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• Formed in 1993 the British based trio was lead by Isabel Monteiro (writer, vocalist and bassist)
and her smoky haunting voice
• ‘Song For The Jet Set’ was originally released in 2001 and this is the first time it is released on
vinyl
• 12 tracks including the singles ‘Baby Don’t Hurt Yourself’ and ‘Song For The Lonely’
• Pressed on 180g heavyweight clear vinyl with original artwork and printed inner sleeve

LP edition of the sold out CD/Pamphlet from 2016. The score by Schmid, reading by Landry, and edited/produced by McCann. Includes a big poster of The St. Francis List.

Emily Martin and Derek Baron on St. Francis (Feb. 2021):

What does it mean to pray? To address someone, to plead for something, to welcome humiliation and failure: Please, let me forget about the China Chalet parties, please let there be no countries and no war, please let me love you. Is prayer iteration, or just repetition: My god, my god, my god, my god… To know spleen you just have to be down to be humiliated. But do we know for sure that we are miserable? How do we know?

This is how it has to go. We listened to this for the first time together in May 2017, while driving from Chicago to New York along the I-80 in Pennsylvania, stopping at the rest area that I later mistook for the famous picture of American “culture.” We stayed at a hotel and may have ordered a pizza. Content first, then, content again. Went inside and drank wine in relative silence, burping. Recognizing the sacredness in the plot of Friends. A choral melisma representative of holy Joy.

The dreams of moving through a convoluted space of passages, staircases, open courtyards, rooms just glimpsed past a door. It doesn’t seem possible that you can get from one place to the next but according to the logic of the dream you do. I think this has to do with how each little unit of ‘content’ happens at a different distance from your ear. The holiness of the periphery. That you can catch a shard of history if you only find the right distance to stand from the painting.

But prayer is also like the magic language we were talking about — faith that words do something more than just mean — they have the capacity to effect change in the world, and not just in the like, “words change ppl’s minds” kind of way, but in that the words themselves actually have agency. Form: sing-along.

Glaswegian musician, producer, DJ and curator Rebecca Vasmant announces her debut LP 'With Love, From Glasgow' on her own label Rebecca's Records, showcasing the breadth of the incredible Jazz talent the city has to offer.

Squid announce their debut album, ‘Bright Green Field’, already one of 2021’s most highly anticipated releases.
Produced by Dan Carey, ‘Bright Green Field’ is an album of towering scope and ambition, it is deeply considered, paced and intricately constructed. With all band members playing such a vital and equal role, this album is very much the product of five heads operating as one.
Some bands might be tempted to include previous singles on their debut - and the band already released two more in 2020 via ‘Sludge’ and ‘Broadcaster’ - but instead ‘Bright Green Field’ is completely new. This sense of limitlessness and perpetual forward motion is one of the key ingredients that makes Squid so loved by fans and critics alike, from 6 Music, who have A-Listed previous singles ‘Houseplants’, ‘The Cleaner’ and ‘Match Bet’, to publications such as The Guardian, NME, The Face, The Quietus and countless others. The band was also on the longlist for the BBC Music Sound Of 2020 poll.
‘Bright Green Field’ features field recordings of ringing church bells, tooting bees, microphones swinging from the ceiling orbiting a room of guitar amps and a distorted choir of 30 voices, as well as a horn and string ensemble featuring the likes of Emma-Jean Thackray and Lewis Evans from Black Country, New Road.
Squid’s music - be it agitated and discordant or groove-locked and flowing - has often been a reflection of the tumultuous world we live in and this continues that to some extent. “This album has created an imaginary cityscape,” says Ollie Judge, who writes the majority of the lyrics and plays drums. “The tracks illustrate the places, events and architecture that exist within it. Previous projects were playful and concerned with characters, whereas this project is darker and more concerned with place - the emotional depth of the music has deepened.”
For all the innovative recording techniques, evolutionary leaps, lyrical
themes, ideas and narratives that underpin the album, it’s also a joyous and emphatic record. One that marries the uncertainties of the world with a curious sense of exploration as it endlessly twists and turns down unpredictable avenues.

It all starts with a great song and “You Baby” has it all! Penned by husband and wife team Barry Mann and Cynthia Weil with the magic touch of Phil Spector – what an awesome trio – and the bedrock of a future classic.
The song was originally produced by Spector for the Ronettes, signed to his Philles label, and appeared on their 1964 breakthrough album ‘Presenting The Fabulous Ronettes’ featuring, of course, his wife to be Veronica Bennett. The song was also recorded in the U.S. by pop/rock band the Lovin’ Spoonful for their 1965 debut album ‘Do You Believe In Magic’.
However, in January 1966 Pye Records unleashed JACKIE TRENT’s epic Northern Soul version produced by her husband Tony Hatch. Heralded by a pounding drum beat and trumpet blast it is no wonder that Jackie’s definitive cover shook the walls at Wigan Casino a decade later. And its popularity has never gone away, hence its current price tag of £300-400! Check out Jackie’s performance on the Morecambe and Wise Show on YouTube, what an intro!
“You Baby” was also recorded in May ’66 by Cameo Parkway’s Lovenotes in a very similar vein and in November ’66 by the legendary Len Barry. Other notable cover’s include Sonny & Cher, the Bubblegum pop group Salt Water Taffy and, in 1975, John Holt’s reggae version.
“Lost Summer Love” was originally recorded in 1964 by U.S. actress Shelley Fabares known for her long-running role as Mary Stone in the sitcom ‘The Donna Reed Show’ and as Elvis Presley’s leading lady in ‘Girl Happy’, ‘Spinout’ and ‘Clambake’. She also scored a No.1 pop hit in 1962 with the teen anthem “Johnny Angel”. But, as with our ‘A-side’, it was reborn as a Northern Soul classic when Pye Records picked the song up in 1965 and recorded it on their latest signing, teenager LORRIANE SILVER. Once again the stomping drum track, percussion and handclaps propel you to the dancefloor where you’re greated with an unforgettably catchy tune, a bevvy of backing vocals and Lorraine’s effervescent vocal.
Two fabulous reasons to make this one of the top reissue 45s of 2020!

30th Anniversary Edition of 'Seamonsters', the third studio album by Leeds indie/alt/cult outfit. Recorded in ten days in America, 'Seamonsters' had a rougher, harsher overall sound than the group's earlier albums due to producer Steve Albini working with the band. The 2 LP package includes the studio album alongside the 'Dalliance', '3 Songs' and 'Lovenest' EP's. Rounding out the music on the release are a set of live 'BBC Peel Sessions' recordings. This 30th anniversary bundle also includes a CD comprising the studio album and EPs. Pressed on standard black vinyl. Marketing.

Louisahhh releases her debut LP The Practice of Freedom, via HE.SHE.THEY. The Practice of Freedom heralds the evolution of Louisahhh as she delivers her most exposing work yet, conceived as an exploration of the unorthodox archetype of “feminist submissive,” based on the mantra “sin is not being true to yourself.” Like her uncompromising musical heroes Karen O, Siouxsie Sioux and Shirley Manson before her, Louisahhh’s bold, raw, anti-establishment message on The Practice of Freedom will mark her as punk’s essential new heroine at the forefront of the new dawn of musical feminism.

