Pop & Rock Vinyl New Releases - News

Aimee Mann 'Mental Illness', her first album in five years, will be released on March 31 via her own SuperEgo Records. The record follows 2012's Charmer, which Rolling Stone proclaimed "shows off the more pop-oriented side to her usual acoustic tendencies.
Die-cut cover, red vinyl and insert.

"With this follow-up, she returns to a more musically soft-spoken but still lyrically barbed approach, as heard in the album's lead single, "Goose Snow Cone," which is out now. Mental Illness shows off Mann's rich, incisive and wry melancholia in an almost all-acoustic format, with a "finger-picky" style inspired by some of her favorite '60s and '70s folk-rock records, augmented by haunting strings arranged by her longtime producer, Paul Bryan.

Additional players include: Jonathan Coulton on acoustic guitar and backing vocals, Jay Bellerose on drums, Jamie Edwards on piano, John Roderick as a co-writer and Ted Leo (who recently joined her in a joint side project, The Both) as a background singer. On this eleven-track album, the Oscar-nominated, Grammy-winning singer remains a student of human behavior, drawing not just on her own experiences to form the characters in the songs but tales told by friends. "I assume the brief on me is that people think that I write these really depressing songs," Mann says. "I don't know—people may have a different viewpoint—but that's my own interpretation of the cliché about me. So if they thought that my songs were very down-tempo, very depressing, very sad, and very acoustic, I thought I'd just give myself permission to write the saddest, slowest, most acoustic, if-they're-all-waltzes-so-be-it record I could. I mean, calling it Mental Illness makes me laugh, because it is true, but it's so blunt that it's funny."

After several albums with Til Tuesday, Mann began her solo career in 1993 with the album Whatever and made a name for herself through her independent success and the founding of her record label, SuperEgo Records. In addition to her solo albums, she has appeared on many film soundtracks, most notably the song score for Paul Thomas Anderson's Magnolia, with "Save Me" landing her Academy Award and Golden Globe nominations for Best Original Song. In 2014, Mann joined up with Ted Leo for a more rock-oriented duo project, releasing a self-titled album under the name The Both. Other extracurricular activities since Charmer ranged from playing herself on the hit TV series Portlandia to performing for President Obama and the First Lady at the White House. Named one of The Huffington Post's "13 Funny Musicians You Should Be Following On Twitter," Mann has gained a diehard social media following for her quick wit and stinging observation.

Bad Company recorded four classic albums in as many years, giving rise to some of the most recognizable rock songs of the Seventies, including Rock Steady,' Run With The Pack' and the Grammy-nominated, Feel Like Makin' Love.' Run With The Pack (1976) and Burnin' Sky (1977) have been newly remastered from the original production tapes. Each has been expanded with rare and unreleased recordings taken from the original album sessions. The CD versions of these Deluxe Editions include all of the new bonus tracks, while their 180-gram vinyl counterparts offer a selection of the bonus material.



During a rare break from touring, the band got together in France to record new songs using the Rolling Stones' mobile recording studio. Those sessions produced Run With The Pack, a 10-song album and rose to #4 in the UK.

The bonus disc includes unreleased early mixes for Honey Child' and Simple Man,' as well as an extended version of the title track. There's also the previously unreleased Let There Be Love,' an outtake from the recording sessions. The acoustic version of Do Right By Your Woman,' previously only available as the B-Side of the single release of Run With The Pack,' is the only song on the bonus disc that has ever been previously released.

Bad Company recorded four classic albums in as many years, giving rise to some of the most recognizable rock songs of the Seventies, including Rock Steady,' Run With The Pack' and the Grammy-nominated, Feel Like Makin' Love.' Run With The Pack (1976) and Burnin' Sky (1977) have been newly remastered from the original production tapes. Each has been expanded with rare and unreleased recordings taken from the original album sessions. The CD versions of these Deluxe Editions include all of the new bonus tracks, while their 180-gram vinyl counterparts offer a selection of the bonus material.

During a rare break from touring, the band got together in France to record new songs using the Rolling Stones' mobile recording studio. Those sessions produced Run With The Pack, a 10-song album and rose to #4 in the UK.

