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Channeling the speed of youth and the heaviness of a fleshy, lived life in equal proportion, Upchuck’s second LP, Bite the Hand That Feeds, is a Trojan Horse par excellence, craftily smuggling in waves of sentimental emotion and clever pop songwriting under a veil of pulsing rhythms and scorching riffs. What binds Upchuck together is a purity of intention, an organic loyalty to a thick knot of uncalculated friendships, struggles, and desires. These are songs about the joy of continuing to live, songs that find each other in the rush of a crushing reality, propelling the listener onward towards a collective release, however brief it may last. Themes of surviving through the night, youth-blinded love, cheap champagne soaked back-alley parties, and chaotic street protests are subsumed under a single unifying thread: the needs we have for one another, our shared hunger for connection. In a world saturated with arbitrary rules and paper-thin moralism, Upchuck offer free¬dom through sensation, a type of unserious transcendence found through the swirl of bodies melting into one another in the passion of dance. With Bite the Hand That Feeds, Upchuck isn’t trying to tell anyone how to live. Rather, they are simply trying to find a way to make life more worth living for both themselves and their friends—if the music compels you to move, you might as well consider yourself their friend too. Shortly after the release of their debut album Sense Yourself, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos. All the same, final credit for Upchuck’s evolution from Sense Yourself to Bite the Hand That Feeds must be paid to the band itself. Following the release of their debut LP, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Segall’s Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Sub¬humans. The razor tight focus of Bite the Hand That Feeds was forged in the fire of these live shows, speaking directly to the power of their in-person presence—these are songs meant to be heard pressed up against a barricade, blasted through dimed guitar amps placed so close to your ears that you can practically reach out and touch them. In its totality, Bite the Hand That Feeds offers a sonic portrait of what it feels like to be young and caught up in the thrill of it all, coursing between ripping dance grooves and thundering dirges, anti-self-serious crowd anthems and charming pop hooks.

Emerging from 6 years of sonic exploration, SBTRKT (pronounced 'subtract'), is an electronic music artist based in London, UK known for his synaesthesiac production and early collaborations with, and championing of, Sampha and Jessie Ware, alongside Little Dragon, The Dream, A$AP Ferg, Ezra Koenig and Drake.

Largely anonymous, SBTRKT (real name Aaron Jerome) has established a reputation for iconic visuals and creative, an incredible live show and a sound that effectively defined electronic music in the early 2010s'The Rat Road' sees SBTRKT redefine UK electronic music (again)' according to GQ, bringing together his iconic, synaesthesiac production with an incredible lineup of collaborators including Toro Y Moi, Teezo Touchdown, D Double E, Anna Of The North, Kai Isaiah Jamal, Sampha, Little Dragon and others.

German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.

German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.

Always & Forever is the debut studio album by British girl group Eternal. The album achieved six top 20 singles, two of which reached top 5 - "Stay" and "Oh Baby I...". Always & Forever was a huge success, peaking at number 2 on the UK Albums Chart, and was later certified 4× Platinum by the BPI for sales of over 1.2 million copies. The album spent over 76 weeks in the charts.

Our reality as a human race has been one of cruelty, vitriol, and chaos

All the horror that surrounds us creates a reality that we as individuals are force fed to consume - This 9-track album explores our existence with themes of corruption, isolation, suicide, bigotry, and war

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.