The Practice of Freedom was born from experiences of loss and love, told through a journey of brutally beautiful electronics, electro and techno colliding with industrial, rock and alternative sounds. On the polysexual polymath label HE.SHE.THEY.’s inaugural album release, Louisahhh captures a record of our times, covering themes ranging from eroticism and empowerment to addiction and apocalypse, and influences ranging from Nine Inch Nails to Patti Smith to Judith Butler. The album, produced by American musician, music video director and photographer Vice Cooler, hears ideas and lyrics by Louisahhh re-contextualised into revolutionary experimental sounds, formed through the pair’s shared love of American alternative rock. Louisahhh’s music fights for and provides a voice for others, rooted equally in the intensity of the dancefloor and the mosh pit.

Music in Exile announce their forthcoming remix EP, featuring reworkings of Music Yared by Melbourne cult hero, Mikey Young (Total Control, Eddy Current Suppression Ring, The Green Child). SINDAYO - MIKEY YOUNG REMIXES features remixes of an original track from Music Yared’s self titled debut EP, released last year through Music in Exile. In addition to today’s announcement, we’re delighted to also share the first single, Sindayo (Mikey Young’s Masinko Remix - Radio Edit), out March 26 via Music in Exile.

Mikey Young’s legacy is well known throughout the Australian music scene, most notably as part of garage punk band Eddy Current Suppression Ring, and synth-driven outfit, Total Control. However, the talents of Young extend well beyond the performance setting to the world of engineering and mastering with his name appearing in the liner notes of an incredible number of releases, becoming something of a trademark of quality. In this release, Young showcases his skill and nuance, creating a remix where tradition and sonic exploration co-exist.

Anbessa Gebrehiwot and Haftu Reda are masterful players of krar and masinko, traditional string instruments from Eritrea and Ethiopia. Now based in Melbourne, Australia, the pair collaborate with multi-instrumentalist Dale Gorfinkel to create an innovative ensemble sound that celebrates their East African culture. The band's seemingly endless repertoire ranges from modern takes on folk songs to new, original compositions with Anbessa’s strong vocal presence a perfect match to Haftu’s sweet lyrical modesty.

Music Yared’s compositions are inspired by traditional Etheopian and Eritrean folk songs and they sing about love, distance, separation and culture. Their songs also feature virtuosic mastery of traditional instruments - the krar, (a 5 string lyre style instrument), and the masinko (a single string violin-like instrument that is played using a bow.) Although inspired by tradition, Music Yared’s compositions embrace the notion that music is always developing and changing with the times. Taking influence from traditional folk songs, Music Yared finds newness and originality through their personal approach to their lyrics, their treatment of rhythm, and the creation of new beats. This change and openness to new sounds is also apparent in their instrumentation, as they pair their traditional instruments with drums, as well as samples of bass lines and percussion.

Given their openness to new musical approaches and experimentation, it only seems fitting for the songs of Music Yared to be remixed, allowing further exploration of their inherent musical attitudes towards change and development. The first single from the EP, Sindayo (Mikey Young’s Masinko Remix - Radio Edit) traverses new sonic territory, pairing the traditional character of Music Yared with contrasting ideas from different sonic landscapes. Beginning with a musical acknowledgement to the original song, Young’s remix then changes direction into a new sonic world; synth pads and melodies swell and intertwine, samples interject, whilst grooving electronic beats underpin a new approach to texture and song structure.

Recorded by Dale Gorfinkel in Thornbury. Mixed and mastered by John Lee at Phaedra Studios.
Remixed & additional production by Mikey Young in Rye.

2008 saw fledgling filmmakers RKSS release a faux trailer for NINJA ELIMINATOR. It was a love letter to the kung fu flicks of Godfrey Ho they grew up watching, loaded with over-the-top acting, gory DIY effects & crazy vocal dubs. It was a massive hit with festival crowds. A then-unknown LE MATOS provided the score. Inspired by DAFT PUNK, ED BANGER & the whole French Techno scene, LE MATOS delivered a driving, pulsating & intense melodic score that helped solidify the blueprint for the singular sound they have today. This EP collects tracks from all three NINJA ELIMINATOR shorts and have been extensively reworked, remixed and remastered for this release. Includes download code and insert written by Aaron Veling.

‘An immortal voice.’ – NPR

‘Her voice, at once beautiful and unadorned and softened with a veil of smoke, invariably hits the middle of a note and remains there.’ – New York Times

In celebration of Pride Month, Nonesuch Records releases k.d. lang’s makeover, a new collection of classic dance remixes of some of her best-loved songs. The album brings these remixes, made between 1992 and 2000, together for the first time, and includes ‘Sexuality’, ‘Miss Chatelaine’, ‘Theme from the Valley of the Dolls’, ‘Summerfling’, and the #1 dance chart hits ‘Lifted By Love’ and ‘If I Were You’. makeover’s cover art features a previously unseen 1995 portrait of lang by David LaChapelle.

• With help from fellow Go-Go Charlotte Caffey, producer Michael Lloyd and guest musicians Duran
Duran’s Andy Taylor, Susanna Hoffs and Jane Wiedlin, “Belinda” was Belinda Carlisle’s first solo album,
originally issued in 1986, now reissued on vinyl for the first time.
• Featuring the hit singles “Mad About You” and “I Feel The Magic”, this 2 LP anniversary edition also
features five bonus tracks on side three, including three mixes of Belinda’s version of “Band Of Gold”
recorded with Freda Payne.
• Side four features five live tracks taken from the “Belinda” video release. Also included are the lyrics
and a sleevenote based on an interview with Belinda.











k c1. Band Of Gold featuring Freda Payne single mix

[m] c3. Mad About You [extended version]
[n] c4. Band Of Gold [featuring Freda Payne] [extended mix]
[o] c5. Band Of Gold [featuring Freda Payne] [dub mix]











[k] c1. Band Of Gold [featuring Freda Payne] [single mix]

[m] c3. Mad About You [extended version]
[n] c4. Band Of Gold [featuring Freda Payne] [extended mix]
[o] c5. Band Of Gold [featuring Freda Payne] [dub mix]

The recent ‘Rocka Rolla’ series was masterfully launched by the boss himself. But for this second volume, El Vidocq steps aside for his English pal Keb Darge – who earlier so brilliantly contributed to the Jukebox Music Factory catalogue with his explosive selection ‘The Rockabilly Crown Jewels’. Once again, our ever enthusiastic limey swaggers and sparkles. His newest excellent assortment explores the garage rock and surf songs of his beloved ‘60s. Less sombre than the first, this second volume includes seminal punk rock tunes (She Lied by The Rockin’ Ramrods, Thunder Reef by The Shindings), but also a few veritable titty shakers (Les De Merle and his Bulldozer, or El Scorpion by The Sherwoods). Add a touch of surf (The Road Runners’ Quasimoto and Neb’s Tune by Ahab and The Wailers) and bingo baby! You’ve got ‘Keb Darge's Supreme’. Lots of love, zero poor taste. Play it loud, friends!

