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New Yorker Singer-Songwriter entdeckt den Westcoast-Sound. Das 2019 erschienene Album "The Unseen In Between" etablierte den amerikanischen Musiker Steve Gunn als einen Großmeister des US-Songwritings - mit seinem neuen Album "Other You" unterstreicht er nun diesen Anspruch. Gunn, der ursprünglich aus Pennsylvania stammt und mittlerweile in Brooklyn lebt, ist für die Aufnahmen zu seinem neuen Album an die Westküste gereist. Das passt perfekt, denn seine Musik ist der ideale Soundtrack für Roadtrips von der Ostküste an die Westküste des Landes. Sein fein destillierter Sound lässt sich dabei zwischen Roots Rock, Americana, Folk und Jazz treiben. Steve Gunn ist Traditionalist und Suchender zugleich. Zumeist geht er nur mit losen Ideen ins Studio, bei denen er am Anfang nie so genau weiß, wo sie ihn am Ende hinführen werden. Ähnlich gestaltete sich das auch dieses Mal. Sein sechstes Studioalbum "Other You" nahm Steve Gunn zusammen mit Produzentenlegende Rob Schnapf (Beck, Elliott Smith, Kurt Vile) in dessen Mant Studios in Los Angeles Ende 2020 und Anfang 2021 auf. Schnapf hat großen Anteil an der Entstehung dieses Albums. Er schüttelte nicht nur das Soundbett auf, sondern mischte auch Steve Gunns Stimme in den Vordergrund, um den poetischen Lyrics des Songwriters die richtige Bühne zu bieten. Mit Hilfe von befreundeten Musikern wie Juliana Barwick, Mary Lattimore, Bridget St. John, Jeff Parker, Bill MacKay, Ben Bertrand und dem Schlagzeuger Ryan Sawyer (TV On The Radio, Thurston Moore, Gang Gang Dance) entstand mit "Other You" ein Album, mit dem Steve Gunn nicht nur die Grenzen von Genres auslotet, sondern auch seine eigenen.

Tré Burt is no stranger to coincidence. Much of his music career has been marked by chance encounters and happy accidents, the kind of stuff you see in movies but rarely experience in real life. It'd be easy to chalk such happenstance up to luck, then, but for Burt, being in the right place at the right time is a phenomenon born from his lifelong passion for music and his unwavering adherence to living authentically as an artist. 'You, Yeah, You' is Tré's 2nd full length album release though Oh Boy Records and is the follow up to his debut album release, 'Caught It From The Rye'. This new collection of original songs was recorded with the help of producer Brad Cook and backed by a talented cast of guest musicians including Phil Cook, Matt McCaughan, Alex Farrar, Amelia Meath and Kelsey Waldon.

After his first adventure in the endless universe of instrumental music where he made known “Man With a Plan” in 2018, Minus & MRDolly now presents the new EP Broken Hearts Make Broken Beats. This new work is the result of a recording session at the Groove-Wood studios promoted by João André - who mixes two of the three originals of the EP - to which Hugo Danin joined on drums and Sérgio Alves on keyboards and electric piano. In trio, Minus, Hugo and Sérgio rearranged and explored the original sketches, previously composed by Minus & MRDolly.

Floating, or as if to say, with one “foot inside and the other outside” of his so familiar home that is Hip Hop, “BHMBB” is the reflection of some musical references previous to that house, where “Britfunk” or “Broken Beat” serves as an example. This EP intends to marry the acoustic character of the interpretation with the aesthetic and electronic universe of dance music.

“Salame”, “The Break” and “A Thousand Miles”, the three originals that make up the EP Broken Hearts Make Broken Beats, also count on the participation of percussionists Manu Idhra and Rui Ferreira, the voice of Mary Raisekings, and the Pardal saxophone. The theme "The Break" has remixes by Pedro and Max Graef.

Airplay from Mary Ann Hobbs, Liz Alker and Tom Ravenscroft and beyond

Reviews in Mojo, The Wire, Quietus, Uncut and more

On October 9ththe multi-instrumentalist Jack Wyllie (Portico Quartet/Szun Waves) presents his new project Paradise Cinema. It was recorded in Dakar, Senegal in collaboration with mbalax percussionists Khadim Mbaye (saba drums) and Tons Sambe (tama drums).

The impressionistic and dream-like quality of 'Paradise Cinema' is a stunningly effective realisation of Wyllie's experience, in ahypnagogic state of aural consciousness:

"I had a lot of nights in Dakar, when the music around the city would go on until 6am. I could hear this from my bed at night and it all blended together, in what felt like an early version of the record."