South London ne-er-do-wells Meatraffle make huge strides forward with this third album of funky trumpet-laced street pop combining a caustic wit with a tender heart. “The best band in the country bar none!” Fat White Family // “A collective of individuals who refuse to be pigeonholed…..they conjure a rich, imaginative and often simply funny world” The Quietus // “Humorous alt-punk…potent…surreal” CLASH // “Their direct and confrontational attitude has not been seen since punk really grabbed England by the balls” FAR OUT // “Your mind will be liberated” Louder Than War // Meatraffle are thrilled to announce they will be releasing 'Base and Superstructure', their third studio album on Blang Records on 29.09.2023. Recorded during lockdown, produced & mixed by Meatraffle keyboardist Chris OC, Dante Traynor (SWEAT, Fat White Family 'Feet'), additional mixing by Angelica Björnsson (Hi - Texas feat. Wu Tang Clan) and mastered by Dean Honer (Eccentronic Research Council, I Monster, The Moonlandingz), ‘Base and Superstructure’ marks a new sonic departure for the band rightly acknowledged as godfathers of the now infamous South London scene, centred around the Windmill in Brixton. The band will be touring in support of the new album later in the year. Founded in 2014, Meatraffle have toured extensively across the UK and Europe as both a headline act and support to the likes of Fat White Family, Sleaford Mods and Warmduscher. Festival appearances include SXSW, Green Man and Liverpool Psych Fest. In addition to their previous two LPs ('Hi Fi Classics' and 'Bastard Music'), the band have released singles on Dan Carey's Speedy Wunderground and Moshi Moshi, plus numerous remixes including 'Meatraffle on the Moon' by the one and only Andrew Weatherall. The band have also played sessions for Marc Riley (BBC 6Music) plus regular plays from other 6Music DJs including Iggy Pop, Gideon Coe and Amy Lamé. “We were looking for labels for a while, sending out demos to small ‘indie’ labels to which we often had the response, “we really like it but we’re not signing anyone at the moment”, which feels like the new “don’t call us we’ll call you!”... We knew we had a good record so didn’t get knocked back and knew it would be a climb as many of these small and large ‘indie’ or ‘alternative’ labels can be even more conservative than the mainstream, I guess having less money and therefore having to ‘play it safe’. We bumped into Blang one night at The George Tavern and instantly had a good feeling about them…and guess what? They loved the music!” - Meatraffle frontman, Zsa Zsa Sapien. Genre-bending independent label Blang Records is a wildly non-commercial label firmly rooted in the DIY/anything goes attitude of punk and antifolk, and has remained consistent in its commitment to releasing outsider music by the likes of David Cronenberg's Wife, Jack Medley's Secure Men, Brix & The Extricated, Milk Kan, Thomas Truax and many more. Live Dates: 13th July 2023 - Peckham Audio, London w/SLEAZE, Brian Destiny, Neuro Placid (headline show).

South London ne-er-do-wells Meatraffle make huge strides forward with this third album of funky trumpet-laced street pop combining a caustic wit with a tender heart. “The best band in the country bar none!” Fat White Family // “A collective of individuals who refuse to be pigeonholed…..they conjure a rich, imaginative and often simply funny world” The Quietus // “Humorous alt-punk…potent…surreal” CLASH // “Their direct and confrontational attitude has not been seen since punk really grabbed England by the balls” FAR OUT // “Your mind will be liberated” Louder Than War // Meatraffle are thrilled to announce they will be releasing 'Base and Superstructure', their third studio album on Blang Records on 29.09.2023. Recorded during lockdown, produced & mixed by Meatraffle keyboardist Chris OC, Dante Traynor (SWEAT, Fat White Family 'Feet'), additional mixing by Angelica Björnsson (Hi - Texas feat. Wu Tang Clan) and mastered by Dean Honer (Eccentronic Research Council, I Monster, The Moonlandingz), ‘Base and Superstructure’ marks a new sonic departure for the band rightly acknowledged as godfathers of the now infamous South London scene, centred around the Windmill in Brixton. The band will be touring in support of the new album later in the year. Founded in 2014, Meatraffle have toured extensively across the UK and Europe as both a headline act and support to the likes of Fat White Family, Sleaford Mods and Warmduscher. Festival appearances include SXSW, Green Man and Liverpool Psych Fest. In addition to their previous two LPs ('Hi Fi Classics' and 'Bastard Music'), the band have released singles on Dan Carey's Speedy Wunderground and Moshi Moshi, plus numerous remixes including 'Meatraffle on the Moon' by the one and only Andrew Weatherall. The band have also played sessions for Marc Riley (BBC 6Music) plus regular plays from other 6Music DJs including Iggy Pop, Gideon Coe and Amy Lamé. “We were looking for labels for a while, sending out demos to small ‘indie’ labels to which we often had the response, “we really like it but we’re not signing anyone at the moment”, which feels like the new “don’t call us we’ll call you!”... We knew we had a good record so didn’t get knocked back and knew it would be a climb as many of these small and large ‘indie’ or ‘alternative’ labels can be even more conservative than the mainstream, I guess having less money and therefore having to ‘play it safe’. We bumped into Blang one night at The George Tavern and instantly had a good feeling about them…and guess what? They loved the music!” - Meatraffle frontman, Zsa Zsa Sapien. Genre-bending independent label Blang Records is a wildly non-commercial label firmly rooted in the DIY/anything goes attitude of punk and antifolk, and has remained consistent in its commitment to releasing outsider music by the likes of David Cronenberg's Wife, Jack Medley's Secure Men, Brix & The Extricated, Milk Kan, Thomas Truax and many more. Live Dates: 13th July 2023 - Peckham Audio, London w/SLEAZE, Brian Destiny, Neuro Placid (headline show).

