Pop & Rock News

1966's BINGO!! for The Lee Kings is one of the crown jewels of Sweden's musical heritage. The Stockholm band's sole album fused hard-edged beat music, the soulful and a melodic sensibility paralleling The Hollies - their 1967 single Coming From The Ground was produced by Hollies' Allan Clarke and Graham Nash.

RPM International's double-CD, expanded edition of BINGO!! for The Lee Kings (WRETROD974) includes all their singles (in mono, from the master tapes), rarities and tracks never-before-heard on CD. Everything The Lee Kings recorded is collected.

Their complete catalogue is supplemented by a booklet with exclusive images from their film Grejen.

This is the ultimate Lee Kings and adds to RPM International's essential library of the greatest Swedish music from the era:

Doris: Did You Give The World Some Love Today, Baby expanded edition (Retro D925),
Hep Stars: It's Been A Long Long Time (Retro 935)/Like We Used To - The Anthology 1965-1967 (Retro 936),
Life: Life expanded edition (Retro D929),
Mascots: Ellpee expanded edition (Retro D952)/Your Mascots expanded edition (Retro 951), Shanes: Let Them Show You - The Anthology 1964-1967 (Retro 950),
Tages: GO! The Complete Singles (WRETRO D970)/The Studio Album Plus (Retro 874),
Turid: Stjärnor Och Änglar, Stars And Angels - Songs 1971-75 (Retro 870).

With Denmark, Finland, Iceland and Norway also covered, RPM International is the authoritative home for the greatest music from Scandinavia's past.

- EVERY A' & B' SIDE RELEASED DURING HIS GLORY ERA!
- FIRST TIME EVER COMPILED ON CD!
-  SOURCED FROM THEORIGINAL MASTER TAPES!
- INCLUDES MANY RARE/ALTERNATE MIXES!

TINY TIM was one of the most outrageous, unique, and beloved sensations ever to emerge during the 1960s. Born of that brief, inspired moment in time when the freaks almost took over, Tiny's debut LP, April 1968's God Bless Tiny Tim, is an otherworldly mission statement from the misunderstood pop culture icon who almost singlehandedly invented other.' Yet despite all this, a complete singles collection, or ever a legitimate Best of' chronicling his golden years, has never been compiled on CD. UNTIL NOW!

Featuring the Top 20 hit Tip-Toe Thru' The Tulips With Me,' The Complete Singles Collection (1966-1970) includes the original single mixes of all of his classic Reprise singles, from this peak era of his career. Also included is his debut 45 on Blue Cat and his post-Reprise era one-off single for Scepter Records, for the first time ever on CD!

This 22-track deluxe edition includes many original mono single mixes, which has been out of circulation since their original release.

The deluxe, full-colour booklet also includes rare photos and extensive and insightful liner notes by KRISTIAN HOFFMAN. Mastered by ALAN BROWNSTEIN from the ORIGINAL MASTER TAPES!

90s brings together the biggest songs of the decade featuring more than ten number ones and over thirty top ten smashes. The sixty tracks on offer highlight the variety that the 90s provided from the boy band swagger of East 17 to the sultry R&B of Adina Howard to the brit pop of Supergrass and the anthemic electro of Dario G. British icons such as All Saints, Duran Duran and The Human League share the stage with American giants The Notorious B.I.G., Cher, The Rembrandts and many more.























































[ZZA] CD3-13. JX - There's Nothing I Won't Do
[ZZB] CD3-14. K-Klass - Rhythm Is A Mystery
[ZZC] CD3-15. Perfecto Allstarz - Reach Up (Papa's Got A Brand New Pig Bag)
[ZZD] CD3-16. The All Seeing I - Beat Goes On
[ZZE] CD3-17. White Town - Your Woman
[ZZF] CD3-18. Dannii Minogue - All I Wanna Do
[ZZG] CD3-19. Louise - Arms Around The World
[ZZH] CD3-20. Cartoons - Witch Doctor

The Other Side brings together seminal tracks often less celebrated yet still immensely important in the story of popular music. This collection presents an alternative history of one of pop's most polarizing decades, The 80s, featuring tracks from artists such as New Wave's Aztec Camera and Spandau Ballet, Pop's Howard Jones and Pet Shop Boys and Rockers Jesus And The Mary Chain and The Stranglers. Megastars such as Kate Bush and Duran Duran share the bill with massively influential acts The Smiths, Talking Heads, New Order and many more.

Synopsis:
For over a quarter century, the Rock And Roll Hall Of Fame has honoured music's most influential
figures at prestigious black-tie induction ceremonies where performers and audience alike let down
their hair and rejuvenate themselves through exciting, once-in-a-lifetime performances. Rock And
Roll Hall Of Fame Live captures the excitement of those ceremonies with the most incredible
combinations of talent ever assembled on a single stage. The biggest names in rock n roll perform in
intimate settings, jamming in combinations not seen anywhere else. Now on vinyl!

