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The band emerged in the late 70s punk scene in Glasgow and released a handful of singles in the 80s but not a debut album until 2014. This highly anticipated follow up is a must have for fans for unique, honest rock n roll. It's a truthful, painful and raw document of The Lonewolves at the height of their powers

James LaBrie, international bekannt als Sänger der Progressive-Metal-Ikonen Dream Theater, begibt sich mit seinem vierten Soloalbum 'Beautiful Shade of Grey' auf unbekanntes Terrain. Auf dem neuen Werk verarbeitet er persönliche Reife, Verlust, eine Vielzahl komplexer Beziehungen und vor allem LaBries brennende Leidenschaft für die Musik. Auf dem Papier nahm das neueste Studiowerk des kanadischen Sängers bereits kurz nach dem Auftauchen der weltweiten Pandemie Gestalt an. Aber in Wirklichkeit hat LaBrie mit seinem Kollegen, dem Bassisten Paul Logue, schon fast ein Jahrzehnt zuvor eine Verbindung aufgebaut. Auf 'Beautiful Shade of Grey' geht es nicht darum, etwas zu erschaffen, das einer bestimmten Genre-Charakterisierung entspricht, sondern vielmehr darum, einen schönen Ausdruck in einer breiten Palette von Musikern zu finden und zu wissen, dass das Abweichen von vertrauten Gewohnheiten Teil des kreativen Wachstums ist. Erhältlich als Ltd. CD Digipak, schwarze 180g LP+CD sowie als Digitales Album.

UMC is pleased to announce the first-ever vinyl edition of James Taylor’s 2007 live album, One Man Band. Available June 7th, the double-LP set is pressed on 180-gram vinyl, and housed in a deluxe gatefold jacket. Mastered by Ryan Smith at Sterling Sound and pressed at RTI, this uniquely intimate performance captures Taylor at his best—paired only with his guitar, drum machine and esteemed keyboardist Larry Goldings (John Mayer, Sia, John Scofield) plus pre-recorded accompaniment of the Tanglewood Festival Chorus on “My Traveling Star” and “Shower The People.” Full of his signature wit and warmth, Taylor’s anecdotes—interspersed throughout the evening—offer background on some of his most popular songs.

Dad Loves His Work was James Taylor's tenth studio album. The album is a real fan favorite because it was Taylor's first album without covers. Again, James Taylor had a real commercial success, Dad Loves His Work was certified Platinum. The album also contains the hit single "Her Town Too", a wonderful duet with singer/songwriter J.D. Souther. The song peaked at number 11 on the Billboard Hot 100.

Dad Loves His Work is available as a limited edition of 1000 individually numbered copies on blue coloured vinyl.

October Road is the fifteenth album by singer-songwriter James Taylor and is one of the few albums by Taylor to feature only original material. The album was nominated for a Grammy Award for Best Male Pop Performance, debuted at number four on the Billboard 200 and was certified platinum by the RIAA. The
12-track set is one of his most popular efforts, but also one of the most personal of his career.

The album spawned five singles: the title track, “On The 4th Of July”, “Whenever You’re Ready”, “Belfast To Boston” and “Raised Up Family”.

October Road is available as a limited edition of 1000 individually numbered copies on gold & black marbled vinyl and includes a
4-page booklet.

This LP is a compilation of songs from five different digital-only demo collections I released on Bandcamp between 2021 and 2023. I relied on the ears and judgment of my old friend Dom at Feral Child to curate this comp, allowing him to choose his favorites from over 60 songs. While I might have chosen an entirely different batch of tunes, I was happy to defer to Dom, as I’ve never had much perspective when it comes to assessing my own material. All of the songs on this album were recorded at home, mostly on the same day they were written. Most of them are first takes, intended to provide a template for a theoretical band to follow if and when the songs were to be re-recorded “properly” at a later date. A few have since been re-recorded for studio records, and a few others remain in contention for future studio records.

"Irish singer, songwriter, multi-instrumentalist, and producer, James Vincent McMorrow, returns to the fore with his seventh full-length album Wide open, horses, out June 14th, 2024.

Wide open, horses is a candid snapshot of everything that has brought James to this point. The album signifies a retaking of his own narrative, a freeing self-acceptance, and a rebuilding of both his sense of self and his connection to music. Singles “Stay Cool”, “Never Gone” and “Give up” offer a first taste of what fans can expect, leaning further into the introspective and sincere indie-folk sound of his earlier material, whilst incorporating elements of his more explorative later releases.