It's a pertinent start-point because, in many ways, God Is Luck exists firmly within that realm, many of the songs pulled directly from improvisation before being twisted into the mysterious shapes we find here on the finished record.

Recorded between the summer of 2020 and the summer of 2022, God Is Luck is an exercise in artistic freedom. The songs came quickly and easily by design, the whole point of the record and the approach to simply let go.

The third Bad History Month LP - following the Pitchfork-championed Old Blues (2020) - where aspects of the new album mirror the shape of Sprecher's previous work, its creation was an altogether different experience for the Philadelphia-viaBoston songwriter. He describes it as a collaboration with 'luck', the freeform nature of the recording resulting in a process that felt "fun and easy and fearless in a way that recording had never been."

"God is Luck means you can control reality by choosing your perspective to always see the luck, which makes you the god of your own reality," Sean Sprecher says of his latest record. With that notion at its core, Bad History Month's latest adventure finds twisted new ways to tell age-old tales. Even in its most fearless compositions, buried within dense fog, it strives for goodness; freedom from fear, love for friends, surrounding yourself with those who inspire.

Agnetha Fältskog, weltbekannte Sängerin, Songschreiberin, Mitglied der Kultgruppe ABBA und eine der bekanntesten Stimmen der Musikgeschichte, hat 'A+' angekündigt, eine neu aufgenommene Version ihres gefeierten Solo-Albums "A" aus dem Jahr 2013, das am 13. Oktober 2023 über BMG veröffentlicht wird.

Das Originalalbum erschien vor 10 Jahren und wurde nun für das Jahr 2023 komplett neu aufgelegt. Neben der Albumankündigung hat Agnetha auch die atemberaubende Single 'Where Do We Go From Here?" in diesem Jahr neu aufgenommen; einen brandneuen Song, der dem Album hinzugefügt wurde und damit die erste neue Musik seit 10 Jahren von Agnetha als Solokünstlerin darstellt.

Das Album wurde speziell für sie von dem gefeierten Songwriter und Produzenten Jörgen Elofsson geschrieben.

Im Vorfeld des 10-jährigen Jubiläums des Albums diskutierten Agnetha und Jörgen darüber, wie das wie das Album klingen würde, wenn es im Jahr 2023 entstanden wäre, und beschlossen, diese Idee gemeinsam zu verfolgen. Sie arbeiteten mit ihrem Produzenten Anton 'Hybrid' Mårtensson zusammen und überarbeiteten das Album, jeden einzelnen Song, wobei sie den Originalgesang von 2013 beibehielten, die alte Musik wegwarfen und für 2023 völlig neue Produktionen und damit auch eine neue Tracklist schufen.

Das 2013 erschienene "A" war Agnethas erstes Album seit ihrem 2004 erschienenen Coveralbum "My Colouring Book" und das erste Originalmaterial seit "Stand Alone" von 1987.

Alan Abrahams aka Portable returns to the label in fine form with his latest full-length LP, Augmented Dreams. The title refers to the use of everyday technological advancements to achieve what were once
only dreams or visions of past generations, making this an explorative concept album that is equal parts not-too-distant science fiction, and about as topical as it gets.
From the gorgeous opening string layers of “The Pull of Time” to the classy 4/4 grooves of “Begin Again” or lead single “Guiding Me”, into the apropos and angular sci-fi broken beat feels of “Parallax” and “The Color of Static”, fitting Detroit-influenced love taps like “Beacon” and “The Mycorrhizal Network”, the politically-inspired “Are We Not Above It?” referencing the lingering effects of colonization featuring NiQ E from South Africa on vocals and L_cio from Brazil on flute, through to the futurist pop elegance of the dreamy duet recorded with Alexey Kochetkov “I Need You” and the conclusive titular track, it is clear that both the in-depth concept and immaculately-crafted musical content in Portable’s inimitable style are balanced in significance and expressive effect. This also functions as a timely statement in itself, as today’s iceberg-tip evolution of AI technology is currently impending over the arts and many of our existing realities.
This ten-song album serves as an imaginative yet hyperrealist narrative on how humanity’s fascination with and reliance on ever-advancing technology defines the times we find ourselves in, while the skillful sonic displays and present-era production techniques along with Abraham’s knack for timeless emotive songwriting offer up this solid soundtrack for the ages.

