Two-Piers präsentiert die nächste Killer-Compilation: "Weird Scenes From The Hangout (Psychedelic & Freakbeat Dancefloor Anthems 1967-1982)", kuratiert von Richard Norris (The Grid, Beyond The Wizard's Sleeve, The Time And Space Machine) und zentriert um seine Liverpooler Clubnacht "The Hangout" in den 1980ern. Dort brachten er und weitere DJs bewusstseinsverändernden Wahnsinn aus Psychedelia und Freakbeat auf die Tanzfläche. Herausragende Songs wie "The Left Banke - I've Got Something On My Mind", "The Turtles - Buzzsaw" oder "Can - Outside Your Door" wurden zu echten Hangout-Hymnen. Man widmete der eher trendy Ausbeute der Spät-Sechziger ebenso viel Zeit wie angesagten Acts, solange der Groove auf dem Dancefloor funktionierte. Das Hangout kam und ging im Nu, aber sein Erbe, psychedelische Fußstampfer auf die Fläche zu bringen, lebt weiter, gemeinsam mit der Liebe zu allem, was mit Beat und Freak zu tun hat.
** Exclusive tracks to Vinyl Format
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Before we pack away the poppers for another year, let Red Laser take you for one last spin on the waltzers.
Tried and tested at our recent road block parties in Manchester, these edits shine a light on four primo-grade Italo face melters. Fervently excavated by Bosco over countless visits to Bel Paese and streamlined for the hydrofoil, with some extra added calories for the club.
Opener 'Destiny' tweaks and shudders under analogue arpeggios, dazzling Strat chops and cosmic bass interplay before dropping into a simply glorious female vocal that, thankfully, gets plenty of airtime before Bosco calls close. A track so close to perfection we had to make it longer.
'Flavio', up next - and half sung in Italian so we only know a bit of what she's on about - is another supreme slice of Italo disco from the upper echelons that Bosco snaffled between glugs of Barolo and a face full of worm cheese. Sure to instigate group hugs, 4AM declarations of love, tears of happiness and huge pelvic thrusts dependant on environment and inebriation.
The tingles continue on side B with another supernova burning bright across the stars. 'Newsin' introduces itself with a joyous marriage of marimba and synth before yet another vocal proves Italians really do, do it better when it comes to writing some of the catchiest hooks and choruses in the universe.
'Lace', featuring the record's only male vocal appearance, has a romantic, proto-goth-new-wave vibe; like if Robert Smith and Richard Butler had a chem-sex love child after a wild night in Baia Degli Angeli.
Not sure who the woman in lace is, but we'd defo like to see her down The White Hotel one night...
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10 years after their debut, City Of All Times audio-visual enquirers John B McKenna and Richard Greenan re-appear as Devonanon, to share the findings of a decade-long sonic experiment. Like its predecessor, Richard & John is a living, breathing collection of field recordings and compositions, gathered gradually from remote corners of the pair's lives. Familiar waypoints - interwoven microtonal synths, regurgitated live performances, polite whispering, and the gurgling hum of vehicles (land and sea) - all fold into the perpetual stew.
Where City read like a crumpled postcard account of fraternal reportage, Richard & John is a tone poem on something more amorphous, and out of time - a garbled history of human closeness, upheaval and mark-making, that seems to buckle and creak like a tapestry with no beginning or end. No two spoonfuls are the same, as our story reels through kosmische library stylings ('Wilderness Engine'), to cortex-quieting free association ('Generate Countryside'), and baroque instrumentation ('Blood Laughing', which features beautiful turns from Masayoshi Fujita on vibraphone, and Rosa Juritz on bassoon).
13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.
13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.
In Zusammenarbeit mit WaterTower Records ist Waxwork Records begeistert, den lang erwarteten BEETLEJUICE BEETLEJUICE Original Motion Picture Soundtrack zu veröffentlichen! Beetlejuice ist zurück! Der Oscar-nominierte, einzigartige kreative Visionär Tim Burton und der Oscar-Nominierte und Hauptdarsteller Michael Keaton treffen sich für Beetlejuice Beetlejuice, die lang erwartete Fortsetzung von Burtons preisgekröntem Beetlejuice, wieder. Keaton kehrt in seine ikonische Rolle zurück, an der Seite der Oscar-Nominierten Winona Ryder als Lydia Deetz und der zweifachen Emmy-Gewinnerin Catherine O'Hara als Delia Deetz, mit den neuen Darstellern Justin Theroux, Monica Bellucci, Arthur Conti in seinem Spielfilmdebüt, der Emmy-Nominierten Jenna Ortega als Lydias Tochter Astrid und dem Oscar-Nominierten Willem Dafoe. Nach einer unerwarteten Familientragödie kehren drei Generationen der Familie Deetz nach Winter River zurück. Das Leben von Lydia, die immer noch von Beetlejuice heimgesucht wird, wird auf den Kopf gestellt, als ihre rebellische Teenager-Tochter Astrid das mysteriöse Modell der Stadt auf dem Dachboden entdeckt und das Portal zum Jenseits... -Exklusive Vinyl-Variante von Light In The Attic -Doppel LP gepresst auf violettem mit weißem Smoke Vinyl und fluoreszierendem grünen Vinyl -Etching/Gravur auf D-Seite -Gatefold-Jacket -Kommt mit limitiertem 11x11 Kunstdruck -Artwork von Jiro Fujita -Mit Songs von Donna Summer, Bee Gees, Richard Marx und vielen mehr!
