Pop & Rock Vinyl New Releases - News

Das Erscheinen der ursprünglich 1979 veröffentlichten Single "We Are All Prostitutes" kommentierte Nick
Cave einst mit den Worten: "It's one of those moments when the cogs of your mind shift and your life is going
to irreversibly change forever." Für alle, die damals noch zu jung waren, um die 7" zu erstehen, bietet sich mit
der von den Original-Bändern gemasterten Neuauflage die gelungene Möglichkeit, 36 Jahre später
Versäumtes nachzuholen. Dabei ist Eile gefragt, denn die farbige Vinyledition im Original-Artwork ist auf
1.000 Exemplare limitiert. Digitalfreunde haben parallel jedoch auch die Möglichkeit, die A- und B-Seite
downzuloaden. Tipp: "We Are All Prostitutes" erschien nicht nur als Single, sondern war auch auf dem Indie-
Chartbreaker "For How Much Longer Do We Tolerate Mass Murder" enthalten. Und genau der wird parallel
zur Single als LP und - erstmals! - CD veröffentlicht.

Der Legende nach gründeten Mark Stewart (Gesang), Gareth Sager (Gitarre), Simon Underwood (Bass) und
Bruce Smith (Drums) im Anschluss an ein Konzert der Sex Pistols die Pop Group. Das war 1979, im Jahr der
"eisernen Lady". Ein kreativer und folgenreicher Entschluss - schon 1980 veröffentlichte das radikalpolitische
Quartett aus Bristol mit "For How Much Longer Do We Tolerate Mass Murder" seine zweite LP.
Standesgemäß auf dem eigenen Y-Label mit Rough Trade als Partner. Das Album verbrachte 20 Wochen in
den britischen Indie-Charts und stieg dort sogar bis zur Nummer 1 auf. Wie der Titel bereits vermuten lässt,
handelt es sich hier um eine revolutionäre, dem antiimperialistischen Zeitgeist verpflichtete Veröffentlichung.
Angesichts der kurzen Bandgeschichte darf man "For How Much Longer Do We Tolerate Mass Murder"
ruhigen Gewissens als die Quintessenz dessen ansehen, was The Pop Group auszeichnete:
schwerverdauliche, aggressive, paranoide und mit einer ordentlichen Prise Funk gewürzte Sounds einerseits,
hochpolitische, kompromisslose und moralische Botschaften andererseits. Die remasterte
Wiederveröffentlichung von "For How Much Longer Do We Tolerate Mass Murder" erscheint als 180-Gramm-
Vinyl mit Downloadcard sowie - erstmals! - als CD im Digipak. Parallel erscheint die Single-Auskoppelung
"We Are All Prostitutes" als limitierte 7" mit farbigem Vinyl im Original-Artwork.t

Der Legende nach gründeten Mark Stewart (Gesang), Gareth Sager (Gitarre), Simon Underwood (Bass) und
Bruce Smith (Drums) im Anschluss an ein Konzert der Sex Pistols die Pop Group. Das war 1979, im Jahr der
"eisernen Lady". Ein kreativer und folgenreicher Entschluss - schon 1980 veröffentlichte das radikalpolitische
Quartett aus Bristol mit "For How Much Longer Do We Tolerate Mass Murder" seine zweite LP.
Standesgemäß auf dem eigenen Y-Label mit Rough Trade als Partner. Das Album verbrachte 20 Wochen in
den britischen Indie-Charts und stieg dort sogar bis zur Nummer 1 auf. Wie der Titel bereits vermuten lässt,
handelt es sich hier um eine revolutionäre, dem antiimperialistischen Zeitgeist verpflichtete Veröffentlichung.
Angesichts der kurzen Bandgeschichte darf man "For How Much Longer Do We Tolerate Mass Murder"
ruhigen Gewissens als die Quintessenz dessen ansehen, was The Pop Group auszeichnete:
schwerverdauliche, aggressive, paranoide und mit einer ordentlichen Prise Funk gewürzte Sounds einerseits,
hochpolitische, kompromisslose und moralische Botschaften andererseits. Die remasterte
Wiederveröffentlichung von "For How Much Longer Do We Tolerate Mass Murder" erscheint als 180-Gramm-
Vinyl mit Downloadcard sowie - erstmals! - als CD im Digipak. Parallel erscheint die Single-Auskoppelung
"We Are All Prostitutes" als limitierte 7" mit farbigem Vinyl im Original-Artwork.

Under the influence of the Beatles, the Group Sounds movement swept Japan in the mid-1960s. This esteemed compilation - out of print for over two decades - gathers a dozen of the wildest tracks in the genre, spanning surf-rock, fuzzed-up R&B and even psychedelia. It's sure to thrill fans of the further reaches of garage rock.