Eine lieblich-ansteckende Melodie, sexy Vintage-Sounds und ein positives Lebensgefühl - so klingt "Fade Out Lines" von The Avener. Und auch das Musikvideo holt euch die kalifornische Sonne und die Goldenen 50er nach Hause. Im Video ist eine Frau und ein Mann zu sehen, die leichtfüßig durch einen sommerlichen Tag spazieren. Der Song ist im Übrigen ein Rework von Phoebe Killdeer und The Short Straws Original-Track "The Fade Out Line".

Silk Degrees, released on Columbia Records in 1976, is Boz Scaggs' seventh album.
A massive success, peaking at #2 & spending 115 weeks on the Billboard 200.
It has been certified five times platinum by the RIAA and remains Scaggs's best selling album.

A new Golden Age' collection is always a special event at Ace. The success of our first Special Country Edition in the Golden Age Of American Popular Music' series virtually guaranteed that there would be a follow-up at some point. Here it is at long last, mastered from the best possible sources and with an equally strong line up of names and tracks.

Virtually all 28 of our featured artists were household names in country in their day, and the majority of them still are over 50 years
later.

There's a generous helping of uptempo hillbilly and borderline rockabilly among the straight ahead country to preserve the musical variety.

The booklet is crammed with in-depth annotation and copious illustrations with at least one image for every one of its 28 selections.

Originally released on Island Records in 1979, Suicide's second single features two non-LP
tracks including Dream Baby Dream,' their best-known song and often covered by Bruce
Springsteen. This first-time vinyl reissue and first-time domestic release comes with original
sleeve design. Limited edition red vinyl.

a gatefold heavy card board sleeve and heavy vinyl !! remastered and recut from original masters !!! the artwork will be true to the original (including textured covers and embosses where appropriate) and will feature lyrics, and additional sleeve notes and artwork !!!

Yo-Yo Ma Plays Ennio Morricone is a 2004 album of recordings from Morricone's various film scores by brilliant cellist Yo-Yo Ma and Ennio Morricone. The album was recorded with the Roma Sinfonietta Orchestra and Gilda Buttà on piano. Morricone functioned as orchestrator, conductor and producer. The album stayed 105 weeks on the Billboard Top Classical Albums.

Yo-Yo Ma Plays Ennio Morricone positively diverges from most of the other interpretation albums in its collaborative aspect: the music's original creator, Morricone, had as much to do with this album as did Ma and his creative team.

Followers of the Sonic Pieces catalogue will already be familiar with the individuals of F.S.Blumm and Nils Frahm as well as their acclaimed work as a duo. But even though they're making use of familiar instruments their new album Tag Eins Tag Zwei manages to add a new tone to their already unique language. By trading their post-processed sound sculptures that made up the two preceding albums in for intimate pieces of improvisation, this collaboration merges into the most soothing and life affirming recording the two have produced so far.

Guitars and toys are flowing next to piano and harmonium like an organic combination, shaping nine suits that abnegate any common categorization. Involving classical, jazz and folk influences it's the genuine use of tricks and delays that lift these improvisations above the ordinarXy and makes them both incredibly relaxing and exciting at the same time. It is almost ironic that by capturing accidental moments of free playing, Frank and Nils are succeeding at an even more impressive scale than their already highly satisfying previous output.

The result delivers a perfect example of how immediacy can be the most powerful approach to creating music. Based on a remarkable understanding of each other's phrasing the pair of sessions that comprises this album shows two vivid artists at the peak of their game: Unconditional spontaneity.

Followers of the Sonic Pieces catalogue will already be familiar with the individuals of F.S.Blumm and Nils Frahm as well as their acclaimed work as a duo. But even though they're making use of familiar instruments their new album Tag Eins Tag Zwei manages to add a new tone to their already unique language. By trading their post-processed sound sculptures that made up the two preceding albums in for intimate pieces of improvisation, this collaboration merges into the most soothing and life affirming recording the two have produced so far.

Guitars and toys are flowing next to piano and harmonium like an organic combination, shaping nine suits that abnegate any common categorization. Involving classical, jazz and folk influences it's the genuine use of tricks and delays that lift these improvisations above the ordinarXy and makes them both incredibly relaxing and exciting at the same time. It is almost ironic that by capturing accidental moments of free playing, Frank and Nils are succeeding at an even more impressive scale than their already highly satisfying previous output.

The result delivers a perfect example of how immediacy can be the most powerful approach to creating music. Based on a remarkable understanding of each other's phrasing the pair of sessions that comprises this album shows two vivid artists at the peak of their game: Unconditional spontaneity.

Double CD / Double LP Edition including the 2012 self titled debut album by Moon Ate The Dark and the 2nd follow-up album simply called "II".

With their second album Moon Ate the Dark is taking the next step of contemporary piano composition. Moving on from their well-received debut album in 2012, Moon Ate the Dark II is based on an extraordinary playful and varied approach to melodies and drones with dedication to subtle, yet complex details.
The combination of Anna Rose Carter's piano, violin and keyboard playing and Christopher Bailey's electronics, amplifiers as well as organs and synthesizers creates something less shadowy than their first album in favour of a more melodic, still thoughtful endeavour that manages to virtuously move on the thin line of nostalgia and optimism.

