred it becomes a natural state until the harsh and eerie sample loops of closing track “Östan Vind” finally breaks the spell. ”

Bite Down, the Merge Records debut of Rosali, finds acclaimed songwriter and guitarist Rosali Middleman in the midst of transition. Written after moving to North Carolina from her longtime home of Philadelphia, Bite Down is a searching, hungry record by an artist who is resolved to bite down on life, in all its horror and joy. She is joined here by Mowed Sound_David Nance (bass, guitar), James Schroeder (guitar, synth), Kevin Donahue (drums, percussion)_and in studio by Destroyer collaborator Ted Bois (keys). Bite Down is Rosali's second album working with Mowed Sound, and there is urgency and ambition in their collaboration_a band pushing each other not just to expand on what they've already done together, but to break through into altogether new territory. Among those joining Rosali and her band there is Dan Bejar of Destroyer, who waxes poetically on where she's been, where she's going, and how thrilling Bite Down is to experience: It's hard to talk about Rosali's music. Songs that reach outward like this, but then constantly disarm with their intimacy. What do you call such inner searching that is hellbent on rollicking? Songs that long for a sense of peace and songs that want romance, all on equal footing in the same plot of earth? Performed wild, but always centered around the incredible lyrical calm that is Rosali's voice. Bite Down makes me think about singers and bands that throw themselves hard into the storm, the way the Rosali quartet does. (Jim captures the tone of this perfectly, again!) The calm of her voice over top of the band's raging_it is the emblem of songs that live to put themselves in harm's way. But it's not harm. It's just that you have to play hard to get at these goods. The calm of Rosali's voice, the straight talk of her inner search vs. the wildness of the band, the sonic storm she rides in on. That's their sound. The Mowed Sound. It's hard to talk about these last couple Rosali albums without talking about them. They play free and wild and relentlessly melodious. They rip and create space and fill it up with what seems like reckless abandon, but listen carefully or listen for a while and you'll find them paying real close attention to each other and exactly what the song demands. Maybe Fairport did this, maybe VU. It's a strange telepathic brew. Breezier songs like "On Tonight" and "Rewind" sound like they've fought their way to get to that sense of ease. Maybe that's the Mowed Sound "sound"_hard-won ease. Then add to that Ted Bois' patented Rhodes sleaze (see sinuous title track "Bite Down") steering the record into late-night corners; the incredible "Hills on Fire" (maybe the centerpiece of the album), the guitar-ripping and the singing taking turns in reaching new levels of intimacy. It feels listened-in on, exposed and invented on the spot. It is also simply a staggeringly beautiful song. There are a few of those on the album. In contrast, "My Kind" is a raucous, hand-delivered classic; the band throws tables over. For the most part, this is a moodier record than No Medium. It has the same sound of "I've traveled through fire to deliver you these songs," but it is also quieter, more nocturnal. The quiet dread of staring down an open road, and the excitement of that. By the final track, "May It Be on Offer," it is the prayer uttered as you hand yourself over to the world.

Epischer, gewaltiger Doom mit Anspielungen auf Candlemass, Bolt Thrower, My Dying Bride und Iron Maiden! Die US-Doom-Crew Stygian Crown aus Los Angeles kehrt mit ihrem lang erwarteten zweiten Album 'Funeral For A King' auf dem etablierten Label Cruz Del Sur zurück, einer beeindruckenden LP, die auf der Grundlage von epischem Doom- und Death Metal basiert. Der Nachfolger ihres vielbeachteten Debüts aus dem Jahr 2020 bleibt dabei der weitläufigen Doom-Vorlage der Band treu, die auch Elemente des klassischen Metal und Death Metal enthält, aber driftet gelegentlich auch in traditionelles Metal-Territorium ab. Das Album wurde in fünf verschiedenen Studios von Los Angeles bis Melbourne, Australien, aufgenommen. Neben dem CD-Jewelcase gibt es auch eine schwarze Vinyl inkl. Download uns Poster.