Known for the soulful jazz-grooves of their self-titled 2020 debut album, Matti Klein’s Soul Trio actually began as an idea rather than a group.
However, in early 2018 three master musicians met in Berlin’s Lovelite Studio with producer/engineer Jochen Str h (Tony Allen, Ebo Taylor, Pat Thomas, Jimi Tenor) and recorded a set of well-planned and even better executed live sessions, each finding their desired space live and direct, locking into the immediacy of the groove. ‘Soul Trio Live On Tape’ contains these very first sessions of the Matti Klein Soul Trio and comprises new arrangements of songs that had primarily been composed for Klein’s band Mo’ Blow; favourites already back then, timeless classics now thanks to these exciting ‘deep-fried contemporary soul jazz’ versions.
Their leader, known for his work as musical director for the Brazilian superstar Ed Motta as well as Mo ‘Blow, can be heard on Wurlitzer and Rhodes Bass; Lars Zander (The Ruffcats, El Cartel, Lucasonic, STEREOFYSH) not only proves he is the most soulful tenor saxophonist in Berlin, but also why he has earned kudos for a bass clarinet sound that is enhanced with analog tape delays, Wah-Wah and Harmonizer-sweetenings; and drummer Andr Seidel also shows his chops, incorporating elements of rock, hip-hop, odd meter fusion and the sound of New Orleans into his own unique groove jazz style.
As for the music, ‘Rocket Swing’ is a tenor sax feature in which a hip-hop vibe meets a jazzy fifth fall, while ‘Ray’ (dedicated to Mr. Charles) is a Meters-inspired shuffle in 7/8 time. ‘No Particular Way’ showcases the funky side of the band, with singer Pat Appleton in top form over a wonderfully creaky Rhodes bass. ‘Sunsqueezed’ is created in a wide compositional arc, evoking a ray of sunshine peeking through the clouds during a long and grey 10-month Berlin winter, giving hope for the next two months.
‘Eleven Feels Like Heaven’ is a joyful, uproarious gospel blues with a brilliant odd meter drum solo. ‘Grandpa’s Fairytale’ is a hitherto unreleased piece that is dedicated to the bandleader’s grandfather, a former school headmaster who loved to read him stories and is a Wurlitzer-warmth meets bass clarinet groove in an atypical dynamic arc. Summarising their efforts, Klein states somewhat cryptically that “the band rolls in a warm, soft couch whenever there is a risk of having to sit between the chairs.”
Initially available as a limited fan item only at live shows, this document is now being released officially with the addition of ‘Grandpa’s Fairytale’. It is a journey through time, absolutely contemporary and yet wonderfully back to the future.

Collection of unreleased demos of written for the sixth PJ Harvey studio album Uh Huh Her, including demos of ‘The Letter’ and ‘Shame’. Features brand new artwork with previously unseen photos by Maria Mochnacz. Artwork is overseen by Maria with Rob Crane. Mastering by Jason Mitchell at Loud Mastering, under the guidance of longtime PJ Harvey producer Head.

ALL THEIR LEGENDARY RECORDINGS, PLUS LOADS OF UNRELEASED STUFF!

“The Lipstick Killers were easily one of the greatest live bands I've witnessed in my 65 yrs. on this planet” – Keith Morris (Black Flag/Circle Jerks/Off!!)

HINDU GODS ARE CALLING YOU!!! Grown Up Wrong! Records is thrilled beyond belief to present the LONG-AWAITED anthology of material by the legendary Lipstick Killers, who blazed a trail in late ‘70s post-Radio Birdman Sydney before gigging with the likes of the Gun Club and the Flesh Eaters in Los Angeles where they crashed and burned in 1981.

The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown USA” on their own Lost in Space Records and Greg Shaw’s Voxx Records - but a posthumous live album and a couple of archival releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly original tapes).

The Lipstick Killers’ enigmatic and high-energy sound – heavily inspired by the Stooges and the ‘60s psychedelic punk sounds of bands like the Thirteenth Floor Elevators and the Chocolate Watchband – bridged the gap between Radio Birdman and subsequent Sydney groups like the Sunnyboys (whose first-ever show was opening for the Lipstick Killers), Lime Spiders, Hoodoo Gurus, the Screaming Tribesmen and the Psychotic Turnbuckles. And of course they anticipated generation after generation of other bands with similar things in mind, right up to today’s ‘60s-inspired freaks like The Straight Arrows, The Living Eyes and Thee Oh Sees.

ALL THEIR LEGENDARY RECORDINGS, PLUS LOADS OF UNRELEASED STUFF!

“The Lipstick Killers were easily one of the greatest live bands I've witnessed in my 65 yrs. on this planet” – Keith Morris (Black Flag/Circle Jerks/Off!!)

HINDU GODS ARE CALLING YOU!!! Grown Up Wrong! Records is thrilled beyond belief to present the LONG-AWAITED anthology of material by the legendary Lipstick Killers, who blazed a trail in late ‘70s post-Radio Birdman Sydney before gigging with the likes of the Gun Club and the Flesh Eaters in Los Angeles where they crashed and burned in 1981.

The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown USA” on their own Lost in Space Records and Greg Shaw’s Voxx Records - but a posthumous live album and a couple of archival releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly original tapes).

The Lipstick Killers’ enigmatic and high-energy sound – heavily inspired by the Stooges and the ‘60s psychedelic punk sounds of bands like the Thirteenth Floor Elevators and the Chocolate Watchband – bridged the gap between Radio Birdman and subsequent Sydney groups like the Sunnyboys (whose first-ever show was opening for the Lipstick Killers), Lime Spiders, Hoodoo Gurus, the Screaming Tribesmen and the Psychotic Turnbuckles. And of course they anticipated generation after generation of other bands with similar things in mind, right up to today’s ‘60s-inspired freaks like The Straight Arrows, The Living Eyes and Thee Oh Sees.

Debut solo album by the Red River Dialect songwriter. Recorded at the Hotel2Tango, Montreal, by Howard Bilerman. Featuring Thor Harris (Swans, Thor & Friends, Shearwater) on drums and Thierry Amar (GYBE!, ASMZ) on bass, with guest appearances from Tom Relleen (RIP) (Tomaga, Melos Kalpa), Catrin Vincent (Another Sky) and Coral Rose (The Silver Field, Red River Dialect).
David has written five critically acclaimed collections of songs under the Red River Dialect name. The last two albums (released by Paradise of Bachelors) achieved a glowing Pitchfork review and a Folk Album of the Month award from the Guardian. Selected press below.
“Folk Album of the Month. Alert, anti-colonialist folk. Songwriter David Morris brings alternate seduction and disquiet on this worldly album steeped in the British landscape... a wide-eyed, curious creature, willingly alert to the world.” – 4/5 The Guardian
“Animated with a new intensity, the Cornwall band’s fifth album may be its most ingenious and immersive mix of folk and rock yet. It’s also Morris’ most compelling set of songs. He invests small sensations with outsize power, finding joy in sensory pleasures as well as in the mystical inquests that music allows. Even as the record is steeped in the long history of British folk music, that balance of the tactile and the spiritual anchors these songs in the present moment.” – Pitchfork
“The most underrated folk-rock band in Britain. The idea of them as a Cornish-born, Buddhist-inclined Waterboys is more potent than ever. Their fifth album of elementally-battered, rueful and rousing folk-rock ... is as stirringly anthemic as they've managed thus far.” – MOJO
“A beguilingly atmospheric record… imagine Steve Gunn transplanted to Kernow.” – Clash
“Gorgeous and moving, anchored by the heft of the physical but reaching for more. The epic spareness, the way it manages to be both still and an enveloping swirl, reminds me most of Talk Talk. There’s a prayerful intensity to the quiet bits, a listening, wondering awe, that makes the rock payoffs more powerful. The album works as a restless, searching, gorgeous whole. Morris and his band have never been better.” – Dusted
“It’s not often that a band comes along and over the course of nine songs both plays to the tradition and stands it on its ear. RRD has taken the challenge of playing with reckless abandon to heart, generating an album that stands on the shoulder of giants showing no fear.” Folk Radio