The dual forces of shadow and light, despair and hope, frustration and catharsis are at play in the music of Cupid & Psyche, the Los Angeles-based indie rock duo of Michael Vidal and Juan Velasquez. First gaining recognition in the late aughts as members of the punk band Abe Vigoda, whose 2010 album Crush was named one of the "Best 50 Albums of the 2010s" by Pitchfork, the two have reunited as collaborators for the first time in a decade. Cathartic jam sessions would birth the emotionally resonant songs that appear on their debut album, Romantic Music. Though they pull from a wide array of `80s and `90s influences, Cupid & Psyche bring together these disparate moods and genres through their own esoteric lens on Romantic Music_making for a singular sound that at once feels familiar and alluringly hypnotic. Listeners will detect the gloom of post-punk and goth, the haziness of dream-pop and shoegaze, the bittersweet guitar melodies of second-wave emo, and the manic electronic rhythms of trip-hop and big beat. The immersive soundscapes on Romantic Music are sometimes agitated and driving, while other times ethereal and transcendent. This duality matches the album's lyrics of looking for a divine escape from the grim realities of existence, as well as the darkest parts of one's psyche. "The thesis of the album is trying to transcend the limits of life and the struggle therein," Vidal says. "There's a lot of lyrics about feeling trapped or frustrated, and then trying to find a way out. There's a lot of times I sing of hope and grasping towards love. But maybe in trying to escape, you take the wrong door, be it substance abuse or other vices." Now as Cupid & Psyche, Vidal and Velasquez return to a friendship that creatively feels like home_except this time, with more experience, self-knowledge, and less pressure to make anything other than the music that emerges naturally. The LP's title Romantic Music is tongue-in-cheek, since there are no love songs proper on the project, and the phrase itself can imply a kind of light listening. But it befits that deep bond that the members have, as friends who understand and empathize with each other's worst, so they're capable of bringing out each other's best.

Producer, DJ, and composer Seb Wildblood returns tothe fold with third album "separation anxiety." Set for release via his own "all my thoughts" label, the prolific producer"s blissful electronics are on full display across the album"s 10 tracks, his most ambitious and fully realised offering yet. "The record largely explores coming to terms with abandonment, and what that looks like when starting to build a future of your own," explains Wildblood.

HYbr:ID Vol. 2 is the second installment of Alva Noto’sHYbr:IDseries initiated in 2021. The new album captures the music commissioned to score RichardSiegal's Ectopia performed in 2021 by Tanztheater Pina Bausch with Shooting into the Corner (2008-09) by Anish Kapoor. Building upon the captivating blend of immersive dub and electronica from the first installment, HYbr:ID Vol. 2 takes the listener on a journey into the realm of intricately manipulated digital production. These ten compositions delve into infinity, drawing inspiration from resonance and elasticity, concepts rooted in Minkowski's four-dimensional spacetime model.

Throughout the album, Carsten Nicolai summons precise rhythmic patterns that gracefully hover, reminiscent of celestial bodies orbiting in perfect cosmic unison. The sonic landscape gradually unfolds with somber and brooding tones, incorporating spacious sound design, ethereal atmospheres, and cascading metallic percussions. These elements are delicately crafted with artistic finesse, set against a backdrop of expansive dub textures. At times, the music takes unforeseen turns, as melancholic chords skitter and meander through a digital haze, evoking an atmosphere of introspection and emotion. The ten compositions are accompanied by graphic notations informed by the album’s sonic and acoustic codes.

We are back with the second part of our series „Quantum Spits“ to highlight the unique qualities of sub-genres and showcase the incredible talent within the house music universe.