Soll man in die zweite Reihe zurücktreten, wenn man seinen Gutschein für die Warhol'schen 15 Minuten
Ruhm schon eingelöst hat Besser nicht! Denn sonst würde uns das wunderschöne Album "What Do People
Do All Day" entgehen. Einer seiner Vorläufer, "Businessmen & Ghosts" von 2007, enthielt den Song "Dead
Fingers". Und der tauchte an prominenter Stelle in der ersten Folge von "Breaking Bad" (2008) auf. Aber
Working For A Nuclear Free City darauf zu reduzieren, wäre nicht allein wegen des großen zeitlichen
Abstands fragwürdig. Wie kaum eine andere Band versteht es das britische Quartett, sich musikalischen
Kategorien und damit nicht erfüllbaren Erwartungen zu entziehen. Statt berechenbar zu sein, konzentrieren
sich die Herren Gary McLure, Phil Kay, Jon Kay und Ed Hulme lieber darauf, expansiv-dynamischen
Prozessen zu folgen. Wer also wissen will, was all die Leute den ganzen Tag über so treiben, der bekommt
eine zwar poppige, aber letztlich doch recht experimentelle Antwort zu hören, die einen weiten Bogen von
Beck über Brian Eno bis zu den Super Furry Animals schlägt. Besonders brillant ist dabei, dass es "What Do
People Do All Day" bei aller Vielseitigkeit nicht an stilistischer Kohärenz missen lässt.

An amalgam of progressive-jazz-psychedelic-folk music, featuring freeform compositions blended with moog and brass sounds, creating a soundtrack atmosphere combining avant-garde, jazz and space elements.

Exploring facets of hyparxis with an improvisational feeling, the Zenerik project heads straight into a 70`s krautrock inspired vision of jazz delivering an impressive result!

* 180 gr limited edition of 250 numbered copies (white vinyl, alternative cover)

Inspired 16-song compilation album featuring eleven remixes, four unreleased songs and a rare live track !
Angels Dust is producer Psychopop & singer Flavia. In June 2015 HIT+RUN released their mesmerizing debut EP 'Slow Tapes' (HNR48), six moody songs swathed in grainy reverb and dense production. Critics praised Angels Dust's hazy sound & haunting vocal stylings, bracketing their psychedelic dream pop alongside Portishead, Broadcast, Mazzy Star & Beach House.

In Summer 2015, four vocal tracks were passed to select producers (Dntel, Elusive, Tenshun, Esgar, Coto, Mystery Cave, Walter Gross, Giovanni Marks, Citizen Ten, Sinking Swimmer, Graveline, Gato & Chitlins) to reinterpret in their own method.

The consequence of these inspired individuals is 'Musings' (HNR59) a 16-song compilation album featuring eleven remixes, four unreleased songs and a rare live track.

Inspired 16-song compilation album featuring eleven remixes, four unreleased songs and a rare live track !
Angels Dust is producer Psychopop & singer Flavia. In June 2015 HIT+RUN released their mesmerizing debut EP 'Slow Tapes' (HNR48), six moody songs swathed in grainy reverb and dense production. Critics praised Angels Dust's hazy sound & haunting vocal stylings, bracketing their psychedelic dream pop alongside Portishead, Broadcast, Mazzy Star & Beach House.

In Summer 2015, four vocal tracks were passed to select producers (Dntel, Elusive, Tenshun, Esgar, Coto, Mystery Cave, Walter Gross, Giovanni Marks, Citizen Ten, Sinking Swimmer, Graveline, Gato & Chitlins) to reinterpret in their own method.

The consequence of these inspired individuals is 'Musings' (HNR59) a 16-song compilation album featuring eleven remixes, four unreleased songs and a rare live track.

Xtra Mile Recordings are excited to announce a brand new signing for 2016 - Ducking Punches.
Originally the solo acoustc songs of vocalist and guitarist Dan Allen, Ducking Punches are now a punk/rock quintet. Hailing from Norwich, the band has nearly 1,000 shows under their belt, including a European tour in 2014 with Frank Turner and Andrew Jackson Jihad, as well as festval sets at Reading and Leeds, Download, Groezrock, FEST and support slots alongside The Hold Steady, The Menzingers, Teenage Botlerocket, Franz Nicolay and Leatherface.
With two albums under their belt, the self-ttled debut from 2010 and Dance Untl You Sleep last year, they've collectvely cranked the vitality and volume while building melody, texture and drama with violins, gang vocals and amplifcaton. But they've never lost the pace and dynamics that brought Ducking Punches to such live acclaim. New material keeps that soaring course, songs that are as strrinas they are a call-to-arms, as blaring and exhilaratng as they can be heart-rending and tender. 'Ducking Punches are best witnessed live - there can't be many bands that threaten to blow The Hold Steady of stage as they did.' Outline Magazine
'This record exudes the spirit, and true meaning of punk from the core of the band. This is not a folk punk record that's full of jigs about drinking, or even flled with protest songs. 'Dance Before You Sleep
is nine tracks of well-writen, cohesive songs that are straight from the heart, which is exactly the plac that punk should come from.' Punktastc on Dance Before You Sleep.
'Ducking Punches ... delivered a frankly majestc set of emoton-soaked punk rock. Not only were the
songs the band played hugely passionate and real, but it was clear that they absolutely poured their
hearts into their on-stage performance too.' - The Punk Archive.