Atmospherically 'Paradise Cinema' is vaporous and enigmatic, but also percussive; existing in a paradoxical sound-space that's amorphous,yet still purposeful, serene, but propulsive and aesthetically sharp.

Khadim Mbaye and Tons Sambe, provide the rhythmic backbone of the record. There are traditional elements of mbalax rhythm, but it is often deconstructed or played at tempos outside of the tradition, so while it hints at a location it occupies a space outside of any specific region.

'Paradise Cinema' is also informed by notions of hauntology – a philosophical concept originating in the work of French philosopher Jacques Derrida– on possible futures that were never realised andhow directions taken in the past can haunt the present.

On the album's title Wyllie comments, "there are a handful of old cinemas in Dakar – these big modernist buildings dotted around the city built around independence. They're old and derelict now, but feel to me like monuments to that period, when the city was flooded with utopian ideas about its potential futures."

As such it sits closely to 4thworld music – situated in an imagined culture and time that never came to pass. And while it contains rhythmic references to Senegal it combines these elements with ambient and minimalist music to produce a sound that sits outside of any tradition.

Setting the tone for the long-player's themes is the optimism-driven, balmy beauty of 'Possible Futures', where rich-toned drums throb and levitate in a stratospheric ether.

Like a time-lapse video of plants in bloom, 'It Will Be Summer Soon' is the sound of anticipation and growth. Rhythmically it flickers and flutters, evoking rainfall, or the blurred wings of a bird in in flight.

Casamance moves through field recordings drifting in and out of focus, beats pitched-down low and unfurling saxophone, whilst the ambient 'Utopia' was made mainly with processed saxophone and suggests a longing for a perfect world.

Galloping percussion juxtaposes with a wistful mood on 'Liberté' – a title that referencesa derelict modernist cinema in Dakar of the same name– a hauntological landmark, made more poignant by the its name being part of the French national motto.

Tying into the cover artwork, Jack explains, "the 'Digital Palm is a telecommunications mast disguised as a palm tree in central Dakar. As a modern piece of technology that on first glance looks natural, it mirrors the combination of modern and acoustic elements."

Perhaps eliciting a time that never came, or maybe still in hope of it yet to come, 'Eternal Spring' concludes the LP's otherworldly beauty with hypnotic drums powering a subtly-building, sparkling and powerful crescendo.

Jack Wyllie is a musician, composer, electronic producer who draws on influences of jazz, ambient, and the trance-inducing repetition of minimalism.

Wyllie performs and records in Portico Quartet, Szun Waves (withLuke Abbott and Laurence Pike)and Xoros. He has also collaborated with Charles Hayward, Adrian Corker and Chris Sharkey and released on Ninja Tune, Babel, Leaf, Real World and Gondwana.

Khadim Mbaye and Toms Sambe play in various mbalax groups in Dakar. Khadim has also toured internationally with Cheikh Lo.

In James McMurtry’s new effort, ‘The Horses and
the Hounds’, the acclaimed songwriter backs
personal narratives with effortless elegance
(‘Canola Fields’) and endless energy (‘If It Don’t
Bleed’).
This first collection in seven years spotlights a
seasoned tunesmith in peak form as he turns
toward reflection (‘Vaquero’) and revelation (closer
‘Blackberry Winter’). Familiar foundations guide
the journey. “There’s a definite Los Angeles vibe to
this record,” McMurtry says. “The ghost of Warren
Zevon seems to be stomping around among the
guitar tracks. Don’t know how he got in there. He
never signed on for work for hire.”
‘The Horses and the Hounds’ is a reunion of sorts.
McMurtry recorded the new album with legendary
producer Ross Hogarth (Ozzy Osbourne, John
Fogerty, Van Halen, Keb’ Mo’) at Jackson
Browne’s Groovemaster’s in Santa Monica,
California. Hogarth recorded McMurtry’s first two
albums - ‘Too Long in the Wasteland’ and
‘Candyland’ - and later mixed McMurtry’s first selfproduced album, ‘Saint Mary of the Woods’.
Another veteran of those three releases, guitarist
David Grissom (Joe Ely, John Mellencamp, Dixie
Chicks), returns with some of his finest work.