Rock Hard:
"...Für den Zweitling hat der Fünfer seine selbst proklamierten, allerdings bereits auf dem Vorgänger höchstens marginal heraushörbaren Death-Metal-Einflüsse noch weiter zurückgestellt. Hier regieren Doom- und Epic Metal in Reinstform. Einen charmanten Farbtupfer setzen die im kurzen Intro ´Let Thy Snares Be Planted´ sowie dem anschließenden Longtrack ´The Bargain´ zum Zuge kommenden Streichinstrumente, die dezent und nicht selbstzweckhaft eingesetzt werden, während der Fokus auf den schweren Gitarren und der fantastischen Arbeit von Sängerin Melissa Pinion verweilt. Was für ein Auftakt ins Doom-Jahr 2024!"

Limitiert auf 200 Exemplare. 180g, schwarzes Vinyl. Gut ein halbes Jahr nach digitalem Release erscheint softboy ivo's zweites Album "Reboot" in streng limitierter Vinyl-Auflage. "Reboot" vereint von Artwork bis Klang zeitgenössisch dystopischen Sound zwischen Trap, 2-Step und Deutschpop/Indie. Ein melancholisch kühles Album mit besonderer Atmosphäre.

This is a repress of Tycho's second release with Ghostly International to celebrate the 10 year anniversary of this masterpiece, while Ghostly International celebrates its 25th year anniversary. For nearly a decade, Tycho has been known as the musical alias of Scott Hansen, but with the release of Awake - his second LP for Ghostly International - the solo project evolved into a three-piece band. Relating closer to post-rock than ambient soundscapes, the record is situated in the present, sounding more like Hansen than drawing from his influences. This is, in many ways, the first true Tycho record. Following 2011's Dive LP, the San Francisco-based designer toured extensively, and with a full band on stage, his sound coalesced into a percussive, organic whole. Zac Brown (guitars, bass) rejoined Scott on the road for this tour, but it was the particular addition of Rory O'Connor's live drumming that ultimately sent Hansen back to the studio with a more precise vision. "After the tour, I decided that I wanted to capture the more energetic, driven sound of the live show on the next album," Hansen recalls. Bringing musicians into Tycho's creative process was a step towards expanding his own songwriting and advancing the project beyond its current sound. In a cabin near Tahoe last winter, Zac and Scott began fleshing out the structure of the new record, but it wasn't until they set up shop in the hills of Santa Cruz with Rory that it all fell into place. "It crystallized the vision of how the drums would come to the forefront on this record," says Hansen. The sound was much more stripped-down and concise with more organic instruments in the fold. Songs like "Montana" and "Awake" are a departure from Tycho's previous material - unique to the group effort poured into the songs on the new record - while "See" and "Dye" echo ideas from previous works, bridging a middle ground between the old and new. Working with Count Eldridge, who also engineered Dive, the team could fixate on the pulses that Tycho might previously layer under synthesizers and exhume them with distinct bass and guitar patterns. Also known for his design work as ISO50, Hansen's visual and sonic efforts have dovetailed throughout the course of his career. "This is the first time in my life I've dropped everything to focus on one artistic pursuit," notes Hansen. Previous Tycho releases came to fruition when an amalgam of songs were nearing completion, but Awake is where music becomes the focus and true expression becomes the result.

$1 Bin Breaks: Sakura (Edit) by Odetta / On The Hill (Edit) by Oliver Sain / Enchanted Lady (Edit) by Milt Jackson With The Ray Brown Big Band b/w Survival (Edit) by Annette Peacock / Sunrise (Edit) by The Originals / A Few More Kisses To Go (Edit) by Issac Hayes / Go On & Cry (Edit) by Les McCann | Galaxy Sound Company — GSC45-041 | Very special hot-off-the-test-presses donut via the always on-point @galaxy_sound_company crew. This will be number 41 in their cop-on-site 45 series, set to be released in 2024. This time out we are treated to 7 “$1 Bin Breaks” &, as with many in the GSC45 series, these are the sources of some of your fav hip-hop jams.