The bonus disc includes unreleased early mixes for Honey Child' and Simple Man,' as well as an extended version of the title track. There's also the previously unreleased Let There Be Love,' an outtake from the recording sessions. The acoustic version of Do Right By Your Woman,' previously only available as the B-Side of the single release of Run With The Pack,' is the only song on the bonus disc that has ever been previously released.

Bad Company recorded four classic albums in as many years, giving rise to some of the most recognizable rock songs of the Seventies, including Rock Steady,' Run With The Pack' and the Grammy-nominated, Feel Like Makin' Love.' Run With The Pack (1976) and Burnin' Sky (1977) have been newly remastered from the original production tapes. Each has been expanded with rare and unreleased recordings taken from the original album sessions. The CD versions of these Deluxe Editions include all of the new bonus tracks, while their 180-gram vinyl counterparts offer a selection of the bonus material.

During the summer of 1976, the band returned to France to record 12 songs for what would become Burnin' Sky. They chose Château d'Hérouville as the studio, which is where David Bowie would record Low later that same year. Burnin' Sky was released in March 1977 and broke into the Top 20 in the UK.

The bonus disc features unreleased versions of nearly every song on the album, including alternative takes and mixes of Man Needs A Woman' and Morning Sun,' plus the full version of Too Bad.' The session tapes also unearthed Unfinished Story,' a song that was completed, but never released.

Bad Company recorded four classic albums in as many years, giving rise to some of the most recognizable rock songs of the Seventies, including Rock Steady,' Run With The Pack' and the Grammy-nominated, Feel Like Makin' Love.' Run With The Pack (1976) and Burnin' Sky (1977) have been newly remastered from the original production tapes. Each has been expanded with rare and unreleased recordings taken from the original album sessions. The CD versions of these Deluxe Editions include all of the new bonus tracks, while their 180-gram vinyl counterparts offer a selection of the bonus material.

During the summer of 1976, the band returned to France to record 12 songs for what would become Burnin' Sky. They chose Château d'Hérouville as the studio, which is where David Bowie would record Low later that same year. Burnin' Sky was released in March 1977 and broke into the Top 20 in the UK.

The bonus disc features unreleased versions of nearly every song on the album, including alternative takes and mixes of Man Needs A Woman' and Morning Sun,' plus the full version of Too Bad.' The session tapes also unearthed Unfinished Story,' a song that was completed, but never released.

Originally released on venerable Posh Boy Records in 1981, and reissued on the legendary UK label No Future to support their ever-growing European fan base, the "CH3" EP started the long and twisted career of one of the longest running bands among the prime movers of California Punk Rock. Hailing from the thriving community of Cerritos, whose frantic rhythms provided a natural soundtrack for boredom and outrageous alcohol abuse, Channel 3 were was formed by friends-since-third-grade Mike Magrann and Kim Gardener in 1980. Even though after their 'CH3' 12" and the seminal "Fear Of Life" LP the band kept moving towards a more technical approach, experimenting with other forms of music, their early production remains an archetype of young, angry, desperate suburban California punk rock. This enhanced reissue on Radiation also features their "I'll Take My Chances" 7", tracks from compilations, as well as the group's 'lost' anthem: "Indian Summer". File next to: Adolescents, Black Flag, TSOL and Social Distortion.

MIE unveils after long gestation Panisperna, the first practically available LP by Jantar, an outer-borough ensemble historically known for their creeping strain of easy listening most often heard in empty lots and abandoned diners. From the waves still reverberating from Canterbury Gongs and Soft Machines, Jantar propels green, driving rock forms, and leafs out into repeating rows of complex time and growth patterns

Avant-gardistic garage psych: Lichen Gumbo is a lo-fi underground rock band from Finland. The whole album was recorded during a week of seclusion in a small cabin deep in the woods with no running water and at home during an exceptional heat wave hitting Finland in 2014, hence the Boilin' title for this album of hazey tunes

Alternative Americana Rock n Roll hero Michael Ubaldini ' who fans and writers call 'The Rock n Roll Poet' is back with his latest batch of original gems, splashed across a 12-inch Vinyl EP.