Just as his basslines never stay within the limits of the obvious, so Joe Sanders" life as a bassist, composer, band-leader and educator has never followed the single, most discernible pathway. A Midwest native, he"s studied and played jazz on the opposite coasts of California and New York: a master of the acoustic bass, he"s equally at home producing in the digital realm; embedded deep in the living tradition of American jazz; and living, teaching and creating in Europe. All these separate strands come together on his third headline release, "Parallels". The album presents a set of live recordings from a dream line-up that matches the leader"s full-bodied acoustic bass presence with Seamus Blake, Logan Richardson and Gregory Hutchinson in performances that capture all the daring and drive of the East coast scene. Alongside them is a set of studio self-productions with guests Jure Pukl and Taylor Eigisti that capture the laid-back dreamy adventurousness of the West Coast.
Originally released in 2017, Beast Epic, Iron & Wine’s fourth album for Sub Pop, recasts soft power as a series of vignettes, observations and regular old songs that redeem through joy and a certain expectation of grace. Even the instant classic, “Bitter Truth, with a lyric as pained and direct as any I've heard from Iron & Wine, is leavened with background vocals recalling The Jordanaires. The album brims with surprise flourishes, classic touches and an appealing confidence that is evident on songs like “Call It Dreaming,” “Thomas County Law,” “About A Bruise” to the almost croony “Last Night.” Iron & Wine’s Beast Epic was written and produced by Sam Beam, and recorded and engineered by Tom Schick at the Loft in Chicago in July 2016 and January 2017. The musicians who played on Beast Epic include longtime Iron & Wine collaborators Robert Burger (keys), Joe Adamik (percussion), and Jim Becker (guitar, banjo, violin, mandolin), along with bassist Sebastian Steinberg (Soul Coughing and Fiona Apple), and Chicagoan Teddy Rankin Parker (cello). Beast Epic was mastered by Richard Dodd in Nashville, Tennessee. *The term "soft power" was cribbed from author and Harvard professor Joseph Nye, but used in a different context.
Pianist, Composer, Multi-Instrumentalist Eva Novoa Releases First Album from Her Newly Forged Trio with Sax Legend Daniel Carter and Beloved Drummer Francisco Mela
"It’s not a rumor. Brooklyn’s Eva Novoa has formed a new trio! Novoa / Carter / Mela Trio, Vol. 1 marks their first sparkling album together (which is also Eva’s third with 577 Records). The group performed live for the first time in Cambridge (Boston) in 2022 and at the NY Forward Festival in August 2024.
In an invigorating creative explosion recorded at New York City’s Sear Sound in 2021, the multi-talented instrumentalist unites with sax legend Daniel Carter and beloved drummer Francisco Mela. Prepare to be reawakened when you experience Novoa tickling the ivories, dominating the Fender Rhodes, and wowing with the electric harpsichord and Chinese gongs. Even her whistling will linger in your mind!
As captured in the electrifying tracks “Aire” and “Fuego", Novoa / Carter / Mela Trio, Vol. 1 is inspired by the four elements (earth, wind, fire, and water). “Hasta Mañana Vida Mia” weaves together Cuban tradition with soulful lyrics (sung by Francisco) and high-energy, rhythmic conversations with horns and drums. The musicians’ free interplay approach defines this eclectic trio and their sonic universe.
Born in Barcelona, Spain, Eva Novoa is a pianist and composer who’s been mastering her talents since childhood. Calling NYC home since 2012, she has rocked countless local venues with her thrilling performances and has played with many adored artists all over the globe.
Her new album drops on November 22, 2024, and will be available on vinyl, CD, and digital download. Don’t miss the stunning cover art by Novoa’s friend and collaborator, acclaimed street photographer Richard Sandler, and stay tuned for Volumes 2, 3, and 4!"
Piano, Fender Rhodes, Cinese gongs, percussion & whistling by Eva Novoa.