Side A:
1) “Sakura” by Odetta; Sampled in “Tried By 12” by The East Flatbush Posse

2) “On The Hill” by Oliver Sain; Sampled in “Tell Me” by Pete Rock & C.L. Smooth, “Day One” by D.I.T.C., “Young G’s” by Puff Daddy, The Notorious B.I.G., Jay-Z & Kelly Price

3) “Enchanted Lady” by Milt Jackson With The Ray Brown Big Band;
Sampled in “Dinnit” by De La Soul, “Escape” & “Carmel City” by Pete Rock & C.L. Smooth, & “Ijuswannachill“ by Large Professor

Side B:
1) “Survival” by Annette Peacock; Sampled in “Braggin' Writes” by J-Live, “Rules We Live By” by Lord Finesse, “Scientists of Sound” by Brand Nubian, “Kunta Fly Shit “by Ghostface Killah, “Video Game” by J Dilla

2) “Sunrise” by The Originals; Sampled in “Accepte Mon Concept” by 2 Bal 2 Neg' & “Guess Who’s Back” by Scarface, Jay-Z & Beanie Sigel

3) “A Few More Kisses To Go” by Issac Hayes; Sampled in “Tonight's Da Night” by Redman, “Ain't No Fun (If the Homies Can't Have None)” by Snoop Dogg, “Rough Life” by Shabba Ranks, “Is There a Heaven 4 a Gangsta?” by Master P, “B-Cuz I Got a Girl” by Nate Dogg, “The Life” by Alicia Keys

4) “Go On & Cry” by Les McCann; Sampled in “Tha Next Episode” by Snoop Dogg & Dr. Dre, “Runnin' Wit No Breaks" by Warren G, “No Pain” by Lords of the Underground

Mr. Thelonious Edits
File under: HIp Hop breaks , Jazz Funk, Funk, Samples breaks

Dire Straits never made a big to-do about its final run. In classic understated British fashion, the band simply let its music speak for itself. And how. Originally released in September 1991, On Every Street became the group's swan song – a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for its 15-year career.

Sourced from the original master tapes, housed in gatefold packaging, and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound. Recorded at AIR Studios in London and produced by Dire Straits leader Mark Knopfler, it features all of the band's sonic hallmarks – wide instrumental separation, visceral textures, seemingly limitless air, broad soundstages, atmospherics that you can almost reach out and feel. Each element is made more vibrant, physical, and lifelike on this collectible reissue, which marks the first time this 60-minute work has been available at 45RPM speed.

Afforded generous groove space and black backgrounds, the songs from On Every Street burst with nuanced details and vibrant colors. Dire Straits' playing appears to float, their intricate performances organized amid hypnotic, fluid, three-dimensional arrangements. Mobile Fidelity's definitive-sounding set also brings into transparent view Knopfler's finely sculpted guitar lines, expressive tones, and laid-back vocals – as well as the balanced accompaniment from his band mates. Here's a record on which you can hear the full blossom and decay of individual notes, and imagine the size and shape of the studio. It is in every regard a demonstration disc. And it happens to be filled with timeless fare.

Remarkably, On Every Street almost never came to light. Dire Straits initially dissolved in September 1988 after touring behind its blockbuster Brothers in Arms and suffering the departure of two members. At the time, Knopfler professed his desire to work on solo material; bassist John Illsley also explored side projects. But Knopfler's decision in 1989 to form the country-leaning Notting Hillbillies reignited a spark to reconvene his primary band and craft a fresh batch of songs. Six years removed from Brothers in Arms, Knopfler, Illsley, keyboardist Alan Clark, and keyboardist Guy Fletcher teamed with A-list session pros – steel guitarist Paul Franklin, percussionist Danny Cummings, saxophonist Chris White, guitarist Phil Palmer included – to create what still stands as an unforgettable farewell.

The platinum record brings the band full circle in that it returns Dire Straits to a quartet formation; finds the group refreshingly out of step with the era's prevailing trends; and sees Knopfler and Co. knocking out song after song with the deceptive ease of a punter tossing back a pint at a pub. That subtle cool, clever poise, and innate control – signature traits that no other band ever matched – dominate On Every Street. Knopfler's clean, virtuosic six-string escapades unfurl with dizzying melodicism and economical efficiency. Led by his winding fills and focused solos, Dire Straits traverse a hybrid landscape of rock, jazz, country, boogie, blues, and pop strains with near-faultless prowess.

More than any other entry in the group's oeuvre, On Every Street welcomes quick detours down back alleys and into the depths of human souls. What makes it more brilliant is its staunch refusal to cater to commercial expectations or take advantage of prior successes; every passage feels true, every measure echoed in the service of song. It's evident in the humorous satire of "Heavy Fuel," closeted desperation of the witty "Calling Elvis," and shake-and-bake bounce of "The Bug." It pours from the album's darker corners, as on the high-and-lonesome melancholy of the title track and bruised emotionalism of "When It Comes to You."