Michael Ubaldini's songcraft artfully mines blues, rock, folk, roots and other styles in the service of stories chronicling rock 'n' roll outcasts, poets, lovers, losers and other real world travelers whose tales are well worth a listen. Fans of Steve Earle, Joe Strummer, Howlin Wolf, The Jayhawks, The Early Stones Dylan and Kerouac will all embrace Michael Ubaldini's ability to enthrall courtesy of the potent The Ballad Of Brian Jones,' giving the founding Stone his due since time & the business has purposely marginalized his contributions to the music world. The sardonic Jeanie Lees Phone', The timeless

An Innocent Man.' Not to Mention '9 Ball Shuffle', 'Mrs. Johnson ,Simpson & Tucker'& 'The Rooster Moans at Midnight'

The front cover is a rare unseen colour photo of Brian Jones supplied by legendary rock photographer 'Gered Mankowitz' who photographed the LP covers Between The Buttons & Out Of Our Heads & he dug the track about Mr. Jones ghost! This In your face Rock n Roll 6 song EP-song record is rooted in the sounds of, rock n' roll, Americana and Blues, w/ punk rock attitude with 21st Century lyrics



Nocturnal low-lives, falsely accused schmucks, ghosts, frisky married women and cute girls...Michael Ubaldin's musical universe is populated by a cavalcade of colourful characters, brought vividly to life through his evocative, frequently funny lyrics .'Jeanie Lees Phone' a 21st century song set to a stompin Chuck Berry Beat-A smash hit waiting to happen!'-Sam Wilson, Shindig Magazine UK



While even gifted songwriters are often content to revisit the same themes over and over again,' Michael Ubaldini is able to draw inspiration aplenty from a far-flung assortment of places. The affecting Mississippi blues-draped Ballad of Brian Jones' celebrates the enduring power of the late Rolling Stones guitarist's legacy, while Jeanie Lees Phones' takes an equally direct swing at those who see the world exclusively through their smart phone.'-Robert Kinsler, Desert Star Weekly

A tour split 10" from Pelt and Mike & Cara Gangloff with Matt Peyton. The 10" sees Pelts first new release since Effigy on MIE back in 2012, a long time ago. And Mike & Cara Gangloff in a much more stripped back version of their American Popular songbook form accompanied by Matt Peyton

Moore and Falkner burst through your door with "I H8 Ppl" and take you on a journey through rock, pop, and experimental textures. Anchors such as "Play My Self Some Music" and "Sincero Amore," keep the effort focused, while guitar-only interludes and spoken word pieces push boundaries. R. Stevie Moore and Jason Falkner are both brilliant solo artists but, as Make It Be loudly announces, their voices, performances, and arrangements make for a match made in heaven that's been realised here on earth.

Rubella Ballet are a gothic anarcho-punk band formed in autumn 1979 by former Fatal Microbes Pete Fender (guitar) and Gem Stone (bass) with vocalist Zillah Minx, and Flux of Pink Indians drummer Sid Ation. In 1980 Rubella Ballet released their first batch of material on a cassette album titled "Ballet Bag' for Poison Girls' XNTRIX Records. Their sound went from fast punk to full on Goth,

LA death rock originators Super Heroines may not be a household name now, but they were on the cutting edge of a variety of different scenes in the early 1980s. Band leader Eva O was simultaneously a member of Christian Death starting with their legendary debut, Only Theatre Of Pain, and worked with husband Rozz Williams in his later group, Shadow Project, until his untimely demise by his own hand in 1998. Meanwhile bassist Jill Emery went on to play with such divergent groups as Hole and Mazzy Star, and drummer Steven Darrow played in pre-Guns N' Roses group Hollywood Rose with Axl Rose and Izzy Stradlin. All of this is to show that the band had a huge mark of the LA scene, not to imply they are just a footnote. This, their first album was originally released in 1982, and is undoubtedly one of the finest examples of the LA death rock scene. Reissued in a numbered limited edition press with printed innersleeve.