A unique and particularly special artist project, Wide open, horses was initially performed live having booked two nights at The National Concert Hall in Dublin, where he recorded a handful of lo-fi demos, practiced the material for a week, and then hit the stage prior to ever recording a single song. Phones weren’t allowed, but James recorded it to “see what worked and what didn’t work.”

James has beckoned listeners to open their minds and hearts since his emergence in 2010. Along the way, he gathered over 1 billion streams across an expansive catalog. Among many standouts, “Higher Love” went BPI Gold in the UK and ARIA platinum in Australia. His cover of Chris Isaak’s “Wicked Game” soundtracked the trailer for Season Six of HBO’s Game of Thrones and generated over 130 million Spotify streams on its Live At Killkenny Arts Festival version. Toppling charts, 2016’s “We Move” notably debuted at #1 in Ireland. At the same time, he lent his voice to “Hype” from Drake’s multiplatinum blockbuster Views, “I’m In Love” from Kygo’s Cloud Nine, and “Run Away” from dvsn’s Morning After, among others. Meanwhile, he’s sold-out tours on multiple continents, even packing the world-famous Sydney Opera House twice."

On Columbia Records - fifth album from Irish alt/rock/folk singer songwriter.

Jamie Lenman will be releasing a brand new mini album of original material 'King Of Clubs,' due out 25th September through Big Scary Monsters. This is a record returning Jamie back to his roots as a song writer, whilst also allowing him to push his creative mind with it not being a full blown, full length album. 'King Of Clubs' is a follow up to 2018's brilliant 'Shuffle', Speaking about the upcoming album, Jamie said "I didn’t want to make another full album straight after 'Shuffle', I wanted to give people more time to digest that, but I did want to get back to the studio fairly quickly and record something original just to remind people I’m still a songwriter first and foremost. I was wary of repeating what we’d done with (one off single featuring Justine Jones from Employed To Serve) 'Long Gone' coming after (2016 album 'Devolver'), so I tried to make an EP instead of a single - but by the time I got there, I’d written so much material on the road and in rehearsals we ended up with enough for a mini album. I’ve always loved the format, so many of my favourite records are seven or eight tracks long, I think it’s a perfect package. It’s the musical version of a novella, like Conrad’s ‘Heart Of Darkness’ or Waugh’s ‘The Loved One’, which I was actually reading at the time of recording. It’s a dirty, dark-sounding record based on uncomfortable, conflicting emotions." Working again with producer Space (Idles, Black Futures), the pair came up with a word, ‘neisty’, to guide them as to how it should sound - "A perfect mixture of nasty and nice. I see this record as the closing chapter in a very creative and enjoyable period working with Space – the last piece in a very loose trilogy with 'Devolver' and 'Shuffle' before it, white red and black. It’s the angriest and most political record I’ve made since Muscle Memory, a painful place to be. I wouldn’t have wanted to make a full album like this, I think it would have been too much."

After a rollercoaster two years promoting his last offering King Of Clubs in the middle of a global pandemic, alt-rock legend Jamie Lenman returns with the most intimate, most ambitious and most accessible album of his career. Recorded at The Chapel studios in Chichester over January and February this year with producer Mark Roberts, The Atheist is eleven tracks of guitar driven indie-pop, each laden with enough hooks to catch Moby Dick. With themes ranging from toxic friendships to socio economics to the religious topics inherent in the title, Lenman eschews the aggressive approach of previous records for a more melodic mood. “I’ve had a few of these songs kicking around for years, just waiting for the right album,” says Lenman. “Some of them were written for my first solo project Muscle Memory, some of them were even written whilst I was still in my band, but they were all too pretty. After twenty years of hard edges, particularly the ugly overtones of my last record, it was a relief to mellow out and just revel in the pure joyfulness of the thing.” From the huge earworm of Talk Hard to the stadium-sized chorus of Lena (Don’t Leave Me), the sheer catchiness of the material is undeniable, and was proven when Lenman took his new-look three-piece band to this year’s Download and played a set of entirely unheard tracks. The capacity crowd erupted into spontaneous sing-alongs despite never having heard a single note before, resulting in one of the surprise highlights of the weekend. Combined with dazzling artwork from renowned Washington Post/Wall St Journal illustrator Michael Parkin, Lenman will be unleashing his new softer side on an eager public later this year, alongside a string of live shows and the third iteration of his own mini-festival, Lenmania.