Hinting at the open-minded approaches and boundless curiosity he'd embrace as a solo artist, Knopfler doesn't limit himself when it comes to style or subject matter. Look no further than "You and Your Friend," a shuffle whose all-inclusive lyrics encourage an array of interpretative meanings. Another of the album's deep cuts, "Iron Hand," comes on as one of the band's most memorable moments – the narrative addressing the abuses of power at the 1984 Battle of Orgreave during the U.K. miners' strike. Given cinematic heft by the expert production, the true-fiction account puts into perspective the richness, poetry, and depth of On Every Street.

"Every victory has a taste that's bittersweet," sings Knopfler on the title track. At least that bittersweetness seldom sounded so damn good on record.

The music Charles Mingus and his group recorded during his landmark 1960 sessions for Candid Records produced three of the most revered jazz albums of the era. INCARNATIONS is a new masterpiece thoughtfully assembled from rare and unreleased material from those sessions that stands proudly in the Mingus canon of masterworks. All but one of the tracks here are from the November 11th, 1960 sessions Mingus and producer Nate Hentoff put together. The date was split into two halves: one a pure Mingus-led date, featuring a six-piece band that expanded into an octet for two additional tunes, and another, a partial reunion of a collective that had assembled in opposition against George Wein’s Newport Jazz Festival that past July. (That collective, calling themselves The Jazz Artist Guild, would release the album Newport Rebels, on Candid in 1961.) Of special note here is the one track recorded during the Mingus October 20th 1960 sessions. It is a previously unreleased track titled “All The Things You Are (All.)” Found on a tape that contained material from both of these fall 1960 dates, the piece has its roots in an Art Tatum rendition of “All the Things You Are,” which Mingus had recorded before in various settings. Featuring Booker Ervin, Eric Dolphy, Charles McPherson, Ted Curson Lonnie Hillyer, Roy Eldridge, Jimmy Knepper, Britt Woodman, Tommy Flanagan, Paul Bley, Dannie Richmond and Jo Jones. With audio restored and remastered by Bernie Grundman, and liner notes by Pitchfork and New York Times contributor Hank Shteamer, this album is a must have for any Mingus fan.

Formed in 1977 by brothers Kim Chang-wan, Kim Chang-hoon and Kim Chang-ik, Sanullim are one of the fathers of Korean psychedelic rock.

“Evening Breeze” is the first ever comp focused on their little known 1979-83 albums, selecting their most fuzzed-out, hard-psych-pop-funk (Korean style) tracks.

Selected by (probably) Sanullim number one non-Korean fan Antoni Gorgues.

**Ltd First Pressing on Black/Red Splatter Vinyl** Introducing Observers “The Age of the Machine Entities” an instrumental heavy metal reimaginin of Stanley Kubrick and Arthur C Clarke's 2001 A Space Odyssey. Observers is a new project fronted by Martin Kennedy whose ambient rock band All India Radio has seen music used in CSI, One Tree Hill and many more. Canadian metal titan Devin Townsend even covered an All India Radio song that he fell in love with while on holiday. Kennedy has also released over fifteen albums with Steve Kilbey of psychedelic rock legends The Church. Kennedy says “I’ve been fascinated by 2001 A Space Odyssey ever since my mum took me to see it in the 1970s. It blew my mind. I started making my own 2001 inspired super 8 movies, I collected everything I could afford and I’m still obsessed with it into my adult years.” “The Age of the Machine Entities” is entirely instrumental and takes us on a cosmic journey through melodic metal, atmospheric riffs and psychedelic ambient sequences with echoes of Gojira, Black Sabbath and Tangerine Dream and the early 70’s work of Pink Floyd. Indeed treats us to a searing metal version of the obscure but fan favourite “The Narrow Way Part 2” from the Floyd’s Umma Gumma. The album was mixed by Joe Haley from Tasmania’s legendary Psycroptic and the line up is Rich Gray (Annihilator) on bass, Chris Bohm on drums, and guest soloists including Joe Haley and Jake Weber. The all important visual aspect is brought to life by Ryan T Hancock (known for work with King Buffalo, ᴀɢɴᴏxɪᴀ, Robot God), who created the mesmerizing album artwork. Observers' "The Era of Machine Entities" is a fusion of artistic brilliance that pays homage to the timeless mystery of "2001: A Space Odyssey.”