A ground-breaking concept record created with world renowned artists, The Long Road, will spotlight real-life experiences of refugees and asylum seekers in the UK and across the world.
5 new and exclusive tracks recorded by Scroobius Pip, Kindness, Sierra Leone's Refugee All Stars, Tinariwen and Robert Plant.
All profts go to The British Red Cross to help re-unite refugee families in the UK.
'We have a worldwide international catastrophe - talking about it is one thing, doing something about it is another. The position we are in, it's paramount we all do our best one way or another
to help.' - Robert Plant 'I wanted to get involved because it's a story worth telling. The idea is to educate people a little
more about what people go through, to put their stories in some kind of context. They're not just bodies getting off a boat'. - Ethan Johns (Producer)

This is just a collectors boxset, not intended to be the only way to get Wicked Lady vinyl, as it is limited and expensive. Soon after the box is sold out, we'll repress regular vinyl again together with our pal Martin Weaver, your guitar hero and ours too.

The stuff of a legend, Wicked Lady were the legendary UK power trio leaded by Martin Weaver. They played raw, unadulterated, psychedelic hard-rock and their sound is a real fest of fuzz and wah-wah featuring such proto-doom classics like Run The Night' and I'm a Freak'.

The stuff of a legend, Wicked Lady were the legendary UK power trio leaded by Martin Weaver. They played raw, unadulterated, psychedelic hard-rock and their sound is a real fest of fuzz and wah-wah featuring such proto-doom classics like Run The Night' and I'm a Freak'.



We present again their complete recordings, 1969-1972, in a deluxe leather-like box.


INCLUDES:

All four vinyl discs which were released by us before (all long gone) housed in two gatefold covers with special design for this release:

*Wicked Lady The Axeman Cometh' 2LP in gatefold sleeve with printed lyrics
*Wicked Lady Psychotic Overkill' 2LP in gatefold sleeve with printed lyrics

PLUS:

*8 page LP-sized insert with liner notes by Martin Weaver and photos
*Wicked Lady Tote Bag
*Wicked Lady Badge
*Wicked Lady Patch
*Martin Weaver Postcard

The Cleveland Wrecking Company were formed in San Francisco in 1965. Their members came from jazz, flamenco and R&B backgrounds, but together their psychedelic brew verged on Blue Cheer heaviness. As perennial local favorites, they gigged at every stage in the area. They left behind no recorded artifacts during this time; a deal with Vanguard went nowhere, when their manager absconded to Mexico with the album advance on an ill-fated mission to buy a kilo of pot. A later incarnation of the band - with a completely different lineup and musical style - released a 45 that has since become a favorite of cratedigging DJs, but This is not That. These two tracks hail from 1967-8 : one studio, one live (the sonics on the latter may remind of the VU's 'guitar amp' boot, but with a solo as overdriven and atonal as this, it's a plus). With liner notes by Jim Moscoso (CWC bassist, vocalist, brother of Victor) and rare photographs.

i

In 1972 Dschinn released their only album, after the group reformed from earlier projects such as the Dischas or The Hurricanes. With Dschinn the musicians Bernd Capito (lead guitar, vocals, chorus, lyrics), Peter Lorenz (lead vocals, chorus, rhythm guitar), Thanasios Paltoglou (drums, percussion), Uli Mund (drums, percussion), Silvio Verfürth (bass, vocals, chorus) entered new territories in sound, which can be generally described as Hard-Rock. Their selftitetled album is way above average and it left behind most of that times Krautrock releases by many miles. Strong songs, partly with stunning guitar riffs and solid drums, paving the way for lyrical highlights. The last song of the album is a cover of The Yardbirds' For Your Love, which turned out great. The album was produced in a recording studio in Bremen in 1972. Recommended for fans of Jeronimo, reaction, Blue Cheer, Yardbirds.

Regularly cited as one of the greatest pure Rock stars of all time, Philip Lynott had already guided hard rock heroes Thin Lizzy for over a decade and nine studio albums before embarking on his first solo effort, Solo in Soho, in
1980. Current and former Lizzy members guested on the album including Scott Gorham, Brian Downey, Snowy White, and Gary Moore. Brian Robertson also contributed to the writing of Girls,

Dire Straits frontman Mark Knopfler plays on 'King's Call', a lament to Elvis Presley. Huey Lewis plays harmonica on 'Tattoo (Giving It All Up For Love)' and 'Ode To A Black Man'. Lewis later covered the former on his 1982 album, Picture This.

'Yellow Pearl' was released as a single in two remixed versions - the first of these being later used as the theme tune from 1981-1986 for the British music TV programme Top Of The Pops.