Motown Collected brings together the biggest names in the rich history of this legendary label. From very early singles to the artists that made Motown a household name for decades to come and the cross-over pop success of the late 70’s and 80’s. Featuring legendary artists like Marvin Gaye, Stevie Wonder, The Supremes, Jackson Five, Smokey Robinson and The Commodores, as well as gems from the likes of Marv Johnson, Barrett Strong, The Marvelettes and Tom Clay and pop superstars Rick James, Michael Jackson, Diana Ross, Lionel Richie and Debarge: just a selection of the 33 incredible tracks featured on Motown Collected.

The documentary Hitsville: The Making Of Motown’, featuring Motown founder Berry Gordy and many of this artists, will premiere in cinemas across Europe this summer as well.






RELEASE: 23-7-2021

MOV proudly presents new Collected compilation albums in collaboration with Universal Music. Motown Collected is the first one, available as a limited edition of 3000 numbered copies on white vinyl. It includes an insert with photos and credits.

Paper Birch is a collaborative experimental noise rock duo formed by Fergus Lawrie (Urusei Yatsura) and Dee Sada (NEUMES / An Experiment On A Bird In The Air Pump) in May 2020. United by mutual feelings of despair, fragility and hope, they passed ideas and sounds between London and Glasgow whilst the UK was in lockdown. The resulting 9-track debut LP morninghairwater is set to be released on vinyl, CD and digital. A melting pot of genres, morninghairwater twists and turns through moments of 60’s inspired
indie-pop, fuzzed out angular shoegaze and glitchy electronic soundscapes with astonishing ease. This album draws not only on the influence of both Lawrie and Sada’s individual back catalogues but which at times echoes with everything from Heavenly to Joy Division. The album also marks the beginnings of a collaborative relationship with renowned visual artist, Thomas James who has created thrilling films for Ghostpoet, Paloma Faith and most recently, The English National Ballet. Whilst morninghairwater may be a product of the universally challenging time in which it was recorded, the duo has already started work on their second album and Paper Birch looks set to be an enduring fixture of the UK experimental scene. Press and radio coverage for Paper Birch “an intoxicating squall of noise pop” - God Is In The TV “Sada’s signature softly cooed atmospheric translucent vocals prove a congruous fit with Lawrie’s
deeper, more grunge-y despondency; sounding at times like Psycho Candy-era Jesus And Mary Chain in harmonious matrimony with Mazzy Star, or, the Pop Group hooks up with MBV” - Monolith Cocktail “mixing in disparate elements from classic 60s pop to glitchy electronica to transportative effect” – Joyzine “with a strong baseline and a sea of roaring guitar, a bit like The Pastels vs My Bloody Valentine (nothing wrong with that!)” - Is This Music “The texture is suggestive, the atmosphere hypnotic and the climate oppressive” - Sun Burns Out “A true jewel of modern and underground psychedelic pop” - Acute Pop

Limited Coke Bottle Green vinyl, 250 copies only for the UK. Any future pressing will be on black vinyl. Massage feature Alex Naidus from Pains At Being Pure At Heart. Recorded by Lewis Pesacov (Fool’s Gold, Foreign Born, Peel’d). Massage was supposed to be low-stakes, no big deal "anti-ambition," as Andrew Romano, guitarist and vocalist, put it. The L.A.based jangle-pop group's first album, 2018's Oh Boy, was a sweet and simple weekend warrior's affair, or more specifically, an every-other-Monday one, as the band members gathered to bash out songs that offered messy but heartfelt tribute to their chosen heroes: The Feelies, the Go-Betweens, Twerps, Flying Nun. For Romano, not taking things too seriously is a dead-serious affair: “Nothing kills the kind of music we want to make faster than the sense that a band is trying too hard,” he says. The kind of music Massage makes sunny, bittersweet, tender is less a proper genre than a minor zip code nested within guitar pop. Take a little "There She Goes" by the La's, some "If You Need Someone" by the Field Mice; the honey-drizzled guitars from The Cure's "Friday I'm In Love," a Jesus & Mary Chain backbeat, and you're almost all the way there. Indie pop, jangle pop, power pop whatever you call it, pushing too hard scares the spirit right out of this sweet, diffident music, and Massage have a touch so light the songs seem to form spontaneously, like wry smiles. Still, on their sophomore effort, Still Life, they manage to take a quantum leap forward in songwriting, production, and depth, all somehow without seeming to try. These 12 deft songs are full of late-summer sunlight and deep shadows, pained grins and shared jokes, shy declarations of love and quietly nursed heartbreak. Still Life resurrects a brief, romantic moment in the late-'80s, right after post-punk and immediately before alt-rock, when it seemed like any scrappy indie band might stumble across a hit. When Andrew Romano and Alex Naidus first met in 2007, Naidus had just joined a band with his friends Kip Berman and Peggy Wang that was about to stumble into many of them. When Naidus finally left Pains for L.A. in 2013, two hit albums and a few world tours later, he started playing with Romano to recapture the no-stakes, suburban-garage joy of making music for its own sake. It was "friendship incarnate," Naidus remembers. The other members came from within the friend circle Gabrielle Ferrer (keyboard/vocals) is Romano's sister-in-law, Michael Felix (drums) is one of Naidus’ best friends, and David Rager (bass) is a childhood friend of Felix’s. When Felix moved to Mexico City in early 2020, Naidus’ wife, Natalie de Almeida, stepped in. The result is the finest batch of songs they've ever produced. From Naidus' velvet-lined JAMC tribute "Half A Feeling" to Ferrer's Let It Be-era Replacements-tinged lament "The Double" to Romano's "In Gray & Blue," these are gold-standard indie-pop gems from emerging masters of the form. Still Life glows with the sincerity and unfakeable warmth of the era they so lovingly channel. Like the best Gin Blossoms chorus you still remember, the songs on Still Life stir big, pure emotions, but beneath them, uneasy truths about adulthood linger, just below the surface. Maybe the exact mix of ringing guitars and two-part harmonies can chase those feelings away, or redeem them, for at least a minute or three. Massage won't stop trying.