This collection assembles the range of sources that Robert Johnson heard and learned from including songs from his mentor Son House and from other Delta performers and from sources that show aspects of the musical world in which he lived. His tastes ranged far and wide and he had a gift for absorbing sounds of all kinds, including from tin pan alley to hillbilly songs. He was a brilliant creative musician who managed a stunningly effective fusion of his Delta roots and the smoother approach of the then prominent contemporary blues artists. As with any genius in any field he was able to produce great work only because he was standing on the shoulders of previous great artists. This collection provides an introduction to a number of them and gives a sense of how Johnson adapted and combined their styles. It presents music that can still excite and inspire us today just as it did to Robert Johnson back in the first golden age of the blues.

Longtime friends and musical collaborators Max Essa and Eddie C join the RNT fold with a 4 tracker of melancholic and exquisitely produced chilled out disco. Begun as a lockdown project, the We Live In The Hills EP explores a vast palette of sonic soundscapes, from the shimmering guitars and acid lines of Melon Stepping, to the insistent rolling bass and whimsical synths of Save Me, the deep funk of the EP’s title track, and the late nite driving soundtrack stylings of Sixth Bridge. This EP tells a hopeful story of emerging from isolation and doubt, like a lovely musical sunrise after a long dark night.

Blending sounds of early 70s Funk & Soul, Latin-Jazz, and Afrobeat, Mestizo Beat kicks the year off with a heavy dose of new material. First up is “She’s A Rose b/w Lotsapapa,” their next 45, offering two sides of masterful instrumental soul music written & produced by The Magaña Brothers out of their hillside studio, Spc 166 in Topanga, CA. Side A’s “She’s A Rose” takes us back to the golden years of the Blaxploitation film genre and the soundtracks we have grown to love. This song was inspired by the compositional and orchestral arrangements from the greats, such as Curtis Mayfield’s “Superbad,” Johnnie Pate’s “Shaft in Africa,” and Bobby Womack’s “Across 110 Street.” Featuring Tim Felten of Surefire Soul Ensemble on keys, with horns written and arranged by Jesse Audelo, Mestizo Beat takes the listener on an evolving journey, exploring the mood and cinematic elements of flute, saxophone, and wha’d-out guitar, topped off with a funky drum and percussion break. On the flip, “Lotsapapa” rounds out the B-Side, blending the musical styles of Latin and Nigerian disco-funk into a track that’s perfect for the dancefloor and those late nights out. Written about Bernard “Lotsapapa” Crowe, a notorious drug dealer who survived an attempted murder by Charles Manson, this side is sure to get the body moving with the afro-disco rhythms and chant vocals, dubbed out around a tightly arranged horn section written and arranged by Jesse Audelo and Jason Cressey. “Lotsapapa” features guests Steve Haney from Jungle Fire on Percussion and Cressey of the True Loves on trombone.

With each side highlighting the various talents of the ensemble, Mestizo Beat always stays true to their sound and recording techniques. Both tracks are mixed by Sergio Rios at Killion Sound and are featured on the forthcoming LP, Jaraguá, coming mid-2024.

PB teams up with the dub-wise wizard and fellow Leodis dweller Breakfake for a 4-track release concluding the PBR EP series. Starting off with a UKG steppa ‘Life in Stereo’ hard hitting drums, deep sub, with floaty chords and chops. Followed by the dark garage/ dubstep belter ‘Rat City’ making you feel like you are stuck in Silent Hill itself. The B side brings a more energetic dubstep feel with ‘Chapel Town’ named after the area in Leeds PB & Breakfake first met and is known for its Dub history. The Ep ends with ‘Dub the Acid’ a hypnotic dungeon track with deep subs and a bouncy acid to match.

Following on from their contribution to theButter SessionsCome Togethercompilation released in March this year, Melbourne'sPolitodeliver their debut EPUltraparallel.Politois the collaboration between musicians Robert Downie and Finnian Langham and dancers Arabella Frahn-Starkieand Hillary Goldsmith. The ensemble integrates improvised techno and contemporary dance to form well-considered and captivating performances. The spirit of these performances are masterfully captured on the 12" record. On the transition between mediums, the group states; "we always aim to capture the unpredictability and liveliness of our improvised performances when we record, and try to sculpt the feeling of continuous movement which is so intrinsically tied to Polito's identity."