* First time ever released
* Pressed inthe UK and housed in superior gatefold cover
* Includes printed band story with unseen photos

USA produced such a vast variety of garage bands, that were highly influenced by major known bands of the time like Jefferson Airplane, Jimi Hendrix & The Experience and The Grateful Dead. Every little town in the US has been over-flooded with teenagers full of enthusiasm and ideas reflecting the electrifying times, when everything suddenly seemed to be possible. One of the better local bands, that came and went with the '60s fading into plastic '70s were Ventura County' Bleu Forest. So far only a handful of people heard these 1968 unreleased recordings, which were hidden in Caviness (only surviving member) basement and let me say this: What we have here is a lost psych-garage classic. A crossover between groovy melodies of Moby Grape mixed with Steppenwolf heaviness. If you liked 'The Contents are' and 'Beauregard Ajax', this might just be in your alley! Produced by Freddie Piro and Jimmy Haskell, this album was originally
intended for a release on Tower records.

'Starfish' was originally released in 1988 and became The Church's breakthrough album fueled by the success of the classic single 'Under The Milky Way'. 'Starfish' is a fan favorite and a highlight of the late 80s era. The album finds the bands songwriting and performing chops in top form as heard on tracks such as 'Destination', 'Reptile', 'Antenna' and 'Hotel Womb'. On green translucent vinyl with printed inner sleeve. First time ever released on color vinyl!

Bury The Hatchet" was the fourth studio album by The Cranberries and was originally released in 1999. After the hiatus following "To The Faithful Departed" the band bounced back with the very consistent "Bury The Hachet" featuring the sweeping melodies and soaring vocals they had become known for. "Bury The Hatchet' is filled with gorgeous songs such as "Animal Instinct," "Saving Grace," "You and Me," and the more delicate "Shattered." While the power of Dolores O'Riordan's vocals are heard on the rockers "Promises" and "Delilah." Gatefold sleeve with printed inner sleeves with photos and lyrics.

The second album from the brothers Reid, originally released in 1987. Darklands is more accessible and hooky than Psychocandy, leaving most of the feedback and some of the noise behind to focus on the songs and to make a clear break from the legendary debut album. With tracks such as 'April Skies', 'Darklands', 'Happy When It Rains' and 'Nine Million Rainy Days' the Reid's proved they had plenty of great songs in them and wouldn't be boxed in by the past. An all out classic from the 1980s reissued on blue vinyl.

The Vibrators, much like The Stranglers, were significantly older than the other bands comprising the London punk scene in 1977. What they lacked in refined skill, they made up for with insidiously catchy songwriting that captured the minimalist energy of their younger punk rock peers. After releasing two of the essential documents of the punk-era (Pure Mania and V2), the original Vibrators broke up, only to reform two years later and issue Guilty, a first class piece of power-pop/punk mastery, bolstered by the melodic songwriting. Ripe for a reissue, Guilty is finally back in print on vinyl.

Revered Chicago-based instrumental group Tortoise, comprised of Dan Bitney, John Herndon, Doug McCombs, John McEntire and Jeff Parker, have spent 25 years making music that defies description. While the quintet have nodded to dub, rock, jazz, electronica and minimalism throughout their acclaimed and influential six-album discography, the resulting sounds have always been distinctly their own.

It's a fact that remains true on the hotly anticipated forthcoming new album 'The Catastrophist', due out 22nd January via Thrill Jockey and Tortoise's first studio album in nearly seven years. They have conjured sounds that aren't being purveyed anywhere else in music today.

Recorded at McEntire's famed Soma Studios, it's an album where moody, synth-swept jams like the opening title track cosy up next to hypnotic, bass-and-beat missives like 'Shake Hands With Danger' and a fantastic cover of David Essex's 1973 hit song 'Rock On' sung by U.S. Maple's Todd Rittmann. Throughout, the songs on The Catastrophist transcend expectations as often as they delight the listen's eardrums.

Rock On isn't the only vocal moment on the album. Yo La Tengo's Georgia Hubley distinctive tones are on the bittersweet classic soul/R&B vibe ballad 'Yonder Blue'. This also marks the first time a Tortoise album will feature a guest vocalist singing original lyrics.

'Gesceap', the first track which you can hear from The Catastrophist, is a stunning seven-minute long, minimalist rhythmic piece, morphing from two gently intersecting synth lines into a pounding, frenzied full-band finish.

Travelling is a keyboard based trio that probably represents best what the mythical Futura label's RED series was about; jazz, rock and experimental inquisitiveness. Often considered as the French answer to the Canterbury movement, echoes of Soft Machine, Caravan and Supersister can be heard on the sidelong opening track 'Voici la nuit tombée', the album's tour de force , with its fuzz bass, distorted organs, piano jazz and complex meters elements. First time vinyl reissue of this 1973 pioneering prog jewel fully licenced by Gérard Terronès.

Triode was a french psych prog band from the early 70's. Their sole album 'On N'a Pas Fini D'avoir Tout Vu' released in 1971 combines the fascinating flute playing of Michel Edelin, the psychedelic guitar sound of Pierre Cherez (also of Ys & Bernard Szajner companion) and the groovy rhythm section of Didier Hauck & Pierre-Yves Sorin. Remained obscure even in prog circles, this instrumental jazzy prog monster is finally available again in its original form. First time vinyl reissue fully licenced by Gérard Terronès.