The full-length debut from Bendigo Fletcher, Fits of Laughter is a collection of moments both enchanted and mundane, sorrowful and ecstatic: basking in the beauty of a glorious lightning storm, waking with a strand of your beloved’s hair happily caught in your mouth, drinking malt liquor while bingeing “The X-Files” on a lonesome Saturday night. As lead songwriter for the Louisville, KY-based band, frontman Ryan Anderson crafts the patchwork poetry of his lyrics by serenely observing the world around him, often while working his grocery-store day job or walking aimlessly in nature (a practice partly borrowed from the late poet Mary Oliver). When matched with Bendigo Fletcher’s gorgeously jangly collision of country and folk-rock and dreamy psychedelia, the result is a batch of story-songs graced with so much raw humanity, wildly offbeat humor, and a transcendent sense of wonder.

True to its spirit of purposeful wandering, Fits of Laughter unfolds in a wayward yet lushly detailed sound, embroidered with everything from crystalline harmonies to blistering guitar riffs to heady drum-machine beats. For help in forging the album’s ragged elegance, Bendigo Fletcher worked with producer Ken Coomer (the original drummer for Wilco and Uncle Tupelo), whom Anderson met in a flash of strange serendipity. Soon after he’d connected with Coomer via phone and bonded over a shared affection for Pink Floyd’s Obscured by Clouds, the band headed to Nashville to record in Coomer’s garage studio, laying down the album’s eight songs in nine frenetic days.

In keeping with the regional perspective that defines much of folk and country music, Fits of Laughter ponders certain paradoxes inherent in the band’s homeland. “In Kentucky there’s a long-running frustration of tradition and stubbornness versus progress,” says Anderson. “On one side you’re looking at things like the coal industry or Mitch McConnell, but then there’s also a feeling of togetherness and a fuck-the-man attitude and a loving desire for everyone to be left alone.” Referring to Fits of Laughter as a coming-of-age album, Anderson also examines a more internal conflict throughout the songs, including his choice to abandon his medical-school aspirations in favor of pursuing a career in music. “The title’s really about the spectrum of emotions I’ve felt on the way to finding what makes me feel like I’m living truthfully, rather than holding onto what I think other people’s expectations are of me,” he says. “It’s a phrase that bridges all of those emotions—everything from joy to hysteria.”

3x12" Repress


Some serious hot tracks on this fourth instalment of the Scandinavian Swords series. It breaks with its predecessors' forms. Deviating from the austere brevity that marks Northern Electronics out, Scandinavian Swords IIII: Atlas of Visions completes a survey of the label's confidants and components in the same breath as it introduces a swarm of new artists and genre-collisions. With the swell of the last 12 months behind them, Anthony Linell and Jonas Ronnberg have forged the compilation with a paradoxical formula: Atlas of Visions stakes itself as a milestone release that retains the sure-footed programming of its proprietors yet cuts a new silhouette for what the platform of a Northern Electronics release consists of. Presented across two volumes, Atlas of Visions courses through the hyper-pigmented and infectious fallout zone between club-focused works and the abstract territories of experimental modes. The release compiles egression and intensification into a pandemoniac whole, a refracting design for fractured times. Recommended!!!