Jamie Lenman made his name as the singer, guitarist and songwriter in alt rock outfit Reuben, who toured and released relentlessly during the 2000s as part of the so-called “British post-hardcore renaissance” along with bands like Hundred Reasons, Biffy Clyro and Frank Turner’s Million Dead.
After the band’s dissolution in 2008, Lenman took a long break from music only to return in 2013 with the colossal double album ‘Muscle Memory’, combining elements of jazz, folk and thrash. Over the next ten years he continued to tour with various backing bands and released a string of records via indie label Big Scary Monsters, including the acclaimed ‘Devolver’ in 2017 and career highlight ‘The Atheist’ in 2022.
He continues to balance his musical efforts with his work as a journalist and illustrator for publications such as The Guardian, Rocksound and Doctor Who Magazine. He lives in Surrey, UK.

Als Künstler und Performer hat Jamie Lidell ein höllisches Leben geführt, das ihn von der Avantgarde über Clubland-Hedonismus bis hin zum Mega-Mainstream und allen Punkten dazwischen katapultierte. Er hat verschiedene Persona angenommen - vom gesichtslosen, namenlosen Techno-Produzenten bis zum extravaganten Showman. Er hat monströsen Lärm und süße Musik gemacht. Er hat in Kunsträumen, Rave-Dungeons und auf einigen der größten Bühnen der Welt in einem Wirbelwind der Kreativität performt. Doch seit seinem Umzug nach Nashville und der Gründung einer Familie erlebte Jamie Lidell Isolation und Introversion. Indem er mit seiner eigenen Neurodivergenz konfrontiert wurde, musste er seine Beziehung zu sich selbst, seine Geschichte, seine Musik und seinen kreativen Prozess komplett neu bewerten. Und all das drückt sich nun in 'Places of Unknowing' aus, seinem ersten Album seit fast einem Jahrzehnt - eine karge und schöne Abkehr von allem, was er je zuvor gemacht hat.

By singing the lives of the angels, villains and overlooked of Liverpool, Jamie Webste sings the hope-filled daydreams of a generation on We Get By, the singer-songwriter’s debut album, released on Fri 21 August 2020 on Modern Sky. Continuing the story from the rock-and-roll records that spilled from the docks into the arms of waiting beat groups, the hopeful indie-pop of the 80s that faced-down Thatcher’s cruelty and the Merseypsych boom of the ‘shroomy 2000’s, Webster sings his city to tell a story of our times.

Webster originally grew in renown for providing new soundtracks to Liverpool Football Club’s rising fortunes, playing to 60,000 fans attending the 2019 Champions League Final in Madrid and performing around the world, as far afield as Australia and Dubai.

By singing the lives of the angels, villains and overlooked of Liverpool, Jamie Webste sings the hope-filled daydreams of a generation on We Get By, the singer-songwriter’s debut album, released on Fri 21 August 2020 on Modern Sky. Continuing the story from the rock-and-roll records that spilled from the docks into the arms of waiting beat groups, the hopeful indie-pop of the 80s that faced-down Thatcher’s cruelty and the Merseypsych boom of the ‘shroomy 2000’s, Webster sings his city to tell a story of our times.

Webster originally grew in renown for providing new soundtracks to Liverpool Football Club’s rising fortunes, playing to 60,000 fans attending the 2019 Champions League Final in Madrid and performing around the world, as far afield as Australia and Dubai.

Never stuck for inspiration, people-powered and newly electrified singer-songwriter, Jamie Webster watched the world get weird and channelled every wicked turn into a new, 10-track album, Moments, set for release on Fri 28 January 2022. Following last month’s teasing single, Days Unknown, Webster reveals the follow up to last year’s number six-charting debut with new, rallying-cry single, Going Out.

Melding together two short stories, one of Paul and the other Annabella, Webster’s renowned people-watching prowess, setting vivid pen pictures of neighbours and strangers in his native Liverpool to music, switches to pin-sharp short fiction for Going Out. Cutting

across the strange absence of empathy for Britain’s young, Webster uses his characters to spell out the loss, frustration and rebellion of the twenty-somethings stopped in their tracks by recent circumstance and a tangle of incomprehensible rules.

History brackets Jan and Dean with friends the Beach Boys as
stereotypical young Californians – all-American surfers with bikiniclad girls on their arm. Yet they had a history before they fell in with
the Wilson brothers, beating Brian and company to the charts by a
matter of four years. Their success also helped Los Angeles emerge
as a musical centre of the United States. The major labels of the
time were based in New York and Chicago, and the city’s major
leisure industries were television and cinema. This album focuses
on the early years, including a couple of the rare Jan and Arnie
songs, to give the fullest possible background to a classic pop
partnership.