'Bogey in Sight' (1973) is the original soundtrack of an Italian war movie that never saw the light of day. Just recently this unknown Dutch-Italian production was discovered in a private archive in Rome. Next to a reel of the only known version of 'Bogey In Sight' entitled 'Il Nemico In Vista' were the master tapes of the original soundtrack, produced by the late Abraham Barber and Thomas Jackson as 'The Messengers' (not to be confused with the Minnesota Rock group). Psychedelic Rock, Funk and movie score reinforce each other. The Bogey In Sight soundtrack originally contained 12 tracks. Unfortunately three tracks seem to be forever lost. Luckily 9 of them are now restored, mastered for the first time and released by Redrum Recordz in collaboration with Rundfunk.

The Average White Band, a group of Scotsmen playing American soul and funk music, came together in the late Sixties and topped the US chart in 1974. A version o the band led by bassist Alan Gorrie tours to this day while guitarist Hamish Stewart
went on to be Paul McCartney's musical right hand man.

This hour-long TV showcase from the Rockstage series, filmed by Central Television at Nottingham's Theatre Royal in 1980, catches the classic AWB line-up in their prime. It includes that years UK Number 12 dance smash 'Let's Go Round Again',
transatlantic hit 'Queen Of My Soul' and much more.

Big Ups' second LP, Before A Million Universes, is at once a fist in the face of complacency and a sonic affirmation to, in Walt Whitman's words, "let your soul stand cool and composed before a million universes."

Pretty heady subject matter... Joe Galarraga (vocals), Amar Lal (guitar), Carlos Salguero Jr. (bass), and Brendan Finn (drums), met studying music technology at NYU. Five years later, the city's notorious crucible of garbage, money, and humanity has had a profound and delightful impact on their art.

"Tell me what you're worth / Salary, two weeks off work" Galarraga screams on "Capitalized," as the bassline frantically roams our conscience like a wet-nosed dog. Galarraga's vocals burn with the heat of a thousand day jobs.

Yet all this righteousness is worth as much as a Che t-shirt if it lacks humility, and more than any of the band's previous work, Before A Million Universes plumbs the depths of self-deception in wickedly clever ways. Who doesn't own a coat made of "The Feathers Of Yes"

"Count the ideas in my head so I can love every one," our protagonist coos before Lal's guitar tosses lightning bolts through his cloud. "And it feels so warm / wrapped in self-righteous truths."



"Yawp" unspools the exercise in futility that is the overexamined life to the tune of a lumbering giant stomping across a field of insecurities. "How many times can you be poured through the still to the point of perfection / I've dropped myself through the coils so many times but always come out with something missing / And the proof's so high it makes me dizzy."

The album's emotional and musical core lies in "National Parks," a song Galarraga wrote as a tribute to the sacrifices his mother made to raise him.

We're led through the anger and bewilderment—at his mom's solitary walks through their neighborhood and the selfishness inherent to childhood—and into a coda where you can almost see the sun streaming through the trees of Galarraga's park, drums steady and swelling, a transition in tone and mood that this band has nearly perfected. "I think I saw her say to herself / This is everything I've missed."



Before A Million Universes is Big Ups at their most sincere, urgent, and vital— a salty kiss from the wet lips of Brooklyn's bard

Uriah Heep were pioneers in taking music to the rock-starved former Iron Curtain countries. And where better to start than in the heart of the Soviet Union The band wowed Moscow's Olympic Stadium in December 1987, playing ten consecutive nights and proving Mick Box's merry men - still active today - rank alongside
Zeppelin, Purple and Sabbath as global hard-rock trailblazers.

The latest release by the Parisian label is thanks to a fluke find by an Antinote family member, who by pure chance, unearthed an unreleased guitar and synth musical jewel from Italy circa 1984. An until now unknown collaboration between a guitar maestro, composer of contemporary dance scores with a gifted electronic music composer. *Includes Download Code* BIG TIP!
.
Melodic complexity and rhythmic sonic beauty embrace to create a unique and timeless classic that has already achieved cult status among the few who have heard it. Obvious comparisons can be made between the Paki - Visnadi record with the softer ambient side of vintage German electronic i.e. Gottsching, Schnitzler, Cluster etc. but that would be too easy, as this recording stands alone with its uniquely Italian atmosphere of sophisticated and complex simplicity.

This now rediscovered session was recorded by two Venetians: Paki Zennaro (then working with René Aubry for Carolyn Carlson) and Gianni Visnadi (an experimental composer) who met one evening over a glass of vino and decided to work together for the first time with the intention of recording contemporary music to be used by dance schools for study and exercise. Recording on reel to reel tape using electronic equipment (Seq.Circuits Pro One, Prophet 5, TR 808, Roland guitar synth) with an acoustic 12 string guitar gave birth to IMAGINARY CHOREOGRAPHY. When finished and mixed, a few BASF LHextra cassette copies (maybe 6 or 8 only) were sent out to a few friends with a homemade photocopy insert, complete with hand written track names and production details.