Monastic Love Songs continues the tradition that David has established over the course of five albums with Red River Dialect: using a song cycle to articulate a relationship with inner and outer landscapes, inspired by the Taoist approach of observing the movement of the heavens in order to understand the cosmos within, and vice versa. The joyful closing track Inner Smile was initially written as a poem of thanks to his Tai Chi teacher Hollis and takes its name from a Taoist practice.
The songs were written during the final weeks of a nine-month retreat at Gampo Abbey, a Buddhist monastery in Nova Scotia where David took ordination as Buddhist monk. The album title is sincere, with a little tongue-in-cheek. The songs mostly explore human relationships within the community, with outliers: Gone Beyond shimmers with cosmic devotion, in Rhododendron a reverie grows from the shadow of a flower. Steadfast concerns the love to be found beyond the urge to like and be liked, when you can’t avoid that difficult person. Leonard Cohen, on his six years living in a monastery:
“You know, there’s a Zen saying: ‘Like pebbles in a bag, the monks polish one another.’
David considers this album to be a follow up to 2015’s Tender Gold and Gentle Blue. The cover of that lp featured an image of him on top of Skellig Michael, in the years before the island was made famous as the home of the Jedi. He considers the visit to that abandoned Celtic monastic site to be one of the influences that stirred up his motivation. Skeleton Key speaks of what was given up to go, and what he was giving up to leave, referencing the Tibetan concept of the ‘bardo of becoming’.
The album came about through a series of fortunate encounters. David’s friend Tom Relleen visited him at the Abbey in May 2019, mentioning a postponed plan to visit the Hotel2Tango. A spark was sown: this studio had long figured in David’s imagination. Many of the releases on Constellation Records, which he had become a die-hard fan of in his teens, were recorded there. Tom contributed some Buchla synthesizer to the opener New Safe, which concerns healing in emptiness and light.
In May David was given permission by the senior monastics to acquire a guitar, which was swiftly baptised as “Malibu Barbie”. Having let the identity of being a songwriter loosen up, not playing an instrument in six months, he was unsure what would happen. In the single hour he was permitted to practice each day, songs began to cascade. The first, Purple Gold, concerns a reacquaintance with first love. David wrote to the Hotel2Tango asking if they had any days available in mid-July?
Engineer and studio co-owner Howard Bilerman replied that they did, and a date was set. Did Howard know any local drummers or bass players who might do a session? He did, too many to choose from, what kind of style? David decided to ask for his ideal: did Thierry from Godspeed ever do sessions? Howard sent him the demos. Thierry was up for it. On the day he went deep into the cover of traditional song Rosemary Lane, his double bass singing on this and on Circus Wagon.
David asked if there were any local drummers he would recommend? Thierry said “many, what style?” David tried his luck again, “two of my favourite drummers are Thor Harris and Jim White.” Thierry said let’s invite them. Thor, having met David a decade earlier, flew from Austin to Montreal for that July day in the studio. Nine months of watching thoughts come and go in meditation helped David recognise this as an opportunity to practice enjoying the day without expectations.
He is, however, grateful that this album came out the way it did, channelling some of what it was like to live those nine months in a monastery overlooking the Gulf of St Lawrence, frozen and flowing.

Mixed by Jimmy Robertson at SNAFU, London, mastered by DenisBlackham.

‘Chemz’ is hooky, rushy and loved-up - both an unhinged premonition of unleashed post-pandemic joy, and a demonic flashback to past ecstasies in a hardcore style perfected in the UK. ‘Chemz’ is a 12 minute rave monster that has ingested several tracks and incorporated them into its distended body. At the other end of the Burial bi-polar spectrum, ‘Dolphinz’ is a desolate oceanic love letter to
our underwater friends.

Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
With their debut album, ‘Isn’t Anything’ (originally released in 1988),
my bloody valentine revolutionised alternative music and heralded a
new approach to guitar music for generations to come. The album
birthed a sound which became a template for thousands of new
subgenres, heralding a new approach to guitar music and studio
production. Not only was it a new type of music, it paved the way for a
new type of journalism; inciting comparisons to elemental
phenomenon, tapping into how the music affected the psyche.
Shields and Butcher frequently sang in a similar vocal range that
allowed their voices to blend together. This had the effect of making
their gender indistinguishable, to the point where their voices could
be used as another melodic layer to complement the vertigo-inducing
sounds made by Shields’ guitars. It is a record characterised by the
ominous sense of space that inhabits many of its songs, which
veered between the harried and propulsive, to the subdued and eerie.

The new album American Quilt from Paula Cole. American Quilt, out May 21st, is the fondue of Cole’s melting pot, blending a variety of genres that include jazz, folk, and country. Cole takes on classics like “Black Mountain Blues,” “Nobody Knows You (When You’re Down and Out),” and “What a Wonderful World,” creating a patchwork of American music. The album also includes one original song, “Hidden in Plain Sight,” which is about quilts women made that provided clues to slaves in the Underground Railroad.

Since her crowning in 2009 at the Blues sur Seine Festival, the young guitar prodigy Nina Attal, with a powerful soul voice, has imposed herself to the public, recording 2 EPs, 3 albums and performing more
than 600 concerts.
‘Pieces of Soul’, is Attal’s fourth album and shows her return to the blues, rhythm ‘n’ blues and rock. Written and composed in the wake of a road trip on the West Coast of the United States, ‘Pieces of Soul’ is eagerly awaited.
These 12 tracks, to which is added a cover of “You’re No Good” popularized by Linda Ronstadt, put the guitar back at the heart of her creative process, through a range of sunny sounds, discreetly and respectfully tinted by various Californian influences (Ben Harper, Lenny Kravitz, John Mayer...).
The riffs with rock distortions are next to great blues-soul ballads, folk, or rhythm ‘n’ blues. Her lyrics, very personal, translate as many doubts as to her desire for emancipation. Inspired by her incompressible love for the music she has in her skin, just like her tattoos, ‘Pieces of Soul’ undoubtedly offers Nina Attal a new dimension.

Davide disanto is an amazing Italian producer born in bari, after multiple releases on excellent labels such as Let's play house, Politics of dancing or even Theory of swing, he delivers us a fabulous 12 inch which borrows as much from the heyday of the purest New-York City 90s deep house as well as the purest techno made in detroit. The 1st track from this EP seems to have come straight from an imaginary collaboration between Boo williams & Ron trent, the violence of the rhythm is counterbalanced by some airy & ultra deep pads, the aptly named Atmosfear. A banger as we rarely hear today. C'Mon, Let Me See on A2 sounds like a modern take on the awesome Jerzzey boy. On the B side, Da Love Feeling (Main Mix) & le (4am Underground Dub) revisits the 90s once again for our greatest pleasure, particularly the latter seems to have come straight out of a lost mix of the great danny tenaglia. And to end this ep in style, davide allows himself the luxury of summoning the spirit of MBG and all the best Italian deep house from the early 90s on the superb Lungomare (Ambient Reprise). ESSENTIAL ITEM !