LA death rock originators Super Heroines may not be a household name now, but they were on the cutting edge of a variety of different scenes in the early 1980s. Band leader Eva O was simultaneously a member of Christian Death starting with their legendary debut, Only Theatre Of Pain, and worked with husband Rozz Williams in his later group, Shadow Project, until his untimely demise by his own hand in 1998. Meanwhile bassist Jill Emery went on to play with such divergent groups as Hole and Mazzy Star, and drummer Steven Darrow played in pre-Guns N' Roses group Hollywood Rose with Axl Rose and Izzy Stradlin. All of this is to show that the band had a huge mark of the LA scene, not to imply they are just a footnote. Their second album, Souls That Save, came out in 1983 and would be their last record for nearly 10 years. Produced by Kaleidoscope's Chris Darrow, whose son was the drummer, the album picked up right where Cry For Help left off, with more classic '80s LA death rock. Reissued in a numbered limited edition press with printed innersleeve.

Ulrika Spacek return on June 2nd with the release of their second album, Modern English Decoration. Much like their debut album released in early 2016, the band chose to record, produce and mix the entirety of the record in their shared house - a former art gallery called 'KEN', so named because of a cryptic inscription found above the front door.

The relatively short amount of time between their first and second albums is testament to the band's self-contained creative environment and the productivity it encourages. There's a tendency to label this degree of self-reliant creativity 'DIY' - and the band do certainly feel emboldened by that ethos - yet to consider Modern English Decoration solely in these terms is a disservice. Their craft is considered and purposeful, the means of its production reflecting the band's overall vision rather than the value system of an often haphazard and accidental DIY culture. We enjoy listening to music through the album format and want our records to reflect that', says Rhys Edwards (guitars, vocals, synthesiser).

Ulrika Spacek formed in Berlin in one night, when 14-year-long friends Rhys Edwards and Rhys Williams conceptualised 'Ulrika Spacek' and came up with The Album Paranoia as their debut album title. Moving back to London with the intention to record it, they were joined by Joseph Stone (guitars, organ, synths, violin), Ben White (bass) and Callum Brown (drums, percussion), ossifying into the five-piece they are now. The album was released soon after with little forewarning and was accompanied by a year long, near-monthly club night called Oysterland.

Given the lyrics often favour abstraction and the vocals can be more impressionistic than declarative, the album title itself offers perhaps the most telling entry point to the record. In part, it's a self-effacing play on an interior design cliché that references the meticulous creative processes the band adheres to. There's also a nod towards the environment in which it was created - a Victorian house turned art gallery turned home studio

Unsurprisingly given the context of its creation, Modern English Decoration might be considered a companion piece of sorts to The Album Paranoia.But there are crucial differences. Most notably, this isn't the work of the Ulrika Spacek conceptualised by Edwards and Williams in Berlin - Modern English Decoration is the band as five rather than two people, and it shows. Those who have witnessed the intensity of their live show will instantly recognise the merits in this. The bass and drums provide a versatile anchor, at once soft, then aggressive, while the vocals drift woozily in and out, like druggy hindsight or skewed premonition. With three guitarists in the band guitars were always going to be central to the music, but what is less expected is the dynamic interplay between the trio that suggests a three-headed version of the Verlaine-Lloyd axis at the heart of Television. What's more, the absence of reverb is integral, in part attributable to the ambience of the studio, but also a conscious decision in order to add focus. And focus is the abiding term: this is an album designed to be just so - a 45 minute commitment, a surrender.

Ulrika Spacek return on June 2nd with the release of their second album, Modern English Decoration. Much like their debut album released in early 2016, the band chose to record, produce and mix the entirety of the record in their shared house - a former art gallery called 'KEN', so named because of a cryptic inscription found above the front door.

The relatively short amount of time between their first and second albums is testament to the band's self-contained creative environment and the productivity it encourages. There's a tendency to label this degree of self-reliant creativity 'DIY' - and the band do certainly feel emboldened by that ethos - yet to consider Modern English Decoration solely in these terms is a disservice. Their craft is considered and purposeful, the means of its production reflecting the band's overall vision rather than the value system of an often haphazard and accidental DIY culture. We enjoy listening to music through the album format and want our records to reflect that', says Rhys Edwards (guitars, vocals, synthesiser).