A chance find in a Paris market of one of these original demo cassettes led to this wonderful lp finally seeing its first release. This now famous BASF tape was found one lucky morning by Johanna Heather Anselmo (filmmaker, photographer and musician) while searching for musical surprises in a box of tapes that had probably been at that same flea market for 20 years or more. Mademoiselle Johanna is used to rummaging in boxes of dusty tapes, being the girlfriend of Antinote artist Iueke who has the unusual habit of hiding tapes all over their flat. A bit of searching by Iueke lead him to finding contact information for Maestro's Zennaro and Visnadi who were happy to oblige with releasing this almost forgotten 1984 session. Master tapes were sent to paris for immediate transfer and mastering, while the Check Morris team worked with usual class on adapting and reworking the cassette tape artwork for a vinyl issue. We and the people at Antinote are eternally grateful for this lucky find, as i'm sure you all will be too after listening to this musical discovery. Open a bottle of vino and sit back.

Blues For Salvador was released in 1989. Dedicated to his wife, Deborah Santana, the record was released as a solo project, without the Santana band. It won the 1989 Grammy Award for Best Rock Instrumental Performance, his first Grammy ever.

On previous solo albums, Santana had made noticeable stylistic changes and worked with Jazz, Pop, and even Country musicians. On this, his fourth Carlos Santana release, the line between a 'solo' and a 'group' project is blurred; this record is really a catchall of Santana band outtakes and stray tracks.

Included are an instrumental version of 'Deeper, Dig Deeper' from Freedom, and an alternate take of 'Hannibal' from Zebop!, as well as 'Now That You Know' from the group's 1985 tour. 'Trane' features jazz drummer Tony Williams on drums.

Deep Purple
Who Do We Think We Are (180g LP)
Woman From Tokyo . Mary Long . Super
Trouper . Smooth Dancer . Rat Bat Blue .
Place In Line . Our Lady .

A marginal but respected songwriter in his own lifetime, Eddie Noack has become a Honky-Tonk legend in the decades since his death, best known today for an obscure 45 he cut in 1968 called 'Psycho'
Noack was a stellar songwriter and consummate performer who never really got his due. Here, for the first time, are reissued some of Noack's very rarest recordings - some fine LP cuts (recorded in Nashville 1973) that was only ever issued in the U.K (on a minuscule label) and a multitude of rare '60s/'70s 45 only cuts that are rescued from undeserved obscurity. Many of these cuts are the equal of anything in the Noack canon - dark empathic ballads and wry commentaries on the human condition. 'A Few Good Funerals' is a sardonic take on small-town mores, 'Before You Use That Gun' a desperate plea for mercy and 'The Memories Are Restless Tonight' a chilling elegy from a man at the end of his tether. Though schooled in journalism, Noack devoted his life to country music - he went largely unrewarded but left collectors a large body of stunning work. Equally adept at Honky-Tonk weepers, Gospel odes and grim murder ballads, Eddie Noack was always 'pure country.'

Hardy was immortalized in 1964 in a poem by Bob Dylan, she associated with The Stones, and dined with Beatles Paul McCartney and George Harrison. She also soon gained more creative control over her music, and she now distances herself from these early recordings where this was not the case. Even if I had been able to say something about the production,' she says now, maybe I would have been listened to, but I didn't know anything.' In the album's title track, Hardy sang about being a soul in torment, and this is the Hardy that emerged-a complicated, pensive outsider, part pop singer, part chanteuse, and utterly unique.
Between 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs-pop music's main format in France, known as le super 45. In them, we see the maturing of one of the decade's most singular talents- a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, Future Days present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.

Raised by her mother in Paris, Hardy's upbringing was strict, and she was, she notes today, a very, very shy person." Records and Radio Luxembourg provided escape and inspiration-her two loves were Chanson Française, the Gallic style of Edith Piaf and Charles Aznavour, and rock'n'roll. The Everly Brothers, she says, were a lightning bolt.'

Sent to The Sorbonne to study political sciences, Hardy instead pursued a career as a singer, auditioning for a number of labels before Johnny Hallyday's Disques Vogue snapped her up, intending to market her as a female rocker-the track "Oh Oh Chéri" here gives you a window into their vision. Hardy had other ideas and was determined to record her own songs, written in French, too. The runaway success of one of her own tracks, the iconic "Tous Les Garçons Et Les Filles," proved Hardy right.

A mix of Hardy's own songs, Blackwell's songs, and tracks from writers including Jean-Max Rivière and Gérard Bourgeois (who wrote the title track), the sound focused on stirring, heavy pop, not least in the yearning "L'Amitié." I'm still very proud of 'L'Amitié,'' says Françoise, who's wont to undervalue her own work. The French lyrics are so very moving.'
Between 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs-pop music's main format in France, known as le super 45. In them, we see the maturing of one of the decade's most singular talents-a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, Future Days present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.