SKYLAX RECORDS 4 EVER

The always affordable Wanted series returns this week with another set of beautifully presented, expertly selected comps covering a variety of genres. Here we have a set of overlooked and under the radar Hip Hop heaters including the lyricism and flow of De La Soul, Bubba Sparxxx and RZA & GZA from Wu Tang Clan and the production talents of Pete Rock, Jazzy Jeff and Timberland. Beats to make your head nod til your neck snaps.

Be With is delighted to present Jorge López Ruiz’s El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967 that must be one of the most sought-after South American jazz LPs.

Living in Buenos Aires in the 60s, driven by creative impulse and rage Jorge López Ruiz used music as his platform to protest the Argentine military dictatorship: “I could never stand dictatorships, to be told how you have to think, what you have to do. Nor did I endure discrimination”.

A young López Ruiz had appeared on a television panel alongside writer, politician and philosopher Arturo Jauretche, criticising the Onganía dictatorship. Jauretche told López Ruiz “Now say it with music”. This was the deep inhale that lead to El Grito, literally “The Scream”. As López Ruiz later explained “Jauretche urged me that my protests should not remain in words and acquire the consistency of a work… but it was not so much what he told me but how he told me, what prompted me to make the work take shape, first in a live concert and then in a recording”.

As the police and military began resorting to kidnapping, torture and summary executions to quiet dissent, with depressing inevitability the artist community and their work were a particular target of the increasingly brutal regime. El Grito was banned not long after it was released and the majority of original copies were unceremoniously destroyed.

The work of a genius artist living under an opressive dictatorship, erased by the government of the time, this is buried treasure in every sense and it’s been a rare record for over 50 years. But it isn’t just being hard to find that has pushed up the prices of those few original copies that survived, this is a foundational record in the development of jazz in South America.

El Grito (Suite Para Orquesta De Jazz) is a showcase for Jorge López Ruiz’s skills as a composer and arranger as he leads a virtuoso orchestra of the likes of Mario Cosentino (alto sax), Baby López Furst (piano), Pichi Mazzei (drums), Gustavo Bergalli (trumpet), Oscar López Ruiz (guitar), Arturo Schneider (flute) and Jorge López Ruiz himself plays double bass on the fourth and fifth movements.

As the album’s sub-title explains, The album is a Jazz orchestra concept suite. Five movements, to be heard as a whole, that end where they begin.

“When I wrote it there was no history of a cyclical work in jazz. But I didn't notice that, I needed to express something and I did it. At that time they told me I was crazy, that such a thing was very difficult to do. But hey, I like challenges”.

Yet this is not challenging jazz. There are certainly avant garde, free jazz flourishes, but the hard bop characteristics make this a very accessible album: easy to listen to without being easy listening. López Ruiz’s love of film brings a definite cinematic feel.

The title movement opens the album in bombastic style. “El Grito” grabs you by the lapels and refuses to let go. Raw then controlled, it’s by turns stabbing then soothing, with rage weaved in and out of the elegant styles. “M.A.B. = Amor” is our favourite here. With a tense introduction and a patient build, a gentle sax sweeps in to lift everything up to meet the serene piano and soft drums. Elegantly paced, it moves back and forth between deep contemplation and a more urgent call and response between strings and horns. A near-eight-minute, slow motion marvel.

The second side eases in with the beautifully-titled “Hasta El Cielo, Sin Nubes, Con Todas Las Estrellas” (“Up To The Sky, No Clouds, With All The Stars”) a relatively brief mid-tempo piece featuring López Ruiz’s insistent bass notes high in the mix, and again blending the sublime with the emotive with its wild horns and tight rhythm section.

It’s followed by “Tendré El Mundo” (“I Will Have The World”) which also leads with hypnotic bass, but this time swifter, driven by crashing drums, rapid horn conversations and effortlessly cool piano flourishes. Rounding out the suite, “De Nuevo El Grito” (something like “The Next Scream” or “The Scream Renewed”) is a stylish closer. Whilst López Ruiz’s bass shifts the track along, the horns and piano are more restrained, yet no less stunning.

This Be With edition of El Grito sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost. The tortured artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every protest art collection.

Summertime: Willie Nelson Sings Gershwin includes pop standards penned by
America’s legendary songwriting duo George and Ira Gershwin.

As Willie tells it: “Ira and George Gershwin were just fantastic writers. They wrote some of the greatest songs ever. The Gershwin songs have been here for many, many years. When I was just a small guy, I remember hearing all these great Gershwin songs and they’ll be around forever because great music like that just does not go away.”

Among the 11 Gershwin classics recorded by Willie Nelson for the album are two duets: “Let’s Call The Whole Thing Off” with Cyndi Lauper and “Embraceable You” with Sheryl Crow.

Summertime: Willie Nelson Sings Gershwin debuted at number one on the Traditional Jazz and Top Jazz Albums Billboard charts, becoming Nelson’s third album to top the latter. Meanwhile, it reached number fourteen in Top Album Sales and reached number forty in the Billboard 200.

Now available as a limited edition of 1000 numbered copies on transparent red vinyl, including an insert + Willie Nelson on Music On Vinyl catalogue insert.

21 Number Ones is celebrating it’s 15th Anniversary in 2021 and it will be available on vinyl for the first time! The album features 21 of GRAMMY Award-winning superstar Kenny Rogers’ number one hits including “The Gambler”, “Through The Years”, “Lady” and many more! Rogers sold over 120 million albums worldwide, making him one of the best-selling male artists of all-time according to the RIAA, with one Diamond album, 20 Platinum albums and 11 Gold. He recorded 24 No. 1 hits, 12 No. 1 albums and 25 Top 10 country albums. Miraculously, he charted a song within each of the last seven decades. His music has always crossed boundaries, with singles and albums finding frequent success on the Country, Top 40, and Adult Contemporary charts, and in a few instances, on the R&B and Christian charts.

Backed by members of the David Nance Group, Rosali (Long Hots, Wandering Shade, Monocot) wades through the emotional mire with infectious, earworm melodies led by her luminous voice. With their rich, raw instrumentation, these rock ballads sound like the resilience discovered in facing one’s darkest moments, the assurance of the calm and clarity that comes after the storm. As she sings on the second track, “Bones,” “Through the darkness of the field / I walk through without yielding / To the rest of the feelings / I’m carrying.” With her confident song craft, Rosali illustrates the ability to push through, moving toward something greater without being destroyed by the weight of trauma.

Engineered by James Shroeder and featuring Kevin Donahue (Simon Joyner), James Shroeder (Simon Joyner, DNG, Connor Oberst), David Nance, Noah Sterba, Colin Duckworth, and Daniel Knapp, the album was recorded in ten days and the raw immediacy of the music is palpable across these ten tracks. Added adornment was contributed by Philadelphia's Robbie Bennett (War on Drugs) on organ and keys, and Matt Barrick (The Walkmen, Jonathan Fire Eater, Muzz) makes a percussion cameo on “Whisper,”which was tracked at Philly’s Silent Partner Studio, where No Medium was mixed by Quentin Stoltzfus (Mazarin, Light Heat). The open creative collaboration elevated the songs, resulting in the exciting, vibrant sound of the album.

Rosali wrote the bulk of these songs in January of 2019 while on a self-imposed two week residency in the hills of South Carolina. Alone in an old farmhouse, she experienced supernatural events and faced her own demons in the deepest darkness. Perhaps as a result, there is a boldness that permeates the album, a daring vulnerability in both the lyrical themes and their musical accompaniment. Rosali says, “I approach guitar playing the same intuitive way I sing, which is profoundly spiritual for me. Where words fail, the guitar becomes the conduit for raw feelings, providing a direct connection to them. I’m constantly working on being fearless in my work, which means showing the rough side, the mistakes along with the triumphs.”

