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The Telescopes Radio Sessions collects together the essence of three live session recordings in 3 different countries over a three year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain. More session releases are being lined up for the rest of the year and beyond - enjoy the sonics and stay tuned. Over the years I have read a lot on people’s impressions of The Telescopes. Some folk think it’s a collective, others imagine it used to be a band and feel nostalgia towards what they consider to be the original line-up (even though many had come before, during and since) and some people refer to it as currently a solo career. In a way this is all true and none of it is. When faced with these kind of questions, along with questions about the style of music that The Telescopes make I often say The Telescopes house has many rooms, which explains things perfectly for me but for people on the outside looking in it only serves to increase their confusion. For me, confusion isn’t such a bad thing. Everything is born into confusion, the sense we try and make of that chaos is interesting and excites me. The universe often disorientates, it sends me a jumble of thoughts and impressions coupled with a feeling of something I need to express… if I could only decipher the encryption. This is how The Telescopes music comes to be and it is also how The Telescopes came to me. I regard The Telescopes as an entity of it’s own that introduced itself in my darkest hour and I was chosen as its vessel. From the second it arrived I was obsessed to the point where there was nothing else. A bit like having an imaginary friend. As the obsession grew it began to infect others, everybody loved my imaginary friend and wanted a piece of it. As its success grew however, so did the corruption, until one day the entity fell silent. The silence lasted for years, I tried everything to reconnect but it was having none of it. I had been a bad caretaker, I had let the house become infested and I had lost my way. This epiphany served to remind me of simpler times when anything felt possible with this entity by my side. It had trusted me with something so simplistically profound and I had let it down. The realisation of this was a eureka moment. I am not The Telescopes, I never was and never will be, I am the caretaker, the lighthouse keeper and if a job is worth doing it is worth doing well. With this dawning, I felt a crack open up in the cosmic egg and a familiar confusion in my head. The entity had returned. It was time to start untangling its tangled threads once more, to make sense of what it was saying, this time without corruption. It’s all about listening. I listen to what my cosmic friend sends me and channel this expression into what you hear through your speakers. It may take one person to achieve this, it may take more. There is no set line up or instrumentation that can hold The Telescopes. Whatever it takes to hit the zone, whatever is available, absolute focus is imperative. Sometimes it takes sabotage to keep that line of vision intact, there is no room for preconceptions or complacency in making the music. The Telescopes music is the now

incarnate and a state of total being is necessary to achieve. From the outside looking in... again, it’s all about listening. What comes through your speakers is the only thing that matters. The music either reaches you or it doesn’t. Everything else may seem interesting or confusing but ultimately it is corruption. So if you’ve bought the record, read the sleeve notes and bought a ticket to see a live show, don’t be surprised if the line-up is or isn’t the same as the recording. The only thing that is for sure is that The Telescopes as an entity is speaking to you in its own voice in every scenario.
Of course the difference between albums and live shows is that you can play the record over and over again to the point where you know every line and every note that was played. Whereas with live events you are left with an impression that can only be replayed in your mind. It can be frustrating at times. When you are touring with a great line-up and feel like something exciting is happening, you want everyone to hear it, not just the people at the shows but the people that couldn’t make it on the night as well. There is no guarantee that there will be the same line-up at a live show as there is on the album. This is why live sessions are important, they document a side of things that is often fleeting. Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their
celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here’s a little reminder and a keepsake. Infinite suns. Stephen Lawrie February 2024.

After five long years, Balance and Composure return with Too Quick To Forgive--newly signed to Grammy-nominated producer Will Yip's label, Memory Music, the alt-rock darlings sound more assured and adventurous than ever across two vulnerable tracks. Too Quick To Forgive is a reflection on personal perseverance in the wake of confrontation, told through two distinctly different scenarios. "Savior Mode" finds frontman Jon Simmons baring his soul in a way that is unparalleled in their discography, while "Last To Know" is an emotionally-resonant highlight that leaves a lasting impact well after its final notes play out. Simmons' vulnerability and emotional delivery across both tracks cut through with unflinching precision courtesy of Andy Slaymaker (guitar), Matt Warner (bass), Erik Petersen (guitar), Dennis Wilson (drums), and who the band considers their 6th member--producer Will Yip. In the fall of 2022, the group got together at his Conshohocken, PA studio, Studio 4, with a few ideas that Yip helped turn into these otherworldly tracks. "It was all magic," Jon says. With a renewed sense of purpose, Balance and Composure will return to the stage for a series of Too Quick To Forgive release shows in some of the biggest rooms they've ever played.