By 1965, Françoise Hardy was truly international. She'd hung out with The Beatles and The Stones, played high-profile shows in London, established a working relationship with British producer Charles Blackwell, and appeared in the film What's New Pussycat She was also a fashion icon seen in the pages of Marie Claire and Vogue and on the cover of Elle, and her first US album was issued that year.

In France, Hardy was to release album number four, the second album to be recorded in London, where her celebrity was rapidly growing-at odds with her natural shyness. In London, it was the first time I'd been made to think I had a certain charm or charisma,' she says now. Thanks to the time in England, I became aware I could be seductive.' L'Amitié, with its evocative, close-up album cover and late-night sound, is the result.

Produced by Jacques Wolfsohn alongside arranger Charles Blackwell, the sessions were notable for some distracting visitors. Mick Jagger was there a few times with various entourages of his at Pye (Studios),' recalls Blackwell. There was a long seat in front of the mixing desk where they used to sit.'

Hardy was, however, not the epitome of the swinging '60s idyll, she was an intellectual, into yoga and Buddhism and astrology, and she still noted French chanson singers George Brassens and Jacques Brel as favorites alongside Elvis, Dionne Warwick, and The Rolling Stones.

Despite her new links to the world of fashion, the tentative steps into film, the growing international awareness, and the attention she brought sheerly through her presence, music remained Françoise's focus, and her fourth album more than demonstrated this.

Yearning songs delivered with an intimate authority, at odds with the perception of Hardy in Britain and beyond, where she was seen as an ultra-fashionable, ultra-hip Parisian sophisticate, but totally in line with everything she'd ever striven for musically.
Between 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs-pop music's main format in France, known as le super 45. In them, we see the maturing of one of the decade's most singular talents-a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, Future Days present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.

Hardy's fifth album was a collection of English-language recordings. For her next, released in October 1966, the focus was back on her home market in France, where things were changing quickly. Writing much of her own material was no longer a novelty-her future partner, Jacques Dutronc, was doing the same, and artists like Antoine were following Dylan's lead.

1966 was the year Hardy met Dylan, who demanded an audience with her at his Paris gig and later performed for her at a party. It was only later that it occurred to me that he was singing 'I Want You' because he actually wanted me,' she says. Françoise said Dylan was not part of her world. As La Maison Ou J'Ai Grandi proved, Hardy's world was perfect and fleshed out and set-five albums in, she had a sound, mood, and feel all her own.

Recorded in London, the hit "La Maison Ou J'Ai Grandi" solidified what Hardy did best: marrying French chanson songs to epic production influenced by Phil Spector, Dusty Springfield, and George Martin, the toweringly powerful "Je Changerais D'avis," which opens the LP, is a prime example.

Though Hardy had formed a strong working relationship with producer Chris Blackwell, nine of the twelve tracks were arranged by Johnny Harris, known for his work with Petula Clark and Tom Jones. Although the artist and language were French, the album drew from an internationalist, polyglot world-six tracks were penned by Hardy, the remainder cherry-picked from French, British, and Italian songwriters.

And despite its varied sources, the album was a cogent artistic statement. Françoise had returned to acoustic sounds like with her earliest songs, accompanying herself on a Spanish guitar, and was reasserting her own vision of her music.

Frank Turner's fourth studio album 'England Keep My Bones' is his most commercially successful album to date. Selling over 100K album worldwide it spawned his hit singles 'If Ever I Stray', 'I Stll Believe' and 'Wessex Boy' all three of which are mainstays in his live show tll this day.
It was the success of this breakthrough album that lead to Frank headlining and selling out Wembley Arena in April 2012 - and brought him to the atenton of one Mr Danny Boyle who then hand-picked him for the stunning London Olympic Opening Ceremony.Recorded in Crouch End's Church Studios, and released in June 2011 Frank, together with his band The Sleeping Souls and producer Tristan Ivemy created a record with a quintessental English sound.
'England Keep My Bones' has a nostalgic feel to it - an homage to his homeland, friends and family. Featuring contributons from ex-Hold Steady keyboardist Franz Nicolay, folk singers Emily Barker and Chris T-T, and Unbelievable Truth's Andy Yorke, he covers themes of mortality, relatonships and religion in what is a bold, ballsy yet beautful album.

Mark Kozelek und Justin Broadrick veröffentlichen das Debütalbum ihrer Zusammenarbeit als Jesu/Sun Kil
Moon am 22. Januar. Das Album ist 79 Minunten lang und enthält Gastbeiträge von Rachel Goswell, Low,
Isaac Brock, Will Oldham und anderen. Zwei Songs gab es bereits vorab im Netz zu hören, einer davon,
"Exodus" ist Nick Caves verstorbenem Sohn gewidmet.

Fröhlicher Gossenhauer-Folk, der in die unterhaltsamen Abgründe längst vergangener Zeiten entführt.