While writing No Medium, Rosali was inspired by harmonographs—swinging pendulums that create beautiful illustrations of the mathematics of music—considering how the mind, too, creates images through song. She imagined herself as the swinging pendulum—“a body suspended from a fixed point” (Encyclopedia Britannica), governed by the forces surrounding her. She thought about the pendulum’s relationship to time, movement, and even its use in divination practices. The album’s title, lifted from Charlotte Brontë’s, Jane Eyre, resonated with this vision: “I know no medium: I never in my life have known any medium in my dealings with positive, hard characters, antagonistic to my own, between absolute submission and determined revolt. I have always faithfully observed the one, up to the very moment of bursting, sometimes with volcanic vehemence, into the other.” With the multiple meanings of “medium”—as middle ground, a term for psychics, and as the material of artistic expression—No Medium felt like the appropriate name, describing how the self is shaped by the patterns of life .

The influences for the sound of No Medium reflect this pairing of assured vulnerability, in the stylistic coherence of Bob Dylan’s Desire, the tender delivery in Iain Matthews’ Journey From Gospel Oak, the strut and swagger of Bowie’s Hunky Dory, the ambition and beauty of Gene Clark’s No Other, and the playful catharsis of Harry Nilsson’s Nilsson Schmilsson. The Richard and Linda Thompson-esque album opener “Mouth,” places Rosali within both a physical and emotional space. “East of the river I was travelling on / watch me lie, undone / rest me in a forest, overgrown / until I am free of all that I’ve known,” she sings. There is movement, both within a cityscape, and in her outlook on love. Speaking of her thought process when writing the song, she says, “I imagine confidently walking away from the past, toward a new approach to love and intimacy to achieve a closer relationship with myself.”

In “Pour Over Ice,” Rosali explores her relationship with alcohol and her former reliance upon it as a social lubricant to quell her social anxiety, an energizer to keep moving, a means to cope and self-medicate, and most addictively, to lure out her wild side as a free flowing, good time girl. While drinking helped her through some shitty times, it eventually got the upper hand and became an insatiable hole within. She says, “The ‘you’ in the song is really me, talking to that component of myself struggling with drinking and self-sabotage, caught up in the cycle, and all the bad choices I made.” She sings, “Maybe I didn’t care enough / or can’t remember / chasing small pleasures / making fire from embers.” Rosali wanted her lead guitar on this track to simultaneously sound like a slow motion car crash propelling her through the day, and the sound of a gnawing hunger for something more.

Rosali’s alliance with the Omaha musicians that orbit David Nance Group (including Nance himself) came about while on a Long Hots / DNG tour in the summer of 2019. Great friendships formed and one night after playing in Detroit, Dave suggested they be her backing band. The pairing was effortless and natural, and in November of the same year, they were recording No Medium in a basement in Omaha.

The Black Keys release their tenth studio album, Delta Kream, via Nonesuch Records. The record celebrates the band’s roots, featuring eleven Mississippi hill country blues standards that they have loved since they were teenagers, before they were a band, including songs by R. L. Burnside and Junior Kimbrough, among others. Dan Auerbach and Patrick Carney recorded Delta Kream at Auerbach’s Easy Eye Sound studio in Nashville; they were joined by musicians Kenny Brown and Eric Deaton, long-time members of the bands of blues legends including R. L. Burnside and Junior Kimbrough. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Auerbach says of the album, “We made this record to honor the Mississippi hill country blues tradition that influenced us starting out. These songs are still as important to us today as they were the first day Pat and I started playing together and picked up our instruments. It was a very inspiring session with Pat and me along with Kenny Brown and Eric Deaton in a circle, playing these songs. It felt so natural.”

Carney concurs, “The session was planned only days in advance and nothing was rehearsed. We recorded the entire album in about ten hours, over two afternoons, at the end of the “Let’s Rock” tour.”

Auerbach says of Delta Kream’s first single ‘Crawling Kingsnake’: “I first heard John Lee Hooker’s version in high school. My uncle Tim would have given me that record. But our version is definitely Junior Kimbrough’s take on it. It’s almost a disco riff!” Carney adds, "We fell into this drum intro; it's kind of accidental. The ultimate goal was to highlight the interplay between the guitars. My role with Eric was to create a deeper groove."

The music from northern Mississippi, which came to life in juke joints, has long left an imprint on the band’s music, from their cover of R.L. Burnide’s ‘Busted’ and Junior Kimbrough’s ‘Do The Romp’ on their debut album, The Big Come Up; to their subsequent signing to Fat Possum Records, home to many of their musical heroes; and to their EP of Junior Kimbrough covers, Chulahoma.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

This reissue of Cannonball Adderley’s classic 1958 Bluenote album ‘Somethin’ Else’ features Adderley on alto sax, Miles Davis on trumpet, Hank Jones on piano, Sam Jones on bass and Art Blakey on drums.
The bonus Riverside album, ‘Portrait of Cannonball’, recorded in 1958 includes Cannonball Adderley, alto sax; Blue Mitchell, trumpet; Bill Evans, piano; Sam Jones, bass; Philly Joe Jones, drums. The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “ ‘Autumn Leaves’ and ‘Love for Sale’ will never mean the same after listening to this album, this masterpiece of the 1950’s which hasn’t aged at all.” Jazz Magazine

After a year of sadness comes an album fit to resist it. Detritus, the third solo LP by violinist/composer Sarah Neufeld, confronts anguish with beauty, turmoil with grace, gliding through the present like a dancer mid-motion, reaching through space 'til she's caught. Detritus originated with a collaboration: in 2015, Neufeld was invited to appear on stage with the legendary dancer/choreographer Peggy Baker. Baker had prepared a solo piece based on work from Neufeld's second album, The Ridge, to which Neufeld added an original lyrical prelude. The live result was an incendiary duet, almost a sort of face-off, which left each artist unsated. They agreed to reunite for a more extended collaboration - a full-length show with Baker's company, where Neufeld would write to (and perform music alongside) Baker's choreography. It was a fertile partnership, uniting the two women's intense, curious, ferocious sensibilities across an age difference of 29 years. Baker had conceived the show around the title of Neufeld's prelude, "Who We Are In The Dark," exploring themes of loss, betrayal and the emptiness of space; Neufeld was herself in crisis mode, reacting to a specific, earthbound kind of grief (including the end of a relationship). Making work together, they drew on these raw feelings - insistent, urgent darkness but also something that was, for Neufeld at least, much more unexpected: a romantic, tender-hearted love, inspired by the movements of the dancers before her. The work premiered in February 2019. Even before Neufeld and Peggy Baker Dance Projects set off on tour, she had the intuition that this music might take another form: as a distilled set of songs, refined and developed beyond the versions performed on stage. Starting that summer, she began arranging this lush and soloistic material - work that eventually became Detritus - and performed some of these experiments at her own solo gigs. Neufeld worked throughout the process with her Arcade Fire bandmate Jeremy Gara, whose drums, synths and ambient electronics co-anchored the Peggy Baker shows and helped shape the reimagined album versions. She would go on to add foot-pedal bass synth, wordless vocals and swells of French horn courtesy of Bell Orchestre compatriot Pietro, bringing in woodwind wizard Stuart Bogie as a one-man flute ensemble, layering clusters of chords atop Neufeld's luminous compositions.