Jerry wrote and/or co-wrote 21 songs that Ricky recorded from 1961 to 1985, certainly the longest time of any composer from Ricky’s musical associations. Born in 1938, Jerry will turn 83 years old on November 19th, 2021 and is still active musically. He continues to compose and issue records that are enjoyed by his many fans.



Little doubt that Jerry’s biggest hit was “Travelin’ Man” that Ricky first recorded during the March, 1961 sessions at United Recording Association studio located on Sunset Blvd in Hollywood, CA. It was Ricky’s second number 1 hit on the Billboard Charts, with the flip-side being “Hello Mary Lou” penned by the great Gene Pitney.

It’s an important statistic to note that Ricky carried 11 double-side hits into Billboard’s Top 40. Certainly was not easy to have material strong enough to carry 22 songs into these chart achievements which was extremely impressive musically, then and now. The only other single rock n’ roll performer to eclipse that level of success, was Elvis Presley. And they were good friends.

One of the reasons for Ricky’s longevity in music was made possible by his abilities to reinvent himself during phases of time through many genres of music. He was an artist, a song-writer, a poet, and a real inspiration creatively, to countless musicians that stood on his shoulders and benefitted from Ricky’s musical experiences.

Jerry’s contribution was certainly a factor in that success that Ricky accomplished. Only five tracks composed by Jerry that Ricky recorded were never officially released from his session catalog. This includes what is believed to be released as the follow-up song to “Travelin’ Man” – a song called “Window on the World” recorded during the November, 1961 sessions at Master Recorders on Fairfax Ave in Hollywood, CA. A beautiful and stunning song that would have stood the test of time.

The songs chosen for this LP vinyl record provide a great example of Jerry’s contribution to Ricky’s success. The bonus track (Desire, by The Trophies) has Ricky singing back-up which was well-mixed into the background harmony

Finland’s Nightwish have always stood for virtuoso perfection. They are able to evoke fantastic dream worlds, fade out time and space, and touch you deep inside with their symphonic majestic compositions. Since their formation in July 1996, they have risen long ago to become the most successful Symphonic Metal band.’Once’ is their 2004 breakthrough (5th studio album, Silver in the U.K.) featuring the hits ‘Nemo’ and ‘Wish I Had An Angel’.

Lift-top box including the first 10 numbered records and objects, with a 60-page exhibition style book, plus a bonus 12” single and 2CDs of unheard Joy Division interviews. Strictly limited and numbered to 4000 units WW.

Use Hearing Protection: Factory Records 1978-1979 contains facsimile editions of the first 10 numbered Factory items: 4 vinyl records, 3 posters, a short film, Factory stationery and an egg-timer design. The early history of the label is traced in a 60 page book with text by James Nice, photos by Kevin Cummins and archival interviews with Tony Wilson, Rob Gretton, Joy Division and more.

All 3 original Factory posters are contained in the box as well as the first 4 records: The Factory Sample EP (Fac 2), including the Fac2 stickers, All Night Party by A Certain Ratio (Fac 5), Electricity by Orchestral Manoeuvres in the Dark (Fac 6) and classic album Unknown Pleasures by Joy Division (Fact 10).

Bonus items include a white label 12” single by The Tiller Boys (originally intended as FAC3 but ultimately not released), and a lengthy audio interview with Joy Division, Tony Wilson and Rob Gretton, conducted in August 1979 by journalist Mary Harron, never before heard and now restored across two CDs. Also newly restored, and seldom seen since 1979, is evocative 8mm short No City Fun (Fac 9), featuring music by Joy Division.

It’s finally here, and what an explosive package it is!

Our beloved Ricky Nelson’s previously unreleased and final “live” concert at the Royal Albert Hall in London, England that Ricky and his band performed on November 17th, 1985 - along with a very special added extended play record that includes 5 tracks from his final unreleased sessions with Curb Records. This vinyl package is a MUST for anyone who loves to listen to the original rockabilly artists of the 50s in addition to Ricky’s millions of fans and collectors alike.

It’s finally here, and what an explosive package it is!

Our beloved Ricky Nelson’s previously unreleased and final “live” concert at the Royal Albert Hall in London, England that Ricky and his band performed on November 17th, 1985 - along with a very special added extended play record that includes 5 tracks from his final unreleased sessions with Curb Records. This vinyl package is a MUST for anyone who loves to listen to the original rockabilly artists of the 50s in addition to Ricky’s millions of fans and collectors alike.