Das hat die Welt noch nicht gesehen, geschweige denn gehört! Mit einem einzigartigen Musikstil, der einer
Ansammlung musikalischer Schnapsideen entsprungen scheint, entführt Knasterbart auf "Branntwein für
alle!" die Hörer in die unterhaltsamen Abgründe längst vergangener Zeiten. Im Gepäck hat der
Zusammenschluss lasterhafter Halunken - darunter Malte Hoyer von Versengold und Simon Erichsen (Mr.
Hurley & Die Pulveraffen) - liederlichen Humor, frivole Wunschträume und eine gute Portion Selbstironie. Die
Texte und ausgereiften Kompositionen des historisch gewandeten Sextetts stammen komplett aus eigener
Feder und bringen einen unverwechselbaren, tanzbaren und durchaus neuzeitlichen Sound auf die Bühne,
der sich fröhlich Gossenhauer-Folk schimpft. Binnen kürzester Zeit schaffte es Knasterbart durch die
Kombination von zahlreichen, teilweise auch ausgefallenen Instrumenten wie Geige, Kontrabass, Mandoline,
Flöte und Drumset zum Geheimtipp der Festivalreihe Mittelalterlich Phantasie Spectaculum (MPS) zu
werden. Mit bis zu 5-stündigen Konzerten (!) bot die Band hier ein Folkrock-Ereignis der ganz besonderen
Art, das dem Publikum noch lange im Gedächtnis bleiben wird.

Solodebüt des Delta-Spirit-Frontmanns: Größenwahnsinniges Werk mit ganz eigener Magie.

2015 war für Matthew Logan Vasquez ein Jahr großer Veränderungen. Zum einen, weil er mit seiner
norwegischen Frau Marthe von Brooklyn nach Austin zog und dort die Geburt seines erstens Kindes Thor
erlebte. Zum anderen, weil er sich dazu entschloss, nach einem Jahrzehnt mit seiner nicht nur von Kritikern
gelobten Band Delta Spirit mal etwas alleine auf die musikalischen Beine zu stellen. So entstand Vasquez'
Solodebüt "Solicitor Returns" sowie die gleichzeitig ebenfalls bei DevilDuck, aber nur digital und im Doppel
mit dem Vinylalbum erscheinende EP "Austin". Vasquez hatte gute Gründe, auf Solopfaden zu wandeln, denn
er wollte zurück zu der Art von Rockmusik, die er so sehr liebt. Und wenn er solo sagt, dann meint er auch
solo. Auf "Solicitor Returns" hat er alle Instrumente, außer die Drums bei zwei und die Gitarre bei einem
Song, selbst gespielt. Natürlich bedeutet das nicht das Ende von Delta Spirit. Es ist wohl nur natürlich, wenn
ein Frontmann sich einfach mal solo fallen lassen will. Hört man sich seine Songs an, so hört man Iggy Pop,
Neil Young, Kurt Cobain und Gram Parsons, aber letztlich doch immer den puren Matthew Logan Vasquez.
Das heißt einen Künstler, der brennt und den "shit out of rock music" liebt und lebt. So sehr, dass es sein
Lebensziel ist, die Massen wieder mit diesem Spirit zu verbinden. Das sollte klappen!

Solodebüt des Delta-Spirit-Frontmanns: Größenwahnsinniges Werk mit ganz eigener Magie.

2015 war für Matthew Logan Vasquez ein Jahr großer Veränderungen. Zum einen, weil er mit seiner
norwegischen Frau Marthe von Brooklyn nach Austin zog und dort die Geburt seines erstens Kindes Thor
erlebte. Zum anderen, weil er sich dazu entschloss, nach einem Jahrzehnt mit seiner nicht nur von Kritikern
gelobten Band Delta Spirit mal etwas alleine auf die musikalischen Beine zu stellen. So entstand Vasquez'
Solodebüt "Solicitor Returns" sowie die gleichzeitig ebenfalls bei DevilDuck, aber nur digital und im Doppel
mit dem Vinylalbum erscheinende EP "Austin". Vasquez hatte gute Gründe, auf Solopfaden zu wandeln, denn
er wollte zurück zu der Art von Rockmusik, die er so sehr liebt. Und wenn er solo sagt, dann meint er auch
solo. Auf "Solicitor Returns" hat er alle Instrumente, außer die Drums bei zwei und die Gitarre bei einem
Song, selbst gespielt. Natürlich bedeutet das nicht das Ende von Delta Spirit. Es ist wohl nur natürlich, wenn
ein Frontmann sich einfach mal solo fallen lassen will. Hört man sich seine Songs an, so hört man Iggy Pop,
Neil Young, Kurt Cobain und Gram Parsons, aber letztlich doch immer den puren Matthew Logan Vasquez.
Das heißt einen Künstler, der brennt und den "shit out of rock music" liebt und lebt. So sehr, dass es sein
Lebensziel ist, die Massen wieder mit diesem Spirit zu verbinden. Das sollte klappen!