While the shorter pieces of the record are mostly based on lively piano tunes completed by forceful electronic components, the attentive ‚Sleepy Vipers' is dragging the listener into drones and violin that slow the pace to create an engaging high mark in the duo's recordings underlined by the excellent production that will grip the listener until the very last notes of the wonderful closing track ‚Lo'. Moon Ate the Dark II is an impressive achievement and evidence of how diverting a meeting of two parts can be if they match as perfectly as this.

With their second album Moon Ate the Dark is taking the next step of contemporary piano composition. Moving on from their well-received debut album in 2012, Moon Ate the Dark II is based on an extraordinary playful and varied approach to melodies and drones with dedication to subtle, yet complex details.
The combination of Anna Rose Carter's piano, violin and keyboard playing and Christopher Bailey's electronics, amplifiers as well as organs and synthesizers creates something less shadowy than their first album in favour of a more melodic, still thoughtful endeavour that manages to virtuously move on the thin line of nostalgia and optimism.

While the shorter pieces of the record are mostly based on lively piano tunes completed by forceful electronic components, the attentive ‚Sleepy Vipers' is dragging the listener into drones and violin that slow the pace to create an engaging high mark in the duo's recordings underlined by the excellent production that will grip the listener until the very last notes of the wonderful closing track ‚Lo'. Moon Ate the Dark II is an impressive achievement and evidence of how diverting a meeting of two parts can be if they match as perfectly as this.

Otto A Totland's modern compositional elements are most widely recognized as half of the Norwegian duo Deaf Center, where his melancholic, intricate piano work provides haunting relief to the beds of noise and deep strings from Erik K Skodvin. Pinô is the first full-length release by Totland, though his solo work has been released once, as the 5-minute A-side of Sonic Pieces 7inch Harmony From the Past. Otto's previously brief vignettes are now expanded into a fully personal realization of his own style.
Initial track Open fills itself with heavy, knowing pauses that quickly become overwhelmed with the desire to understand what's to come. Each silence leads into quick flutters of keys, preparing the listener for a vast terrain of giddy beauty, bleak depths, and true contentedness. Pinô quickly recalls deep winter; in front of a fireplace for days on end, you lose how far along you've ventured into the 18 tracks without any idea how far is left to go. The experience feels inevitable, with no other option but to curl up somewhere cozy and appreciate the sense of timelessness that Totland has created. His album is a haunting modern compositional treasure, expressed through instrumentals completely unique to Totland and captured masterfully by Nils Frahm at Durton Studios.
With Pinô, Otto A Totland appears out of the Norwegian landscape, sharing an achievement that will provide a relief during the brooding winter darkness. Though a highly personal endeavor, the recognizable continuation of Totland's compositions will attract fans of Deaf Center, and the cinematic and classical components of his solo work will hold sway for those familiar with Harold Budd or Dustin O'Halloran.

Takeshi Nishimoto comes from a background as a guitarist, receiving classical training from some of the world´s premiere guitar players, while on the other hand he has been steadily growing into the more electronic music scene with a bunch of albums on CCO as I´m Not A Gun alongside John Tajeda. Takeshi appeared solo on record first in 2007 through CCO offset label Büro and returns now with his second album, this time for sonic pieces.
Although you could say Lavandula is a guitar solo record - that really does not do it justice if you dive deeper into the sounds that resonates within it. At times, Takeshi uses some really fine electronic methods to bend and shape the guitar and background atmospheres, like the beautifully perceived Strassenlaterne. Other times it feels like you are in the middle of a still picture from a forest lake in the Japanese countryside, slowly waking up together with the sun. The track Tone Water on the other hand sounds like Squarepusher´s classic acoustic masterpiece, Music is Rotted, One Note played on the Guitar instead of Bass and comes off as a fresh change of direction in the middle of the album.
Lavandula is a very personal and beautiful late summer album that brings to mind the film music of Gustavo Santaolalla (21 grams, Babel, Biutiful) or Tape´s classic albums for Häpna, but traveling through Japanese, North American and European traditions. A great record to bring while traveling, wake up to in the morning or simply enjoy in a quiet evening.

The Incredible String Band is the debut album by the Folk band of the same name, released in 1966. It is the only one of the band's albums to feature the original trio line-up with Clive Palmer as well as Robin Williamson and Mike Heron.

They recorded the album at the Sound Techniques studio in Chelsea, London in one afternoon in May 1966, with Joe Boyd as producer. Boyd insisted on focusing on the group's own self-written material, rather than the traditional songs and tunes which they had also been performing, and with each performer singing his own material.

The album showcased the trio's abilities on a variety of instruments, although the instrumentation is relatively orthodox compared to the band's later work. All three members played guitar and sang, with Palmer also playing banjo and kazoo and Williamson playing mandolin, banjo, tin whistle and fiddle/violin.