Tenor, alto & soprano saxophones, trumpet, flute, clarinets by Daniel Carter.
Frums & vocals by Francisco Mela.
Recorded April 18, 2021.
Recorded, mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Photography by Richard Sandler.
Graphic design by Sergio Vezzali.
Graphic support by Mark Smith.
Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2004’s 'Mantra Of Love’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.
This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.
Here’s what others had to say upon it’s original CD only release back in 2004 …
“Acid Mothers are strong folk. You'd think they'd tire quickly, all tucked away on their island, strewn about on tree roots while baking their lungs and throats to a knotty green tinge. But instead of waltzing through life like hippies, they manage to not only tour and put out records every year, but also to fill those albums with 30-minute jams and assorted freakouts. And while evil jam bands would fill that space with guitar work taken from the Classic Rock Manual of Clichés, Makoto Kawabata and company assault listeners with frighteningly dense walls of white noise, psychedelic swirl effects and, yes, even guitar solos-- albeit ones that are more Merzbow or Keiji Haino than Gary Rossington. Truly, AMT's endurance and threshold for cosmic lashings are both worthy of admiration.
But how much AMT can you take in one sitting? If there's anything this band has taught us-- via records such as 2002's Electric Heavyland and the ferocious Acid Mothers Temple & the Melting Paraiso U.F.O-- it's that they're not afraid to reach for the upper regions of consciousness. On Mantra of Love, they offer two titles over the course of one hour, never faltering along the way, and it's as if we listeners are just brief visitors passing through a never-ending, spontaneous group trip. For all I know, Kawabata has hundreds of hours of this stuff on his hard drive-- at any single moment, this record's sheer volume of sound is a clamor to behold. However, if you aren't dialed into that the particular space AMT inhabits (for me, it's the mystical fire-baptism standby), you might not hear their glorious noise for all the, well, glorious noise.
"La Le Lo" begins as a lengthy psychedelic ballad sung by Cotton Casino (who doubles on "beer & cigarettes"), who is accompanied by her own ghostly backing vocals. The band is playing a mantra as Casino waxes earth-mother stylings to the moon. The serenity is broken by a patented AMT rave led by Kawabata's electric sitar (!) solo. Ace rhythm section Tsuyama Atsushi ("monster bass") and Koizumi Hajime hold things together, as does the generally decent recording quality (not a given for these guys), but the real money is in effects-- lots and lots effects. Much like France's Richard Pinhas or AMT's countrymen in Les Rallizes Denudes and High Rise, the band understands the collaborative power of solo + overdriven Moog sirens and screams. And, also like those artists, Acid Mothers can go on all night if need be. About 25 minutes into this piece, any hell that hadn't already broken loose gets its due, and the band speeds to a fiery climax before winding down into glimmering astro-ambience.
The second track, "L'Ambition dans le Miroir", also begins as a minor ballad featuring Casino's haunting solo vocal. The Mothers set her up with a faux-blues drag and a thick buffer of synth-rays; when Casino actually enters, she fights for airtime with an array of falling stars and cosmic dust. However, this time there is no overwhelming solo to power the comedown. Casino intermittently coos in the background while droning horns keep the auxiliary pixie haze from evaporating. As they showed on In C and La Novia, AMT are more than adept at creating calmer storms-- listeners just have to catch them in the right light. Mantra of Love doesn't necessarily capture the most inspired moments in their canon but as usual with this band's records, it's rarely at a loss for moments of horror or grandeur.”
Über diese beiden Mirwood floorfiller muss man nicht viel sagen, nur beide Tracks auf derselben 45er zu haben, ist ein wahrer Luxus. 'That Beatin' Rhythm' ist der Inbegriff der Northern Soul-Tanzszene und seit nunmehr 50 Jahren ein echter Hit. Die Instrumentalversion (die dem eigentlichen Sänger der A-Seite zugeschrieben wird) war damals ebenso populär, wurde in den letzten Jahren jedoch etwas vernachlässigt - die Gesangsversion wird von den meisten DJs gespielt.