Ulrika Spacek formed in Berlin in one night, when 14-year-long friends Rhys Edwards and Rhys Williams conceptualised 'Ulrika Spacek' and came up with The Album Paranoia as their debut album title. Moving back to London with the intention to record it, they were joined by Joseph Stone (guitars, organ, synths, violin), Ben White (bass) and Callum Brown (drums, percussion), ossifying into the five-piece they are now. The album was released soon after with little forewarning and was accompanied by a year long, near-monthly club night called Oysterland.

Given the lyrics often favour abstraction and the vocals can be more impressionistic than declarative, the album title itself offers perhaps the most telling entry point to the record. In part, it's a self-effacing play on an interior design cliché that references the meticulous creative processes the band adheres to. There's also a nod towards the environment in which it was created - a Victorian house turned art gallery turned home studio

Unsurprisingly given the context of its creation, Modern English Decoration might be considered a companion piece of sorts to The Album Paranoia.But there are crucial differences. Most notably, this isn't the work of the Ulrika Spacek conceptualised by Edwards and Williams in Berlin - Modern English Decoration is the band as five rather than two people, and it shows. Those who have witnessed the intensity of their live show will instantly recognise the merits in this. The bass and drums provide a versatile anchor, at once soft, then aggressive, while the vocals drift woozily in and out, like druggy hindsight or skewed premonition. With three guitarists in the band guitars were always going to be central to the music, but what is less expected is the dynamic interplay between the trio that suggests a three-headed version of the Verlaine-Lloyd axis at the heart of Television. What's more, the absence of reverb is integral, in part attributable to the ambience of the studio, but also a conscious decision in order to add focus. And focus is the abiding term: this is an album designed to be just so - a 45 minute commitment, a surrender.

f you've been wondering what's been keeping Lee Southall busy all this time, you're about to find out. On Iron In The Fire, the former The Coral guitarist brings the outside world in through quality songmanship - showing that whichever paths our lives may take, our exposure to the elements will remain the same.

Taking an alternative path to each of his Coral cohorts, when the group disbanded in 2012, Lee left behind his native seaside town of Hoylake on the Wirral, and moved 75 miles inland to the 'tops' of Hebden Bridge. In search of a fresh start, the dramatic wind-beaten and changeable landscape gave Lee time and space to craft Iron In The Fire but equally, it lingers like the taste of the salty air hanging above the coast. 'I've lived by the sea and watched weather roll in, but it's the same in Hebden, watching storms roll over the moors,' Lee says. 'The place is changing all the time and sometimes looks a bit chocolate box, village of the year, but when the tourists are gone it can feel like the set of a 1970s BBC folk horror - a bit Wicker Man.'

Written in his new hilltop dwellings between spending time with his daughter ('Spread Your Wings' and 'Yesterday Morning' were inspired by her) Iron In The Fire's initial demos were home recorded in Lee's conservatory and the kitchen of good friend John Heron. Emerging from demos where birdsong interrupts the fret-squeaks, the album's warmth recalls the classically 70s West Coast America sounds of James Taylor and The Byrds, alongside Brit folk outsiders John Martyn, Bert Jansch, and Davey Graham. 'Recording in the conservatory was interesting,' Lee recalls. 'In some of the demos you can hear the rain battering on the roof. It has a natural quality I love. Some of that is in the album... the sound of fingers on strings. I wanted it to sound human, not too smooth or polished.'

In a sad turn of events, his friend Heron passed away having never heard the final record, but from those initial recordings Iron In The Fire evolved and just like the interchangeable weather of West Yorkshire itself, moves confidently from the beautiful to the mysterious. From the simplistic title-track which introduces a wave of erudite guitar with just a few lines of lyrics, to the heady textures of frenzied 'In Accordance,' or 'Misty Mae's reference to two worlds, we're given a full and varied picture of Lee's musical and personal journey so far.

'When I play the songs live it's fluid; they can and do change. I don't like things too structured. Some are like soundtracks, there's a lot of weird stuff going on around them,' he emphasises. Riding the elements, 'Under The Weather' and 'Above The Storm' incorporate Lee's love of films and classic TV series by bringing their own atmospheric tales into the fore whilst 'Sleep's pedal steel twang and the cello on 'Blue Skies' channels his inner Townes Van Zandt and Gram Parsons.