Live music needs to offer you something that you cannot get on a studio recording. It's the sense of freedom and intimacy, wondering how the songs will be played and what the reaction will be. Live concerts give you the tingle where the hair stands up on the back of your neck. "Live audiences give you the tension and responsibility to be creative, for me that's the challenge I like," says the iconic Dutch guitarist. After all of these years, you ponder what keeps Jan going out there, night after night. "It's my love to play for people all around the world," he smiles. The supremely gifted guitarist is equaled by very few, and his legendary ability makes him impossible to pigeonhole. His position as Dutch royalty has been cemented; he received the Golden Harp Award in early 2005, Holland's most prestigious music prize, and in 2012, he was appointed Knight in the Order of Orange-Nassau. This royal honour recognized his contributions to Dutch music and his influence on musicians worldwide.

After cutting his teeth in several rock and folk bands since the late Sixties (Hush, Tail Toddle), Dutch singer / songwriter Jan Duindam released his first solo album in 1978 for the tiny Munich label. With help from local musician Guus Willemse of progressive band Solution, who played bass, drums and synth, Jan created "Thoughts": psychedelic folk–rock / acid–folk with stunning guitar playing and fragile, dreamy vocal harmonies.

Features "Happiness and tears", a track selected by modern neo–folk / indie–rock stars Midlake for their "Late Night Tales" mix.

Remastered sound, gatefold sleeve, insert with photos and detailed liner notes.

"Jan crafted a quiet masterpiece that exists in its own soft, reflective realm" Hugh Dellar

Seit anderthalb Jahrzehnten geht Jan Plewka (Selig) auf Tour und singt die Songs von Rio Reiser und Ton Steine Scherben. Die Shows mit der schwarz-roten Heilsarmee sind inzwischen legendär und begeisterten bereits abertausende Besucher bei über 200 ausverkauften Performances. Im September erscheint nun das Live-Album + DVD "Wann wenn nicht jetzt - Jan Plewka singt Ton Steine Scherben und Rio Reiser II", das bei den Auftritten auf Kampnagel in Hamburg aufgenommen wurde. Die Singles "Jenseits von Eden" und "Macht Kaputt was euch kaputt macht" sind bereits erschienen. "Mit 14 Jahren habe ich Ton Steine Scherben zum ersten Mal gehört. Seitdem bin ich ein glühender Verehrer von Rio Reiser, von seiner Musik, seiner Poesie, seinen Utopien. Seit über 15 Jahren bin ich mit diesem Programm nun schon auf Tour. Das ist die eine Konstante in meinem Leben." - Jan Plewka Der Traum geht weiter: Wenn Jan Plewka mit der schwarz-roten Heilsarmee auf der Bühne steht, um die unvergesslichen Songs von Rio Reiser und Ton Steine Scherben zu feiern, wird sehnsüchtig und zärtlich, gleichzeitig revolutionär und kraftvoll. "Wann wenn nicht jetzt" versammelt auf Doppel-LP / CD 17 Livetracks, die 2019 auf Kampnagel aufgezeichnet wurden und filmisch von Tom Stromberg festgehalten wurden. Die beiliegende DVD kommt mit fünf Bonustracks auf insgesamt 22 Stücke.

Relive all the emotion of Jane Birkin's final concert " Oh ! Pardon tu dormais... Le Live". Staging a moving performance for a last meeting with her audience Special 2 CD+DVD, featuring the full concert.Reviews and Ads – R2, Mojo and London Macadam. Formats; 2CD+DVD, 2LP.

Incomparable Northern Irish songstress Janet Devlin is poised to release her courageous country-rock album, "Emotional Rodeo," on 15th November 2024. Recorded at Martina McBride’s Blackbird Studio in Nashville with esteemed producer Roo Walker, tracked by Lowell Reynolds (Shania Twain, Boy Genius, Taylor Swift) and mixed mostly at Spotnick Studios by Grammy-Award winning producer/mixer Vance Powell, (Chris Stapleton, Jack White) Devlin captures the heartfelt essence of country-rock with an authentic edge, blending sharp, witty lyrics with themes of fearless self-empowerment.

Janis is an album by Janis Joplin, released in 2023. Janis includes a.o. the following tracks: “Mercedes Benz”, “Rap On "try"”, “Dick Cavett T.V. Interview (1970)”, “Piece Of My Heart” and more. The album is a Coloured Vinyl, High Quality, Insert rock 2-LP.