BGP are excited to launch their new 7s at 33 series which aims to deliver classic album length tracks in their full length on 7-inch singles.

Although a new series, we have experimented with this before, releasing Tom Moulton’s extended version of Patti Jo’s ‘Make Me Believe In You’ in 2016 to an ecstatic response and great sales.

‘Leaving This Planet’ was the title track of Charles Earland’s 1974 album of the same name: one of the finest jazz albums of the 70s. This Track was played at the Loft and other New York dance clubs in the 70s.

Here it is coupled with ‘Murilley’, an organ led vocal number that was a massive jazz dancer at the Wag Club, Dingwalls and beyond in the 80s.

Freedom Weaver: The 1959 European Tour Recordings is the first official release of the 'Saxophone Colossus' Sonny Rollins’ European tour in 1959 with bassist Henry Grimes, and drummers Pete La Roca, Kenny Clarke and Joe Harris. Available previously only as a bootleg release, this is the first official release in cooperation with Sonny Rollins and released as a 3-CD set. Freedom Weaver includes an elaborate booklet with rare photos by Ed van der Elsken, Jean-Pierre Leloir, Bob Parent and many others; lead liners by jazz scholar Bob Blumenthal, and new interviews with Rollins himself, Branford Marsalis, James Carter, Joe Lovano, James Brandon Lewis and Peter Brötzmann. Mastered by the legendary mastering engineer Bernie Grundman.

Gemma Blackshaw is a scholar, writer and curator currently Senior Tutor for research at the Royal College of Art. She has curated major exhibitions for galleries and museums in London (National Gallery; Wellcome Collection and Vienna (Leopold Museum; Wien Museum).
This is her debut album.

Who Will You Love is the debut collaborative album from The Dengie Hundred with Gemma Blackshaw. In 2023, The Dengie Hundred co-produced with Japan Blues two albums for Demdike Stare’s DDS label, and released the solo album Tube on London’s Sagome imprint; their solo debut Brackenbank appeared on Ethbo in 2022, when they also contributed to World of Echo’s Thorn Valley compilation. Here, they collaborate with Gemma Blackshaw on an album of smudged dream pop.

Gemma’s vocals were recorded from home at night on an old iPhone. Who Will You Love surfaces dark, desiring songs on the passion and exhaustion of looking after others. Emerging in simple rounds that expand with layers of field recordings, synths and drum machines, the songs include lullabies for baby boys and men, enchantments of wary lovers and spells of protection for a daughter.

Moving between her children and her lover, the mother sings of the demands of daily intimacy (play with me, carry me, sing to me…) that echo through adult relationships too.

Who Will You Love was mastered by Carim Clasmann, and mastered and cut for vinyl by Stefan Betke (aka Pole). Artist Alexis-Soul-Gray gifted Screen Memory of 2022, a painting on found paper, for the artwork. Mark Thomson designed the sleev

‘EVERYTHING IS HERE’ is a journey through space and time, inspired by the more rarefied aspects of prog rock and the wistful side of psychedelia.


Fusing these influences with the accessibility of French electronic and the groove of R&B and disco, this album depicts the sweet dizziness of contemplation. Nostalgic, yet determined and modern in it’s genre blending, the first album of Kartell truly reveals what’s been underlining in his previous EP.

Taking influences in the space and dream pop aesthetic, the musical approach of the album embraces the 60’s and 70’s fascination for outer space, exotic locations, technologies and science fiction which was on the edge of becoming reality.

Nebulous textures and otherworldly sounds characteristic of space rock are infused throughout the record, while keeping a focus on making catchy songs, leaning on a minor-key groove and a pop yearning. It’s also a challenge and an artistic proposition to gather a wide range of genres to tell a story. Densely produced and cinematic, the album draws a truly living landscape where live bass, drums and guitars hold the line, evolving around hazy effects and synthesizer layers.

SALTPIG is a bit of a mystery. The band just showed up seemingly out of nowhere, album in hand, with the music loudly speaking for itself. As it soon became known, SALTPIG is a two person band with Fabio Alessandrini (formerly of Annihilator) on drums and Mitch Davis handling vocals, guitar and all of the other layers of noise that can be heard on the record. The music that came out of this pairing has elements of doom/stoner/psych/occult metal and others, but they didn't go into it with anything that specific in mind. They just make the music they want to hear. Davis has been working with bands/artists including LA Guns, Damon Albarn, Billy Squier, Stephen Malkmus, Mark Lanegan, Sunbomb and U2, but SALTPIG is obviously a very different animal. For his own band, Mitch created a sound that is much darker. When he started writing the SALTPIG tracks, it pretty quickly turned into this debut album. Most of the tracking was done in their respective studios, with Fabio in Italy, and Mitch in New York where he'd do all of the final recording, production and mixing. It's melodic but embraces dissonance. It's noisy and dirty and evil sounding. Underproduced and real. It embraces imperfections as only a human can do.