Ultraparallelconsists of four tracks that were extracted from studio sessions, emerging organically whilst jamming. The EP's introductionHornet's Webwields mutilated samples of vocals and spoken word, paired with abrupt rhythms to forge anomalous techno. The eponymous trackUltraparallel, recorded in 2018, is a dark and brooding arrangement with a murmuring melody and an infectious recurring bassline. Polito reflects; "this track is from the first batch of studio sessions we had as Polito where our intention was to create more discrete 'tracks' which could be played by DJs, rather than the longform compositions more similar to the live performances which we had recorded up to that point."

Turning the record over,Seventh Limbembodies the music for dance nuance by infusing dub with sounds from outer-space. Polito reveals; "we wanted to explore creating something more in line with the mood of our live performances, which are typically slower and have a rather meditative atmosphere. The more relaxed tempo allows the dancers to move at a sustainable pace and gives the musicians more space to prepare and manipulate the various musical elements in real-time. The result is our first formal exploration of 'the chugger.'"Ultraparallel'sfinaleSublunaryis a playful sequence mingling electronics with an airy clarinet and saxophone.

Attuned to their audience,Politoimagines how their music will be consumed throughout the creative process. They comment "while making music in the studio, we try to transport ourselves mentally to hypothetical dancefloors the music we're making could be played on, adding moments and sounds which would excite, energise, disorient, or have some other desired somatic effect. We're also considering not just how the music sounds, but how it would 'feel' when played on large sound systems."Ultraparallelultimatelypresents a refreshing visual take on literal dance music; a considered and holistic approach to enhancing the experience of listening and moving.

This vinyl re-pressing of Martin Carthy's Debut album is released to commemorate Topic's 85th anniversary in 2024 - Limited edition of 1000 copies - Black vinyl, standard weight with black, polylined inner sleeves. In the early 1960s, the approach Martin Carthy took to folk music was nothing short of revolutionary, albeit a relatively quiet revolution befitting of his humble nature. You wouldn't find Carthy's music clambering up the singles charts; his was not a face adorning the teen magazines. Instead, his influence was felt at a grass-roots level. He plied his trade in the folk clubs, which is where the likes of Bob Dylan and Paul Simon sought him out, enamoured of his traditional repertoire and keen to learn songs like 'Scarborough Fair' and 'Lord Franklin' directly from him before adapting them for their own purposes.

His debut eponymous album, re-released here, on vinyl by Topic Records as part of their ongoing Topic Treasures series, is a snapshot of the work he was doing at the time.

Originally finding its way into the world in 1965, courtesy of Fontana Records, Martin Carthy pulled together 14 songs from his burgeoning repertoire. Produced by Terry at the Philips Recording Studios in Marble Arch, the album was a must-learn checklist for budding guitarists and folk club orgas, and, to this day, remains an essential listen for anyone attempting to find their way into traditional English folk music. Most people turn up for 'Scarborough Fair', very few leave without getting hooked on 'High Germany', 'Sovay' and 'Ye Mariners All'.

The album also introduces Carthy's earliest collaborations with Dave Swarbrick, an enduring and much-copied partnership that lasted, off and on, until Swarbs death in 2016, and became a blueprint for how guitar and fiddle duos ought to sound. While Carthy had been building up his solo repertoire over the previous five or six years, several of the duo arrangements on this album ('Lovely Joan', 'A Begging I Will Go', 'Broomfield Hill') were thrown together in the studio, adding a fizz and freshness to the recordings. This became the pair's standard way of working. "We used to rehearse on stage, in front of the audience," he explains today.

In the years since, Martin Carthy has become the veteran of over 40 studio albums and a veritable beacon for musicians and music lovers seeking "the real stuff." Pressed to name his favourite, he needs no time to think it over. "I always stand by the first album," he says of his 1965 debut. "I love it. There are some things on it I think I couldn't have done better. There was a clarity of purpose."

And, with this re-release, we can be sure that newcomers get to hear that sense of purpose in the best possible quality, as clearly as Bob Dylan, Paul Simon and a generation of folk lovers did six decades ago.