This re-issue faithfully replicates the original 1971 Island Records UK release in gatefold sleeve and is pressed onto high quality 180g vinyl. Released in June 1971, Angel Delight was the first of two albums of Fairport Convention as a four-piece, after the departure of founder member Richard Thompson that January. The band were living in a converted pub, The Angel, in Hertfordshire where they worked up the material for the album, another blend of the traditional and the original. The title track a pun on the time they were having at the pub, and a nod to the popular British dessert of the same name was a jolly catalogue of their life at the moment, referring to producer John Wood as 'John The Wood' and drummer Dave Mattacks as 'Dave The Drum.' It also mentions the day a lorry crashed into the pub, which, had Dave Swarbrick been in his room at the time could well have killed him. The album Fairport's only Top 10 album in the UK chart is also known for its traditional medley of jigs and reels, The Cuckoo's Nest, the beautiful ballad Wizard Of The Worldly Game and the group's version of the salty English song The Bonny Black Hare
This re-issue faithfully replicates the original 1970 Island Records UK release in gatefold sleeve and is pressed onto high quality 180g vinyl. After their 1969 album Liege and Leif paved the way, Fairport Convention pushed further into traditional music, led by charismatic and renown fiddle-player Dave Swarbrick, who had joined the group in 1969 after making his name with Martin Carthy earlier in the decade. Vocalist Sandy Denny and bassist Ashley Hutchings left after Liege and Leif, and for the first time since the group's inception in 1967, there would be no female voice on a Fairport album.Guitarists Richard Thompson and Simon Nicol took vocal leads with Swarbrick and, with new bassist Dave Pegg joining drummer Dave Mattacks, the group made Full House, released in July 1970. Picking up where its predecessor left off, and again recorded with Joe Boyd at London's Sound Techniques, the album continued the standards set by their previous four albums. Four of the seven songs on Full House were adapted from traditional folk melodies, such as Dirty Linen and Sir Patrick Spens, while of the originals, Thompson and Swarbrick's nine-minute opus Sloth gave the group one of their all-time anthems. The sleeve sent up their new role as ambassadors of the rustic by inventing a string of traditional British games that didn't really exist.
Hard-Fi make their welcome return with brand new single ‘Don’t Go Making Plans’ on Ignition Records. Their first new material in ten years, the track marks the first taste of an EP of brand new songs, as well as a big UK headline tour this November. Rolling around a sun-scorched groove and boisterous beats, ‘Don’t Go Making Plans’ is an immediate, soul-infused summer anthem, recorded at the band’s own Staines studio, produced by frontman Richard Archer and long-term contributor Wolsey White. It’s the end result of the first session together since 2011 album Killer Sounds and follows a series of sold-out tours and live shows over the last 18 months - listen here. As with many of the band’s songs, there is a thought-provoking depth behind Hard-Fi’s pop sensibility. The song’s defiant themes were initially inspired by the UK Government’s attempts to criminalise many aspects of popular protest through the 2022 Public Order Act, while the issue has been thrown into even sharper focus over the last year as police and people have repeatedly clashed on streets around the globe. SGB50LPXX
A Universe of Pop: Fleetwood Mac’s Tango in the Night Features Meticulous Production, Includes the Hits “Big Love,” “Everywhere,” “Seven Wonders,” and “Little Lies”
Experience the 1987 Album in Audiophile Sound for the First Time:
Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set Captures the Perfectionist Details
1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe
The perfectionism involved in crafting Fleetwood Mac’s Tango in the Night reached a level of intensity experienced by few artists before or since. Commercially and creatively, the painstaking efforts paid off. Recorded over the span of 18 months, the triple-platinum album spawned four hit singles and put Fleetwood Mac back at the center of mainstream conversation. Its demands also ultimately forced its primary architect, guitarist-singer Lindsey Buckingham, to leave the group shortly after its completion. Was it all worth it? A thousand times “yes.”
Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set of Tango in the Night presents the 1987 record in audiophile sound for the first time. Everything co-producers Buckingham and Richard Dashut sought to instill in the music — the exacting tones, gauzy textures, plush atmospherics, shifted harmonics, unique pitches, pristine acoustics, biting rhythms — can now be heard with elevated accuracy, range, depth, and detail.
Made under challenging circumstances, Tango in the Night is as much a universe of sound as it is an album. This reissue conveys that sonic spectrum in exhaustive manners that go beyond prior editions by playing with a combination of transparency, imaging, openness, and dynamics that provides uncanny insight into the meticulously layered vocal and instrumental tracks. Equally important, it also amplifies your connection to the elaborate melodies, contagious hooks, and airy highs that account for the album’s ageless pop brilliance.
As for the wondrous array of percussive accents, synthesizer elements, interlaced guitars, and lush choruses — all seemingly occupying the exact right place amid the soundstages and taking on shapes and forms that lend them a living, breathing quality? If your audio system is up to the task, the realism, presence, and warmth of Mobile Fidelity’s collectible edition will have you considering Tango in the Night from a new perspective — one that puts its lavish, gorgeous creations on a par with those from Rumours and Tusk.