Joplin In Concert is an album by Janis Joplin, released in 2023. Joplin In Concert includes a.o. the following tracks: “Down On Me”, “All Is Loneliness”, “Half Moon”, “Kozmic Blues” and more. The album is a Coloured Vinyl, High Quality, Gatefold Sleeve rock 2-LP.

Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work.

Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than "authentic," and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.

While Joplin's electrifying vocal prowess is universally lauded – she's recognized as the greatest white female blues singer the world has ever seen – her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain – the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby," underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment – yet Joplin also reveals a sense of humour and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.

Playfully introduced as "a song of great social and political import," the acapella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanour and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.

Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band – the only group she ever considered to be her own – as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labours fill Pearl, be it the guardedly optimistic "Get It While You Can" or assertive, fleet-footed "Move Over."

Experienced in the new light brought to fore by this definitive Mobile Fidelity edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.

The legendary 1964 rehearsal collaboration receives its first official issue Restoration and Mastering by Grammy®-winning engineer Michael Graves Packaging contains rare photos plus liner notes from Jorma Kaukonen Jorma Kaukonen (later of Jefferson Airplane and Hot Tuna) met a singer named Janis Joplin at a hootenanny in San Jose, California, in the fall of 1962. Over the following years, Janis would call on Jorma to accompany her at gigs. As they continued to play together, the Bay Area was changing musically and developing into the legendary San Francisco scene to which both Janis and Jorma would be integral. During a rehearsal for a show in North Beach, Jorma started his reel-to-reel machine to capture what they were working on. For decades, this recording was the stuff of legend, with inferior, multi-generational transfers making their way through select collector’s circles. Now, for the very first time, it is available officially, with the blessing and cooperation of both the Janis Joplin Estate and Jorma Kaukonen. The Legendary Typewriter Tape: 6/25/64 Jorma’s House contains this legendary recording, featuring Restoration and Mastering from acclaimed, Grammy®-winner Michael Graves. The tracks include Joplin on vocals, Kaukonen on guitar, and Jorma’s wife Margareta typing away intermittently in the background. This may have just been a rehearsal, but it is so much more. Featuring Joplin originals, as well as blues classics, The Legendary Typewriter Tape is an intimate glimpse into two major artists at the beginnings of what would become highly influential careers. As Jorma says in his liner notes: “This is indeed a window into a simpler time when the music truly was everything.” Available on CD and Digital December 2, 2022, the release will also be available on vinyl exclusively for Record Store Day Black Friday, November 25, 2022 Enjoy being a fly on the wall and revel in the magic of The Legendary Typewriter Tape.

Janus wurde 1971 in Krefeld, Deutschland, gegründet. Fünf englische Jungs, die dort lebten und arbeiteten. Das Debütalbum "Gravedigger" wurde in den EMI-Studios in Köln aufgenommen und auf dem inzwischen aufgelösten Harvest-Label veröffentlicht. 2013 hat EMI das Album als Doppel-CD mit Remixen und Bonustracks wiederveröffentlicht und die Band hat ihren einzigen Videoclip zu "I Wanna Scream" gedreht - 40 Jahre später! Da das Bedürfnis nach diesem psychedelischen und zeitlosen Stück Musik ungebrochen ist, wird das deutsche Label MIG das Album noch einmal veröffentlichen und zwar als LP. Die Titel: Zunächst entführt der Fan-Favorit "Red Sun" ins Weltall und darüber hinaus. Gefolgt von dem eindringlichen "Bubbles". Pop/Rock? "Watch Tryin" To Do" ist ein Stück, das man nicht wirklich beschreiben kann: seltsame Strophen, rückwärtsgewandtes Orchester und schnellerabgespielte Drums. Völlig originell. Seite A endet mit dem bereits erwähnten "I Wanna Scream", das Punk ist, bevor Punk erfunden wurde. Dann der eine Song auf Seite B (20+ Minuten), der das Album auf eine ganz andere Art und Weise abrundet. Im Grunde ein akustischer Song über einen Mann, der sein Leben am Strand beendet, begleitet von einem klassischen spanischen Gitarrensolo, anschwellendem Orchester, Möwen und rollenden Wellen. Ein wunderbarer Klangteppich. "Gravedigger" ist ein Muss für Liebhaber der psychedelischen Ära der 60er/70er Jahre