Pioneers of the British music scene, ‘Blackest Blue’ will be the band's 10th studio album in a discography that spans three decades. 2020 saw Morcheeba unable to tour or perform live, which gave Skye Edwards & Ross Godfrey “time to write songs and really get to hone them,” as Godfrey puts it. “There weren’t so many pressures so we could really take our time getting the songs right,” adds Edwards.

The result of this time is a refined 10 track album that fuses previous incarnations and sound of the band - such as downbeat, chill, electro-pop & soul - into one cohesive record that dives deep into the soul of the band’s genre-mashing musical heritage. As usual, the band didn’t approach the album with any pre-conceptions, and instead created an organic journey that represents everything great about Morcheeba.

Edwards’ lyrics are primarily focused on positivity and overcoming personal adversity that lies within. ‘Sounds Of Blue’, is a stunning cut that puts Skye Edward's sultry vocals to the forefront, floating high above an ethereal backdrop.

The album includes features with Duke Garwood (known for his work with Mark Lanegan, amongst others) and Brad Barr (The Slip, The Barr Brothers). “

Morcheeba’s global reach is impressive, taking them to every corner of the world . Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name. The past year has been one of introspection for the duo, as they take stock of their renewed global fan base and look forward to being able to play the new album live in the not too distant future. “This was the first time since I was a teenager that I’d spent a year off the road and I enjoyed the tranquility, although I missed playing my guitar in far off lands,” says Godfrey.

This first volume of Wagram's Wanted: Jazz series is a high quality mix of the great Jazz artists. Including Charles Mingus, Dizzy Gilespie, Art Blakey and more!

Clear / Orange Vinyl
Factory Benelux presents a remastered 2xLP coloured vinyl edition of Circuses and Bread, the seventh studio album by Manchester ensemble The Durutti Column. Originally released by Factory Benelux and Factory in 1986, the original 9 tracks have now been expanded with 6 bonus pieces.

The cover art retains the original design by 8vo. The remastered limited edition CLEAR+ORANGE vinyl set is housed in gatefold sleeve, with liner notes and rare band images. A CD version is also available (FBN 154 CD).

Self-produced by Vini Reilly at Strawberry and Revolution studios, the album saw Durutti playing as a quartet, with Reilly on guitar, vocals and keyboards, Bruce Mitchell in drums and percussion, John Metcalfe (viola) and Tim Kellett (trumpet).

‘The music ends up being very simple,’ Vini told NME. ‘People can dismiss it as being very simplistic, easy listening or whatever. It’s very honest, it’s very personal. People say it’s ambient, and it’s like Eno. I don’t like that, because the music’s made to be listened to, it’s not wallpaper.’

Of extended piece Blind Elevator Girl – Osaka, Vini adds: ‘The music really writes itself. For example, we’re in Osaka, in Japan, getting in this elevator. It’s very crowded with all these Japanese businessmen talking about distribution deals, and going on and on. On this lift was a beautiful Japanese girl, in an immaculate uniform. Each floor we arrived at, she’s starting talking Japanese, obviously saying what was on each floor. We went higher and higher, and finally we get to the top. And then, sort of walking out of the elevator, I suddenly realised she was blind... It got to me, this girl. It was incredible. So maybe a day later, I was thinking about that, and the whole tune came out. And every single piece of music is like that.’

Bonus tracks include Italian-only EP Greetings Three, scarce compilation track The Aftermath, and a previously unreleased working version of 1987 single Our Lady of the Angels produced by the late Stuart ‘Jammer’ James.

Strut present the definitive edition of a 1977 classic, Plunky & Oneness OfJuju's 'Make A Change' album featuring the international hit 'Every WayBut Loose' and five previously unheard studio takes. Recorded at Omega studios in Maryland, the album marked a transition forthe band with lead vocalist Jackie Eka-Ete recording her last sessions withPlunky and Virtania Tillery taking over lead vocal duties. "'Make A Change'was always designed as a slightly more commercial entry in our discography," says Plunky. "We approached the sessions in the same way that we had approached all of our music since the early '70s. We played extended jams because we would always find something within those explorations. The songs had enough organic qualities to be considered R&B and enough rhythm to be Afro funk." After catching fire in Washington DC clubs through local record pools, the dancefloor favourite 'Every Way But Loose' famously became an anthem for Larry Levan at New York's Paradise Garage, kick-starting international success for the track. Other album cuts like funk workout 'Higher' and the wistful stepper 'Always Have To Say Goodbye' have remained staples among soulful DJs worldwide. "The songs and lyrics on this album have come back around full circle," continues Plunky. "With songs like '(Family Tree) Make A Change' and 'Every Way But Loose', we don't have tochange one word for them to be relevant all these years later. The positive messages are universal and timeless." This definitive edition of 'Make A Change' features the full original album alongside five previously unheard studio takes, all remastered by TheCarvery from the original tapes. Bonus tracks include extended studio versions of 'Every Way But Loose' and 'Always Have To Say Goodbye'and a previously unheard version of 'Time'. Package features brand newliner notes by bandleader Plunky Branch.

Mother Freedom Band’s Cutting The Chord is a funky modern soul classic. It’s both a criminally under-appreciated album and a hard-to-find record so we’re delighted to be giving this sweet disco-funk groover the reissue treatment it deserves.

Produced by the great Al Goodman from The Moments and originally released in 1977, Cutting The Chord seems to be one of the lesser known releases on the curious, and often great “All Platinum” label. Other than a 7" of a couple of these tracks, the only thing that the band seem to have released is this album, and what an album it is. Unbeatable soul-funk of the highest quality.

The album bursts open with “Love Will Stay In Your Corner”. It’s a soulful dancer that reliably slays any funk set you care to drop it in. It’s followed by the lithe disco funk “Flick Of The Wrist” that’s all bubbling baselines and elegant horns. The groovy, horn-enhanced sweet soul of “Gotta Get It Back” is equal parts heartbreaker/hip-shaker and the acidic organs on “Mr Brother” are an experiment in synth soul.

Perhaps the group’s best known track, “Beautiful Summer’s Day” might well be worth the price of an original copy alone. It’s pure piano-driven paradise soul. A tropical birdsong intro sets the scene of a warm, perfect sunshine day and the lead vocal soars over the lush, clean production. The tempo oscillates between contemplative and stomping. Essential.

The brilliantly-named “(Assistants Rag) When You’re Hot, You’re Hot” opens side two. Another huge highlight, its title refrain repeated over this laid-back, power-funk workout. It still sounds incredibly modern, like something off the last D’Angelo record, and if Public Enemy and Diamond D both sampled it you know it knocks hard.

The horn-heavy, clav-stabbing-stomper “We Like To Boogie” keeps things fast and funky before the airy, heavenly harmony soul of “Come On Home” mellows us all out. Things pick up again with “Touch Me”, and you might recognise its addictive elements sampled in Jay-Z’s Kanye West-produced “A Star Was Born”. The magical, reggae-tinged, gospel-influenced “Sweet Love” closes out this assured, classy set.

We dare to say that Cutting The Chord is a rare example of a funk-soul LP which is killer from start-to-finish. Sure, there are the stand-out bombs, but the whole thing is a complete and varied album of feel-good vibes held together by its fluid horns, tight, tight rhythm section and beautiful vocals.