Unlike those records, Tango in the Night began from a more individualistic perspective in that it sprang from what originally was intended to become a Buckingham solo effort. Instead, it remains the final album credited to the peak Fleetwood Mac lineup involving Buckingham, Stevie Nicks, Christine McVie, Mick Fleetwood, and John McVie. Though the participation of all the members varies from track to track, the cohesive arrangements and alchemic production on Tango in the Night suggest a unity that remains on a par with the band’s other landmark works.
Largely constructed from laborious methods that involved recording at half speed to achieve the desired sonics and tonal nuances, piecing together verses and choruses to attain seamless synchronicity, and Buckingham using a Fairlight CMI synthesizer/workstation in visionary ways, the songs pair electronic and acoustic elements to radiant effect. Tango in the Night also possesses light dance structures that resulted in several tunes being recast as dance mixes on extended-play singles. Above all, however, this is music that appears to float and cast dreamy spells.
Surrender to the frisky interplay of the opening “Big Love,” big pop punctuated with Buckingham’s back-and-forth “oh-ah” sighs that ping the Top 5 smash with innocuous sensuality and toe-tapping momentum. Delight amid the shimmering lights of “Seven Wonders,” whose shades and shadows shift amid Nicks’ raspy vocals and a large group chorus. Wrap yourself in the warmth of the weightless “Everywhere,” a flawless slice of hummable pop that topped with Adult Contemporary charts for three weeks and towers as an ode to the love everyone desires. Stare into the mysterious landscape of the title track (and dig the synthesized harp) just before it explodes, briefly ceding to a terse riff and locked-in grooves.
Tango in the Night teems with delightful surprises and well-honed specifics, especially when Buckingham and Christine McVie team together. In addition to the aforementioned “Everywhere,” the singer born Christine Anne Perfect plays a major role on four more cuts — all highlights — from the breathy, head-over-heels emotionalism of “Mystified” to the sweet, sweeping escapism of “Little Lies,” a cover-up of romantic despair aided by Nicks’ irreplaceable background vocals.
“If I see you again/Will it be the same,” asks Buckingham on “When I See You Again,” finishing up a song a longing-sounding Nicks had started while voicing words that many likely knew would resonate far beyond the confines of the heartfelt song — a goodbye wearing a faint disguise. Though Fleetwood Mac would never again reach the heights maintained throughout Tango in the Night, and members would go their own way, the album towers as a paean to what’s possible in the fields of pop, rock, and studio wizardry.
One of the most dynamic female soul singers in the history of the music, Tina Turner oozed sexuality from every pore in a performing career that began the moment she stepped on-stage as lead singer of The Ike & Tina Turner Revue in the late '50s.
Her gritty and growling performances beat down doors everywhere, looking back to the double-barrelled attack of gospel fervor and sexual abandon that had originally formed soul back then. After almost fifty years in the music business, Tina Turner has become one of the most commercially successful international female rock stars to date.
"Bush Doctor," released in 1978 is now available on 1LP Red Recycled, is Peter Tosh's third solo album and his first under the Rolling Stones' record label. The album features collaborations with notable artists, including Mick Jagger and Keith Richards. Known for its fusion of reggae and rock elements, "Bush Doctor" includes tracks like the titular "Bush Doctor" and "(You Gotta Walk) Don't Look Back," which gained significant attention. This album continues Tosh's tradition of addressing social issues while also exploring themes of personal and collective healing through music, establishing him as a versatile and influential artist in the reggae genre
"Bush Doctor," released in 1978 is now available on 1LP Red Recycled, is Peter Tosh's third solo album and his first under the Rolling Stones' record label. The album features collaborations with notable artists, including Mick Jagger and Keith Richards. Known for its fusion of reggae and rock elements, "Bush Doctor" includes tracks like the titular "Bush Doctor" and "(You Gotta Walk) Don't Look Back," which gained significant attention. This album continues Tosh's tradition of addressing social issues while also exploring themes of personal and collective healing through music, establishing him as a versatile and influential artist in the reggae genre
Forging his own path into the future... With roots in the U.K. club and hip-hop scenes, drummer Richard Spaven brings a fresh approach to the instrument that's at once modern and traditional. Combining machine-like accuracy with jazz-influenced improvisational sensibilities, Spaven's drumming has landed him gigs with vastly varied artists such as UK rapper Loyle Carner, Guru of hip-hop duo Gang Starr, producer Flying Lotus, vocalist José James and Brainfeeder artist Jameszoo. Spaven's brilliance is evident beyond his world-class performance abilities; he's equally impressive in production and compositional territories.
Sole Subject, a captivating crossover of electronica, hip hop, and jazz, explores the nuanced relationship between live drumming and electronic elements, a theme intricately woven throughout Spaven's sixth solo record. Originating from deep, rhythmic ideas, each track is a testament to intense experimentation and precision. At the core of the album are the drums, captured as full live takes which often blur the lines, appearing as if they were programmed or sampled. Dive into Sole Subject and experience a musical journey where innovation meets tradition, and where each beat tells a story of relentless creativity and dedication. The release of the record will be celebrated with a headline show at Jazz Café October 30th.