First ever US release of this German chewy pop-psyche goodness so tasty
we included a pack of Glee Gum! Glee is one of the only plastic free gums
on the market. Enjoy your pop bliss!

“I don’t want to be a product of my environment. I want my environment to be a product of me.” The debut LP from Ocean City Maryland’s Jarhead Fertilizer is a hot dose in your veins. Our modern dystopian reality meets a brutal mixture of death and grind with primitive groove with blistering low end. On Product of My Environment, Jarhead Fertilizer makes a simple statement. Death is easy. Life is hard

"These Exit Times" is the name of a newsletter sent by an environmental organisation advocating the extinction of the human race as a solution to save the planet. When Victor Ramirez first came across the group on the internet a couple of years ago, it brought a smile to his face. But after some pondering on the subject, he decided that "Exit Times" would be the name of his sensational third album as Ramirez Exposure.

The record started to take shape in early 2020, after a musical hiatus that had lasted a year. It had been somewhat of a dark period, and Victor felt it was time to go back to recording songs. It would be the first time he would be doing so at home. He had managed to set up a small studio that would allow him to make some proper recordings, and without having to use a computer. He'd also started a new job, as an orderly in a hospital, which gave him time to record and cash to pay the rent.

Victor was ready to take on the task of making the album with the help—albeit from a distance, this time—of Ken Stringfellow (Posies, Big Star) and Brian Young (Jesus & Mary Chain, Ivy, Fountains of Wayne), both regular accomplices of the Valencian in production and instrumentation. Working with the two of them feels very natural for him, even though they are in three different countries.

Looking back, it seemed as if he'd prepared himself for what was coming.

And so, the pandemic happened, and Victor found himself turning the ideas he had outlined on his phone into the songs for Exit Times. He was in a good place, personally and, despite the situation, he was happy to be able to contribute to society through his job at the hospital and, after coming home, to concentrate on his music and isolate himself from everything else.

Gradually, the sketches turned into luminous songs, with bright harmonies and lyrics that exude a fine irony. Victor admits that he strives to be a good pessimist every day, and the songs reveal a way of understanding life that relativises almost everything in order to stick with what's really important. This subtle sense of humour in the lyrics, like the luminosity of his music, is vintage Ramirez, and is present throughout the album, and even on the cover. The artwork is a painting by German painter Angela Dalinger, depicting Victor himself, their dog, Colombo, and some meaningful objects. The vinyl record featured is George Harrison's Brainwashed.

Exit Times is a shiny collection of songs with a universal vocation, bathed in sunshine pop with touches of new psychedelia. All simmered under the Mediterranean sun—the same sun that illuminates the entire planet.

Contains new specially prepared liner notes by Penguin Guide To Jazz’s writer Brian Morton and by Paris’ prestigious Jazz Magazine.
6 bonus tracks (Green Vinyl) “The question of whether Etta James became a pop singer, a jazz singer, or a blues singer needn’t detain you long. She was all of those, as At Last bears out, and more besides. James touched on gospel, doo-wop and rhythm’n’blues
with equal facility. “Dance With Me, Henry” was a hit, but renamed “The Wallflower” and covered by Georgia Gibbs. Because James had a composition credit, it made her some money, but she didn’t like to be bested. She made sure that the next time it would be her name on the label.“ Penguin Guide to Jazz “At Last!, her debut LP, made for the celebrated Chicago label Chess, certainly is one of her most memorable. It’s impossible to not be moved by the power of her voice, beginning with the opening notes of “Anything to Say You’re Mine”.
Every phrase, every word is attacked with an energy that commands respect. But beware, this young woman (she was only 22 at the time) could also take on the sweetest forms of a melancholy ballad, such as “Stormy Weather”, and manage to achieve tenderness. At Last! is one of the key soul music albums of the early 1960’s.” Jazz Magazine ETTA JAMES, lead vocals; The Riley Hampton Orchestra. Arranged and conducted by Riley Hampton. Recorded in Chicago, Illinois, 1960 and 1961. Original sessions produced by Phil and Leonard Chess.

Originally released in 1975, Force It is UFO’s fourth studio album. Produced by Ten Years After’s Leo Lyons, it was their first album to chart in the US and enabled the band to kick up a rockier gear.
Containing many classic tracks still in their live set today, such as “Shoot Shoot” and “Let It Roll”, this newly remastered 2LP gatefold deluxe version includes the Record Plant live set from 1975.
This limited-edition version is pressed on clear vinyl.