SALTPIG is a bit of a mystery. The band just showed up seemingly out of nowhere, album in hand, with the music loudly speaking for itself. As it soon became known, SALTPIG is a two person band with Fabio Alessandrini (formerly of Annihilator) on drums and Mitch Davis handling vocals, guitar and all of the other layers of noise that can be heard on the record. The music that came out of this pairing has elements of doom/stoner/psych/occult metal and others, but they didn't go into it with anything that specific in mind. They just make the music they want to hear. Davis has been working with bands/artists including LA Guns, Damon Albarn, Billy Squier, Stephen Malkmus, Mark Lanegan, Sunbomb and U2, but SALTPIG is obviously a very different animal. For his own band, Mitch created a sound that is much darker. When he started writing the SALTPIG tracks, it pretty quickly turned into this debut album. Most of the tracking was done in their respective studios, with Fabio in Italy, and Mitch in New York where he'd do all of the final recording, production and mixing. It's melodic but embraces dissonance. It's noisy and dirty and evil sounding. Underproduced and real. It embraces imperfections as only a human can do.

The Gothenburg, Sweden based psychedelic rock combo Hollow Ship returns with Animated Music, a new EP and the follow-up to their acclaimed 2020 debut LP Future Remains which was praised by ex Prog Magazine, Shindig! and Raven Sings the Blues. With the band’s unique rhythm-driven blend of psychedelic rock and prog, with traces of jazz and hard rock as well as a myriad of other influences, at he forefront Animated Music pushes the band further into the instrumental realm than before. A cinematic journey over the space of 20 minutes, the music was originally written as an aural companion to the band’s Space Motion show visuals before being reworked into the shape of the Animated Music EP. With the band’s upcoming second full-length due in the winter, Animated Music showcases the band’s instrumental storytelling at great effect, further establishing the band at the orefront of the Swedish psychedelic scene alongside luminaries such as Dungen and Goat. Animated Music is due out on May 31 via Swedish indie label PNKSLM Recordings (7ebra, Chemtrails, ShitKid etc) on limited edition splatter vinyl (limited to 500 units worldwide) and digitally.

Haust started in the city of Notodden in 2001 and redefined the borders between punk and black metal with their 2008 debut album “Ride The Relapse”. The album was the first album to be released on the Fysisk Format-label and went on to inspire a generation of bands. Members from Haust have also been prominent in bands like Okkultokrati and Outer Limit Lotus, and guitarist Ruben Willem’s production skills has made its mark on bands like Kvelertak, Bokassa, Djevel, Ondt Blod, NAG and Sibiir.

With their debut album Haust showed the world how negative forces could manifest into an album. Some songs were inspired by the destructive car-culture in Notodden with its intense local mentality and anti-sophistication, as well as old horror movies and trash films by John Waters. Three more albums appeared, with some other members here and there, but the band went on hiatus from 2015 for several years. Now the band is back, in their original line-up, to return to their dark horror-inspired landscape from the early days; dirty punkrock with a strong negative energy.

The album summarizes everything Haust has done and stood for in the last 23 years: negativity, death and corruption are recurring themes, and the music is more aggressive, noisy and catchy than ever before.

Probably the best Milt Jackson LP as a leader, Plenty, Plenty Soul presents him playing the blues in the company of such stars as Cannonball Adderley, Joe Newman, Jimmy Cleveland, Horace Silver, Oscar Pettiford and Art Blakey, among others. THE COMPLETE ALBUM + 1 BONUS TRACK - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE




d Heartstrings [With the Oscar Peterson Trio]




[d] Heartstrings [With the Oscar Peterson Trio]

The Slovak band Shallov releases their new track "Refrain" on the experimental label Weltschmerzen just one year after the release of "Coexist". Two tracks that both span more than 10 minutes in length, work together as one coherent audiovisual art piece and are out as an EP on 10" vinyl. Music videos do not only visually supplement both tracks but they are equally autonomous art pieces.

The visual feature of the music pieces is highlighted by the vinyl's cover painted by Slovak artist Michal Fízik. The previous back cover carries a photograph which served as an inspiration for the painting while the current back has been created via AI reinterpretation.