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Kenner von Richard Swift wissen, dass sein Katalog umfangreich und phantasievoll ist, vollgepackt mit ebenso vielen ausgefeilten, eiskalten Klassikern wie verrückten Ein-Take-Experimenten. Diese Kleinode kommen in allen Formen und Größen, und während das den Eingefleischten nichts ausmacht, ist der Einstieg in die Musik von Swift für den Neuling schwierig: Wo soll man anfangen? Was kommt in die engere Wahl? Wie viele Crooner? Wie viele wilde Lieder? Vor diesem Hintergrund präsentiert Secretly Canadian "4 Hits & A Miss - The Essential Richard Swift", einen bescheidenen Versuch, die siebenundvierzig Minuten und vierzehn Songs zusammenzutragen, die die Uneingeweihten einführen können. Wenn Sie Richard Swift nicht kennen, lassen Sie sich von dem unvergleichlichen Kevin Morby aufklären: "Es gibt einen alten Pfadfindermythos, von dem ich als Kind gehört habe, dass man eine Kapelle bauen kann, wenn man die richtige Person mitten in den Wald setzt, bewaffnet nur mit einem Schweizer Taschenmesser. Wenn ich an diesen Mythos zurückdenke, denke ich an Richard Swift, der, wenn man ihn mitten im Wald mit einem 10-Dollar-Radio-Shack-Mikrofon absetzte, irgendwie ein Studio bauen konnte und in diesem Studio eine Kapelle des Klangs errichtete. Tatsächlich hat er genau das in seinem eigenen National Freedom Studio mitten in den Wäldern von Oregon getan, in einer Stadt namens Cottage Grove, wo er unzählige Stunden seiner eigenen Musik und der anderer Leute aufgenommen hat. Diese Kapellen des Klangs werden - und ich habe es bereits erlebt - kommende Generationen in Ehrfurcht versetzen und inspirieren, so wie es die Steinkapellen im frühen Europa tun. Beide lassen die Menschen verblüfft zurück und fragen sich: Wie konnte etwas so Massives und Schönes mit so minimalen und archaischen Mitteln gebaut werden - und in Richards Fall so schnell? Nach ihrem Tod scheinen die meisten Künstler endgültig zu ruhen, ihre Kataloge ruhen für immer neben ihnen. Aber Richard scheint aus dem Jenseits rastlos zu sein, und die Arbeit, die er hier unten auf der Erde begonnen hat, geht weiter. Sein letztes Album, The Hex, wurde nur wenige Monate nach seinem frühen Tod im Jahr 2018 veröffentlicht, und jetzt haben wir mit 4 Hits and A Miss eine Sammlung seiner beliebtesten Songs sowie einen neuen, noch nie zuvor gehörten Track "Common Law", aufgenommen um 2012. Ob Gelegenheitsfan oder Swift-Purist, 4 Hits & A Miss ist entweder ein perfekter Startpunkt oder ein Ziel für uns eingefleischte Fans, um wieder einmal etwas Neues zu finden, das uns beeindruckt und inspiriert. Wie ein versteckter Raum in seiner bereits beeindruckenden Kapelle gibt es immer etwas Neues von unserem geliebten Freund und Helden, dem verstorbenen großen Richard Swift, zu entdecken." Viel Spaß!
1965’s Dialogue was the debut by vibraphonist Bobby Hutcherson who had already proven himself a versatile sideman on albums from Idle Moments to Out To Lunch. Dialogue showcased his more adventurous leanings with a sextet featuring Freddie Hubbard, Sam Rivers, Andrew Hill, Richard Davis & Joe Chambers. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.
First Sounds by Sarah Neufeld & Richard Reed Parry & Rebecca Foon, released 1 November 2024, includes the following tracks: "Maria", "Day Three" and more.
First Sounds by Sarah Neufeld & Richard Reed Parry & Rebecca Foon, released 1 November 2024, includes the following tracks: "Maria", "Day Three" and more.