Mastered for vinyl from the original analogue tapes by Simon Francis, cut by Pete Norman and artwork restored at Be With HQ, this new edition should hopefully stop this album slipping any further into obscurity. It’s just too good to be forgotten.

4LP box set including Angel Olsen’s latest two albums, ‘All
Mirrors’ and ‘Whole New Mess’, as well as an LP of bonus
audio. Also includes 40-page book including photo shoot
outtakes, pictures from the recording of these albums,
handwritten lyrics and items of meaning to Angel.
Originally conceived as a double album, ‘All Mirrors’ and
‘Whole New Mess’ were distinct parts of a larger whole, twin
stars that each expressed something bigger and bolder than
Angel Olsen had ever made. Released in 2019, ‘All Mirrors’
is massive in scope and sound, tracing Olsen’s ascent into
the unknown, to a place of true self-acceptance, no matter
how dark, or difficult, or seemingly lonely. ‘All Mirrors’ is
colossal, moving, dramatic in an Old Hollywood manner.
Recorded before ‘All Mirrors’ but released after, ‘Whole New
Mess’ is the bones and beginnings of the songs that would
rewrite Olsen’s story. This is Angel Olsen in her classic style:
stark solo performances, echoes and open spaces, her voice
both whispered and enormous. ‘All Mirrors’ and ‘Whole New
Mess’ presented the two glorious extremes of an artist who,
in these songs, became new by embracing herself entirely.
Now, with ‘Song of the Lark… And Other Far Memories’,
these twin stars become a constellation with the full extent of
the songs’ iterations: all the alternate takes, B-sides, remixes
and re-imaginings are here, together. Alongside, a 40-page
book collection tells a similar story, not just through outtakes
and unseen photos but through the smaller, evocative
details: handwritten lyrics, a favourite necklace, a beaded
chandelier. As if it could be more plainly stated (there’s
nothing more), Angel adds one cover here: a loving,
assertive rendition of Roxy Music’s ‘More Than This’.
It is a definitive collection, not just of these songs but of their
revelations and their writer, from their simplest origins to their
mightiest realizations.

Global pop sensation Ava Max—who has already accumulated more than 4 billion career streams—has released her highly-anticipated debut album Heaven & Hell. The record features eight new tracks alongside her previously released hit singles “Sweet But Psycho,” “Who’s Laughing Now,” “So Am I,” “Salt” and “Kings & Queens,” the latter of which spent five weeks at #1 on European airplay and is currently #21 on Top 40 radio.

“Heaven & Hell represents light and dark, good and evil, and the devil and angel on your shoulder,” said Ava on the meaning behind the album. “I’m discussing the dualities of the challenges we face each day. Some songs have darkness; other songs are more positive. Heaven & Hell is the middle ground.”

Ava has also revealed the video for her track “Naked,” which was directed by Hannah Lux Davis (Ariana Grande, Halsey, Doja Cat).

“It’s about the real emotions we go through,” said Ava on the meaning behind the track. “If you don’t know my mind, soul, and heart, you’ll never know me by seeing me naked. We are more than our physical bodies. That’s what I wanted to show.”

A truly international artist, Ava sealed her pop superstar status with the blockbuster success of the RIAA 3x-platinum certified hit, “Sweet but Psycho.” Currently boasting over 2 billion global streams and counting, “Sweet But Psycho” was named among the New York Times’ “54 Best Songs of 2019,” spent three weeks in the top 10 of Billboard’s “Hot 100,” peaked at #3 at US Pop Radio and earned Ava her first-ever Teen Choice Awards nomination for “Choice Pop Song.” The song was joined by an official video that has more than 600 million views on YouTube.

Produced by GRAMMY® Award-winning super-producer Cirkut (Maroon 5, Miley Cyrus, The Weeknd) and co-written with Madison Love (Camila Cabello), “Sweet But Psycho” hit #1 on both Spotify’s “United States Viral 50” and Billboard’s “Dance Club Songs” while becoming one of “The Top Most-Shazamed Songs of 2019.” The song’s stateside success followed the track’s remarkable popularity abroad, including four consecutive weeks atop the UK Singles Chart and #1 rankings on charts in nearly 20 countries.

Dubbed an “Artist You Need to Know” by Rolling Stone, Ava has been feted with a wide range of media attention including high profile features in Vanity Fair, Billboard, FORBES, PAPER, and more. The pop star first took over TV with performances of “Sweet but Psycho” on CBS’s The Late Late Show with James Corden, NBC’s TODAY, and the Ellen DeGeneres Show, as well as a summer performance of her RIAA-certified gold single “So Am I,” on ABC’s Jimmy Kimmel Live. Ava became one of 2019’s most honored performers, including “Best New Artist” nominations at both the 2019 MTV Video Music Awards and the 2019 MTV Europe Music Awards. The latter was highlighted by both Ava’s first-ever win for “Best Push Artist” and show-stopping live performances of both “Torn” and “Sweet But Psycho,” streaming now.

Recorded live on 9th November 2018 (their only UK show of 2018), ‘education entertainment recreation’ is a brand new live album from London’s Alexandra Palace.
Sonically spectacular, spanning 2 hours 20 minutes, the show joyously mixed New Order classics, their latest acclaimed album ‘Music Complete’ and Joy Division’s finest.
Opening with ‘Singularity’ from ‘Music Complete’, they eased back in time to 1993’s ‘Regret’, to ‘Love Vigilantes’ from 1985’s ‘Low-Life’ to ‘Ultraviolence from 1983 debut ‘Power, Corruption and Lies’.
Later, their power over the dance floor was proven by sublime performances in the manner of the celebrated extended 12 inch remixes they are synonymous with - on ‘True Faith’, ‘Blue Monday’ and ‘Temptation’ before a four song Joy Division mini set to end

Shocking Blue was a Dutch rockband from The Hague that was at their peak in the sixties and seventies and gained major cross-Atlantic success. The band was founded in 1967 and after recruiting vocalist Mariska Veres, they soon became huge. With their single “Venus” they became the first Dutch band ever to reach the first spot on the American Billboard Hot 100. The band had a series of subsequent hits but decided to call it a day in 1975. Their influence reached well beyond their generation: even bands like Nirvana and The Prodigy used Shocking Blue’s ‘Love Buzz’.

3rd Album is, strangely enough, not their third full-length album but their fourth. It was originally released in 1971. This reissue comes with six bonus tracks consisting of singles and b-sides.

This release is available as a limited edition of 1500 individually numbered copies on turquoise coloured vinyl.

Aged only 15, Lulu burst onto the pop scene in May 1964 with “Shout”, her unforgettable cover of the Isley Brothers’ timeless favourite. On EMI’s Columbia label she enjoyed a string of hits produced by Mickie Most, including US # 1 “To Sir With Love”, “The Boat That I Row”, “Me, The Peaceful Heart”, “I’m A Tiger”, and the joint winner of 1969’s Eurovision Song Contest, “Boom Bang-A-Bang”.
After Lulu recorded the title song for James Bond film “The Man With the Golden Gun”, David Bowie produced her versions of his songs “Watch That Man” and “The Man Who Sold The World”, the latter a UK # 3 hit. And in 1993 collaboration with Take That on “Relight My Fire” reached # 1.
Pressed on 140g vinyl, this 13-track set contains her best-loved hits.

a a1. SHOUT Lulu and The Luvers











[radio version]