Self-financed, the album was recorded over just a few days at Manchester's Airtight studios with Lee's own league of melody makers; producer Seadna McPhaill, guitarist Ant Davey, and Mark 'Horse' Phillips on pedal steel with Al Lowles from Airtight on mastering duties. However the album is very much the sound of Southall standing alone on his own two feet. 'Music's in my blood, it's all I know how to do. The decision to work on my own album felt obvious, natural. Iron In The Fire feels like something I've been waiting for.'

Pleased to announce the reissue of The Spitfires critically acclaimed second album ‘A Thousand Times’ - available for the first time on lilac coloured vinyl plus a bonus 7” single with previously unreleased demo versions from the album sessions. 

Featuring the singles ‘So Long’, ‘On My Mind’ and ‘Return To Me’ - the album was to show a sharper, deeper vision for the band and a more honed songwriting craft than we’d seen previously from Billy Sullivan. 

“I think the album was basically ignored” recalls Billy. “It had only been a year since our first record and on reflection I think people may have not of been ready for a new album. It was also quite progression for us” 

Turn of the century rarities recorded by REDD KROSS in Hollywood between 1981 and 2007.

Limited edition on grey vinyl of this compilation which was self-released by the band and sold out immediately, being now a collector item which reaches insane prices in the second hand market.

Top quality recordings focused on their most explosive creativity period in the 90s.

Created to be a complete play experience with unreleased and rare tracks compiled from the Jeff McDonald archives.

A total must for all REDD KROSS fans around the world!

150 gram vinyl, gatefold, 500 copies ltd.

Yes! It exists! Here are the unreleased recordings of what would have been the very last album of THE GUN CLUB.

Recorded in the very last period of the band, between 1991 and 1993, the studio recordings that Jeffrey Lee Pierce did with THE GUN CLUB, with maximum quality and excellence of sound and presentation.

What Jeffrey Lee Pierce exposes here is highest vocal and guitar performing, from sounds which remind us to Jimi Hendrix and Television, to truly intimate heartbreaking blues, going through soul and rock. Includes covers from The Who, Wilson Picket and more.

Including lyrics and deluxe gatefold jacket, this release is a dream come true for all Jeffrey Lee Pierce / THE GUN CLUB fans all over the world.
Absolutely necessary!

Thin Lizzy COLLECTED is a great collection of the many faces of the band. In late 1972 Thin Lizzy released their first hit in the version of a traditional Irish ballad, Whiskey In The Jar'. It topped the worldwide charts. The band's album released later on in 1973 featured both the hit single and The Rocker'.

Nightlife, the fourth studio album was produced by Ron Nevison and featured Gary Moore on lead guitar on Still In Love With You'.

The fifth studio album Fighting showed the first real evidence of the twin guitar sound that would lead the band towards their greatest successes. It includes the tracks Suicide' and Wild One'.

After a successful multi-band tour in support of Status Quo, the band recorded the album Jailbreak. The album featured the tracks Jailbreak' and The Boys Are Back in Town', as well as the real gem Emerald'. The twin guitar sound had been fully developed by this time. Thin Lizzy flew to Canada in 1977 as a trio to record their next album, with Gorham handling all the guitar parts. The album included the songs Dancing In The Moonlight' and Bad Reputation'.

At the beginning of 1979 they recorded Black Rose: A Rock Legend in Paris. The album was released in 1979 and has been described as one of the band's greatest, most successful album. The tracks Do Anything You Want' and Sarah' are both included.

Lynott worked on his solo career with several albums. It spawned the solo tracks King's Call' and Yellow Pearl', as well as the track Chinatown'. In the meantime Thin Lizzy released their twelfth studio album including the wonderful tracks The Sun Goes Down' and Cold Sweat'.

12" single release of "Go!" by M83. A standout track on M83's 2016 release "Junk", this 12" single contains the title track plus one unreleased track and two remixes (including the Animal Collective/Deakin remix) all on blue vinyl.