Second release on Robert Pollard's new Splendid Research label is a vinyl & CD reissue of a 1984 demo cassette by Children's Crusade, post-punk teenage band of Guided By Voices' Doug Gillard. The Cleveland guitarist went on to record for Scat, Homestead and Restless Records with the bands Death of Samantha, Cobra Verde, My Dad Is Dead, and Gem, before joining GBV (1996-2004), then Nada Surf (2010-2016), then rejoining GBV (2016-present), as well as playing on albums by Richard Buckner, Neko Case and others. 1980s Cleveland was a hotbed for indie rock, following in the Northern Ohio footsteps of Pere Ubu, The Dead Boys, The Styrenes, Mirrors and Devo. "Children’s Crusade was a fleeting blotch on the wild, mid-80s Cleveland underground music scene, slowly seeping through like a drop of oil on the uniformly black jeans of that era – noticeable only after it settles, spreads, and you realize it won’t come out in the wash."
The Post-Punk Synth Alchemists return with new album ‘Strange Loops’. With blistering rhythms and searing bass, AK/DK return with their highly anticipated fourth album, ‘Strange Loops’. It builds on the momentum of their previous release; Shared Particles, which sold out of the Dinked edition even before its release and achieved no. 7 in the Indie Record Store charts. Known for their trademark motorik energy and riotous joy, AK/DK are back, and for the first time, they’ve introduced guest vocalists into the fray. This new release sees the drum and synth duo collaborate with three exciting artists: the musician TVAM, punk poet - Thick Richard, and I Am Fya; sound artist. The angular guitars and spaced-out vocals of TVAM intertwine with the duo’s driving beats and convulsing synths, resulting in the pulsating Devo-esque powerhouse of ‘Square Route’. The two bands have been crossing paths on festival line ups for a while now and it seemed inevitable that they should join forces. I Am Fya’s usual experimental textures and sound-collage is temporarily put to one side on ‘Pull Up’. For this deep and heavy sub-rattling cut; I Am Fya and AK/DK lean heavily into sound system bass and dancehall style. Her febrile and powerful vocals interweave with tectonic sub bass and stuttering rhythms, sounding like Missy Elliot jamming with a modular synth. Manchester’s very own Thick Richard adds his lyrical, jet-black humour to the track ‘Nobody Shouts’. Their collaboration began when the band invited the punk poet up for an impromptu improvisation during their set at Beatherder festival 2020. It went down so well that they had to record it; learning the track from fan footage online. This is nothing new for AK/DK, creating powerful improvised moments for those lucky enough to be in the audience. Strange Loops presents two distinct halves of music. The A side offers sure-fire bangers that will linger in your ears and have you pounding the dance floor, while the B side delves into more experimental and ambient territories with completely live takes from the studio, reflecting the duo’s love of ‘70s German Kosmische bands. “We always had more ambient experimental tracks on our records, and wanted to give them a spotlight on this release” says the band’s Gee Sowerby. Their previous releases have earned accolades such as BBC 6 Music’s ‘Album Of The Day’ and impressed judges on Steve Lamacq’s Roundtable, solidifying their reputation as pioneers in their genre. It’s on stage where AK/DK truly come to life. Their electrifying performances, characterised by joyous live-looping of keyboards, drums, and distorted whoops, have made them a fervent fan favourite for over a decade. They’ve left an indelible mark on audiences at festivals like End Of The Road, Blue Dot, and Green Man, winning over new audiences wherever they play. With Strange Loops, AK/DK continue to push boundaries and defy expectations, reinforcing their status as one of the most dynamic and innovative acts in the scene
"The Night The Zombies Came is Pixies’ tenth album, if you count their classic 1987 4AD mini LP Come On Pilgrim, and first new music since 2022’s acclaimed Doggerel LP. 13 new songs that find Pixies looking ahead to the most cinematic record of their career. Songwriter, vocalist and guitarist Black Francis explains: “Fragments that are related and juxtaposed with other fragments in other songs. And in a collection of songs in a so-called LP, you end up making a kind of movie.” Druidism, apocalyptic shopping malls, mediaeval themed restaurants, 12th century poetic form, surf rock, gargoyles, bog people, and the distinctive dry drum sound of 1970s era Fleetwood Mac are just some of the disparate wonders that inform the new songs. For the new album recording sessions the band returned to work with producer Tom Dalgety, who drummer David Lovering refers to as “a fifth Pixie” after producing 2016’s Head Carrier, 2019’s Beneath the Eyrie and 2022’s Doggerel. Early on in the recording process at Guilford Sound studio in Vermont, the band noticed the new songs were dividing into two camps: what they came to call the “Dust Bowl Songs” - country-tinged, ballad-esque numbers such as ‘Primrose’ and ‘Mercy Me’, and on the other side, the album’s furious punk numbers such as ‘You’re So Impatient’ and ‘Oyster Beds’. Only ‘Jane (The Night the Zombies Came)’ keeps its feet in both camps — reminiscent of early 60s Phil Spector, the band hitting the sweet spot between mushy and abrasive, it’s a track that Black Francis allegedly likened to being chased by a swarm of bees.