Nandu joined forces with the Danish pop-vocalist Ida Corr to present a blend of deep, soulful, and rhythmic house music. Drawing inspiration from rhythms and distinctive sounds that defined the era of the 90s and early 2000s — think the vibes of producers like Kerri Chandler and Denis Ferrer — Nandu and Ida skillfully infused their own signature touch, creating a stellar Release.

"Tell Me" and "Around" are without doubt the lead tracks and the centerpieces of the release. Two perfect blends of what we love about house music, hunting instrumentals highlighted by standout vocal performances from Ida Corr. Both tunes take center stage in Dixon's sets in 2023. Aligned by Dixon’s Re-structure Edit of “Around” and the track “Wasted”, the EP is one of our highlights of the year.

“Tell me if it’s real”

The coupling of star trombonist Kai Winding with some of the best country & western songs, old and new is a great combination; Winding is one of the most melodic trombonists in jazz history. Winding and producer Creed Taylor recorded the album in Nashville, including greats like “I Walk The Line” and “Busted.” This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

As a songwriter and a performer, he played a vital role in the development of the idiom.

Growing up in central Texas, he was impacted by a wide range of musical influences, such as the Texas honky- tonk of Ernest Tubb, the western swing of Bob Wills, and even the polka bands of German-American.

He had begun writing songs as a child and by the time he reached adulthood was starting to turn out fully realized masterpieces such as Night Life and Misery Mansion.

This release presents Nelson's underrated debut LP, ...And Then I Wrote, originally issued in 1962 on the Liberty label.

Cybotron has re-emerged in our contemporary cybercultural age when artifactual futures begin a transition into a new era of "Meta".

By combining their knowledge of philosophy, science fiction, and mechanical engineering, at a time when electronic instrument companies were only just beginning to distribute their products to the masses, two prosumer audio technicians named Juan Atkins and Rik Davis were able to re-engineer Cybotron – a combination of the words “Cyborg” and “Cyclotron” (an atomic particle accelerator) – to be used as a home studio performance music that would change the course of independently produced and distributed electronic music.

Dissolving the boundary between singer, songwriter, and producer, Juan Atkins named Cybotron’s future forward funkadelic sound “techno” in reference to Alvin Toffler’s concept of unlikely “techno rebels” against technocracy. Techno is music that sounds like technology, and its purpose was to help society survive our collision with a universally felt “future shock” by inserting an audio virus into the cultural matrix.

Techno’s blueprint spread across the Detroit-Berlin Axis between Metroplex and Tresor. As human society began its transition from a post-industrial to an information-based market economy, Cybotron enabled a thorough system override of the human senses towards a tangible man-machine hybridity and showed the world how to channel their emotions and imaginations into new sound technologies and create new ‘sonic’ spatialities where listeners can transport themselves out of the physical world into the future. The cover of their debut album Enter (1983) transmitted a fragmented view of a body in motion being digitized mid-stride, dissolving physical and virtual reality into sonic fiction.

Today, the man-machine hybridity of Cybotron is still the truest form of techno, coevolving in conversation with the technological music they created and inspired. The latest data disk marks a new chapter that reflects a techgnostic musical expression of the knowledge acquired during their decades-long hiatus. Unlike the dance music industrial replications of the Model 500 formula, acknowledging the content marketing expectations that segments music into specific, sellable genres, this techno music is self-aware. Cybotron processes dance music tropes spawned from its very own blueprint with a meta-tactical precision out of sync with our current rave new world.

Cybotron’s return demonstrates a studied engagement with what techno was and should be with a peerless update of Juan Atkins’ initial inventive idea of do-it-yourself electrically reengineered music xeroxed onto both sides of the 12” – uploaded directly into the alleys of your mind.
- The Rhythmanalyst

Limited Grey Vinyl 2xLP. 18 klassische Songs aus dem Katalog von Velvet Underground, gespielt von The Feelies in der White Eagle Hall/ Jersey City, NJ - 13. Oktober 2018. Enthalten sind die VU-Standards "Sweet Jane", "Rock & Roll" und "I'm Waiting for the Man" sowie selten gecovertes Material wie "I Heard Her Call My Name" und "That's the Story of My Life".