The musical component of Refrain is based on a repetition building into a hypnotic trance, gradually disintegrating so it eventually ends in a monumental climax. It contrasts the band's previous work as well as the track Coexist which uses rather neverending rhythmic variations, and a changeable vibe and atmosphere.

The concept of the visuals in Coexist is a result of a collective fusion between the theatre director Adam Dragun, Viktor Ori and dozens of other participating non-actors. The video depicts individualistic egoist actions shaping a contradicting and incomprehensible totality of the world which ultimately seems to be alienated to everybody.

Refrain is an introspective journey leading to the dissolution of the individualistic experience of human existence. The video's concept, direction and production was conducted by the visual artist and performer Jak Užovič who also tends to inter-media art and object installations.

As Shallov and Jak Užovič explain the track's conceptual background: "The idea of owning one's own body and mind is an unnatural way of looking at ourselves imposed by the dominant paradigm. It's a blind ideology - the view of a body as a machine or a commodity is incomplete and represents a materialistic utopia which is being systematically internalized. We're not a community that acts right or wrong, our intentions are determined by an ideology which pretends not to exist - our relations are relations of masters and slaves, of domination and exploitation. We are a society bound by these features and even though we refuse to admit it, the world presented to us is only a legend we're striving to keep alive at all costs, while believing that there is no alternative. Our quality doesn't stem magically from the inside, on the contrary, it's determined by the conditions within which we interpret it through collectively shared fictions. We don't get to know our consciousness through ourselves, but we recognize it through others as they create and form us."

Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium. Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist. While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms. Unlike a broken record, this The Brkn Record album keeps pushing boundaries— By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney. One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear. ‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, its common place and needs to end. Simple as.’ The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes. "The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!

"Tools of Oppression / Rule by Deception" is the new full length album by The Hope Conspiracy. The album was engineered by Kurt Ballou and Zach Weeks at God City Studios. Artwork for the release was created by acclaimed artist Alexander Heir (Death/Traitors). This is true sonic violence aimed at political division, economic manipulation, war profiteering, media propaganda and other vile forms of global oppression. Air raid sirens wail as the foreboding "Those Who Gave Us Yesterday" and "The Prophets and Doom" explode forth like burning shrapnel. The hell ride continues with "A Struggle For Power" and "Live In Fear", two vicious blasts supercharged with malice and contempt. "Shock By Shock" and "Of A Dying Nation" introduce doom and gloom heaviness, grinding down the tempo to a mid-paced barrage. "Confusion/Chaos/Misery" picks up the pace, going scorched-earth policy on the sociopolitical nightmares that ensnare us all while "Broken Vessels" plows into overdrive about the opioid crisis and addiction as a whole. This leads to "The West Is Dead" a dystopian hook laden hardcore anthem, and epic closer "The Specter Looms"; An ominous soundtrack to the steady decline of our modern age. There is no question, The Hope Conspiracy is back to make a cold hard statement about existence in the end times.

All work, all play - Fall of Porcupine tells an emotional story about a young doctor, who struggles to find his place in the small town of Porcupine. The game combines a vibrant, hand-painted world with the harsh reality of working in a flawed healthcare system, as the player accompanies Finley on his journey. While we do not guarantee that the game will make you cry, there's a high chance it might. Step into the town of Porcupine and take to the well-loved scrubs of Finley, the newest fledgling doctor to join the ranks of St. Ursula's hospital. As the seasons in the small-town change and life starts to stir, you'll soon realize that things aren't always what they seem: Not everyone is honest with themselves and others, the healthcare industry is not as illustrious as it seemed in medical school, and the work/life balance Finley strives toward might be impossible to achieve. Pinsel is perfectly capturing the slightly melancholic and laid-back atmosphere of the game in the songs of the soundtrack. Acoustic guitars and other analogue instruments paired with minimal electronic elements that are light but never random. It's almost as loveable as its characters. A game soundtrack highlight that might also be your perfect companion for walks on a sunny day in autumn.

These recordings come from the same sessions that produced 1961's My Favorite Things. This is one of the least well-known Coltrane albums, partly because it is an all blues format and partly because it was released at the end of his association with Atlantic records.

Plays The Blues features the talents of McCoy Tyner, Elvin Jones and Steve Davis. It is the beginning of his work with Tyner and Jones in quartet form. For that alone this recording would be important. Although this album is called Plays The Blues, this is by no means the only blues which Coltrane plays. There are blues elements, moods and feelings in all of his best-known recordings. Listen to "Slowtrane," "Blue Train," "Bessie's Blues" among others and one can't help but hear the blues vibe.