12 track compilation of the rarest Slowbone material from their Rare Earth 'Wonderboys' period of 1973/4 including previously unreleased studio gems 'Round And Round', 'Nearly A Superman', 'So Glad I'm A Woman' and stacks more.

Pressed on heavy WHITE VINYL, this release is limited to 300 numbered copies and comes with glossy, double sided insert with full history, discography and plentiful photos/memorabilia.

Slowbone 'darlings of the east end'

The most weird exploito-pop attempting to fuse western popular music with folkloristic elements of different origins came from the 60s and early to mid 70s. Among tons of more or less entertaining releases a few diamonds could be found and YAMASUKI, the brainchild of French composers Jean Kluger and Daniel Vangarde is definitely a stand out production in this field. As you may have noticed, this album deals with Yamasuki, some fictional Japanese person about whom Kluger and Vangarde have created a musical concept story with a black belt judo master doing all the battle shouts and a female choir, the so called YAMASUKI SINGERS taking the lead vocal duties. All in Japanese language of course with strange grammar. At least it sounds Japanese, that is all what matters. The music itself is a simmering mixture of typical bloomy pop music of the late 60s with a psychedelic edge, elements of funk in the rhythmical department and some fuzzed out acid rock tunes thrown in for the good measure. The Eastern flavor might just be an illusion due to the language but all in all YAMASUKI is a beautiful western pop art vision of Japanese music. In fact it sounds and feels like many contemporary bands and projects that combined colorful powerpop with a heavier guitar sound and regional peculiarities which results in a simmering sound cocktail with fresh and exciting melodies. Fans of rich melody patterns will get their minds blown by this album. When Latin based funk and samba rhythms flow beneath a lush vocal arrangement as witnessed in Okawa', track five on the A side, you will certainly jump of joy and dance through your living room like a maniac. YAMASUKI is made to abduct you from reality and lead you into some exotic dreams. I could imagine some Italian adventure TV series like Sandokan' just with a story about Japan featuring this music. Anyway, it is great fun to listen to, well produced, well executed and has a very original conception.

This box contains all four solo albums by Bill Wyman, the first Rolling Stone to release a solo record. The first two (from 1974
and 1976, both issued on Rolling Stones Records) were made the help of a galaxy of musical friends like Lowell George, Dr John,
Joe Walsh, Van Morrison, the Pointer Sisters, Danny Kortchmar, Dallas Taylor, Leon Russell, Bob Welch and Nicky Hopkins.
- The eponymous third album was home to Bill's 1981 big hit single (Si Si) Je Suis Un Rock Star' as well as follow-up hits
Come Back Suzanne', A New Fashion' and Visions, while fourth album Stuff' appeared in 1992, originally in Japan only.
- The albums are now issued on vinyl for the first time since their original release (and 'Stuff' on vinyl for the first time ever),
gathered together in a beautiful rigid slipcase. The new inner sleeves feature all the lyrics and the musician credits.

Early pioneers of the German New Wave music scene, Din A Testbild were formed in 1978 by Mark Eins and Gudrun Gut (former member of Einstürzende Neubauten, Mania D. and Malaria!). Din A Testbild played a significant role in defining the avant-garde music of Berlin. Legendary is their partecipation at the Festival Genialer Dilletanten" in 1981.
'Programm 4' is their fourth album. Mixed and auto-produced by Mark Eins near the Wall in West/Berlin in 1983, the album was rejected at the time by Innovative Communication, considered too much synth/punk/techno', while the new label managers were looking more into new age stuff. In fact Schulze eventually sold the label in 1983, which started to release a plethora of acts loosely grouped around the NAM genre.

Early pioneers of the German New Wave music scene, Din A Testbild were formed in 1978 by Mark Eins and Gudrun Gut (former member of Einstürzende Neubauten, Mania D. and Malaria!). Din A Testbild played a significant role in defining the avant-garde music of Berlin. Legendary is their partecipation at the Festival Genialer Dilletanten" in 1981.
'Programm 3' is their third album. Mixed and auto-produced by Mark Eins with help of Ziggy Schöning, it was released on Klaus Schulze's record label Innovative Communication in 1983.