The original six tracks are fantastic and have that same blues vibe. They hit the listener right in the heart and soul and don't let go. All six are superb, but "Blues To Bechet," "Mr. Day," "Mr. Knight" and "Blues To Elvin" are absolute classics.

Cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

ush's eighth studio album, Moving Pictures, was released in 1981 and features the Top 10 hits "Limelight" and "Tom Sawyer." 40th Anniversary Edition LP cut at half-speed on 180-gram vinyl and wrapped in a premium tip-on gatefold jacket with one of six hand-drawn lyric sheets by Neil Peart.
Released in 1981 at the dawn of the age of sequencing and synthesizers, Moving Pictures has one musical foot firmly in the 70's and the other stepping into the future of recording technology. This global smash includes the ultimate prog-instrumental, YYZ; the band's ode to live performance, Limelight; Witch Hunt, which explores socio-politics; and Tom Sawyer, which captures the feelings behind teenage alienation more succinctly than any song that has since followed, save Nirvana's Smells Like Teen Spirit. This recording is considered by many to be the absolute best Rush. - Jodi Lutz

"Listen to This." As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than five decades after its original release, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made in any genre. Sewn together with vibrant colours, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail on Mobile Fidelity's definitive 180g 33RPM 2LP set.

Sourced from the original master tapes and pressed on 180g vinyl at RTI, this numbered-edition version of Bitches Brew joins the audiophile ranks of other essential Miles Davis sets reissued by Mobile Fidelity. Having established new possibilities for studio-recording techniques, the record can now be experienced to maximum degree by way of a pressing that widens and deepens the soundstage, opens up separation between instruments, and broadens the dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. On this reissue, these creations take shape with utmost realism. Compositions stretch across black backgrounds and paint abstract canvasses on par with those of Axis: Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.

And "verve" defines Bitches Brew. Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard." Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that thrusts rhythms into central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures with quixotic rock, funk, and R&B elements.

Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love." The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it resists definitive interpretation and encourages free thought — the very principles with which Davis conceived the everlasting beauty and fascination that remain Bitches Brew.

True audiophile joy — now cut at 45 RPM 2LP for better tracking, exceptional bass!
Remastered by Kevin Gray at Cohearent Audio from the original master tapes
Plated and pressed on 180-gram vinyl at Quality Record Pressings!
Stoughton Printing gatefold tip-on heavyweight cardboard jacket


Praise for the 33 1/3 version of The Smoker You Drink, The Player You Get:

"(Side one) ends with the appropriately titled 'Happy Ways,' a Latin-tinged guitar-fest with lovely chunky bass lines that sounds absolutely glorious on this Analogue Productions pressing. The zing of steel string guitar almost sounds dead on the CD and tired on my ancient vinyl pressing, so this is clearly not one of those remasters that's based on an umpteenth generation copy of the tapes. ... You owe it to yourself to hear this album — and it will not sound any better than this spectacular pressing." — Recording = 8/10; Music 10/10 — Jason Kenedy, Hi-Fi+, Issue 148

"An outstanding new 180gm LP reissue from Analogue Productions, with improved sound thanks to a sparkling new remaster by Kevin Gray at Cohearent Audio, makes it clear that this 1973 release remains — with the possible exception of 1978's But Seriously, Folks . . . — the undisputed highlight of Walsh's solo career. ... Another week, another beautiful-sounding, wonderfully packaged reissue from Analogue Productions." Read the whole review here. — Robert Baird, May 2017

In between his stints with the James Gang and the Eagles, Joe Walsh tackled his second solo studio album The Smoker You Drink The Player You Get which became his most successful solo outing. The 1973 LP continued the heavy and light rock mix of tracks found on his previous release, Barnstorm.

Analogue Productions has done reissue justice to the album that AllMusic decries "features some of the most remembered Joe Walsh tracks, but it's not just these that make the album a success. Each of the nine tracks is a song to be proud of. This is a superb album by anyone's standards."

To obtain the best sound possible we turned to Kevin Gray at Cohearent Audio to remaster this superb album from the original analogue tapes. Next we plated the lacquers and pressed LPs on 180-gram audiophile vinyl at the world's best LP maker, Quality Record Pressings. Top it all off with a deluxe Stoughton Printing gatefold tip-on jacket and you've got the makings for audiophile joy.

But would we stop there? Hardly. Now with our 45 RPM release, the best-sounding version of this rock music gem gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

This amazingly eclectic rock album has Joe's smash "Rocky Mountain Way," his hit "Meadows," plus "Bookends," "Wolf; Dreams" and more! Walsh's ability to swing wildly from one end of the rock scale to the other is unparalleled and makes for an album to suit many tastes.