The Night The Zombies Came sessions also saw Pixies welcoming new bass player Emma Richardson (Band Of Skulls) to the line up; the first British band member to join the group. There’s also an expanded role for guitarist Joey Santiago. After contributing his first-ever Pixies lyrics on Doggerel, for the new record Santiago wrote the words to ‘Hypnotised’ by completing a complex lyrical riddle of sorts, known as a sestina.
The Night The Zombies Came is released via BMG on CD, black vinyl"
2017 album now available at a cheaper price. Limited colour vinyl 12” (Marled colour) DL card included is for indie stores only. Standard LP + DL. CD digipack. Under license from Lakeshore Records. A Fire Records release. Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.
Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.
Cobblestone Runway (Originally released 2002) was produced by Martin Terefe and features several of Ron"s most poignant songs including "God Loves Everyone", "Former Glory" and Ron"s biggest hit "Gold In Them Hills", which features a duet with Coldplay"s Chris Martin and was chosen by Richard Curtis to feature on the soundtrack to his film "About Time".
Having established a legacy as one of the most highly regarded contemporary UK Jazz musicians of the past decade, Newham-based pianist Alfa Mist’s discography boasts such stone cold classics as ‘Antiphon’ ‘Bring Backs’ and ‘Nocturne’. Alfa is yet to be boxed into a specific genre as his music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note, not to mention his collaborations with the likes of Jordan Rakei, Tom Misch and drummer Richard Spaven, producer Lester Duval and singer Emmavie.
Now unveiling his next offering, Alfa revisits his stellar 2024 performance with Manchester’s extraordinary string outfit Amika Quartet at heralded venue Kings Place (London), capturing the magic of the evening within this awe-inspiring live album. Featuring a handful of brand new, never-before-heard tracks (alongside a number of expansions of previous releases), ‘Recurring’ sees Alfa drawing inspiration from classic live Jazz recordings, capturing a unique moment in time that can never be replicated or replayed. Creating an authentic, unpolished and electric feel, feeding his long-running mission of real-time musical expressions that evolve with each performance. On the genesis of the record, Alfa says: ‘Some of my favourite albums are captured live performances. I came home from a long year of touring and decided to work on some music for Amika Quartet who I've been working with for years on a few different shows and projects. A lot of the music I release is recorded in whole takes, I think there's something nice about doing the best you can with the moments you have. I wanted to take that one step further by recording it as a live show and seeing what happens.'’
Due for release via Alfa’s own Sekito Records imprint, a potent, raw and spontaneous energy permeates the release. Marking his first project with a full string arrangement, the iconic Kings Place venue’s reputation for spectacular acoustics, as well as intimate setting made an ideal location for the live recording. The decision to record in a live venue rather than a studio was driven by Alfa’s desire to push beyond his comfort zone and explore new creative territories. On first single ‘Checkpoint’, Alfa also takes to the microphone, breaking away from his usual introspective lyrical style to make comments on the current state of the world. He explains: “ 'I've written lyrics before but this is the first time I've ever tried to write a poem and it ended up being about the double standards of violence we see in this world everyday”. This offering is a testament to Alfa’s continuous evolution as an artist, blending his introspective lyric with broader societal observations, all while maintaining the improvisational spirit of jazz.
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Fronted by former South London lovers rock vocal harmony group, Alpha (sisters Jackie & Jean Heron and Marlene Richardson), Take Three was the brain-child of writer/producer trio "S.H.E." - Steve Sinclair, Peter Hinds & Kevin Ellis.
Meeting each other at The Factory community centre in Paddington (now known as the Yaa Asantewa centre and in the last few years, The Yaa Centre) Steve & Kevin began a partnership writing and directing their own theatre productions as part of The Black Theatre Co-Op, which called the centre home at the time. When a song they had written together for one of their productions received praise and plaudits, the path toward writing and producing records began, bringing in more seasoned hand Peter Hinds - formerly a member of key brit funk groups Light of the World and Beggar & Co, and player with Incognito, Imagination & Loose Ends - to complete the circle.
Take Three represented the first project for a creative partnership that would spawn multiple projects/aliases spanning the UK soul, funk & dance scenes, and still continues to this day. With this compilation we showcase for the first time the group's combined output as Take Three, complete with previously unreleased material.
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The first edition of Era Specific Noise is both an ode to the early 2000s and the debut of a new alias by label founder Richardson. Having spent the better part of his recent memory scouring record stores and consuming more VG+ dance music than is medically recommended, this 12-inch marks a personal shift towards character-filled production without limitation.
Armed with a growing appreciation for the originality and love poured into old-school techno, ESPN001 is the first glimpse into Richardson's fast-growing stockpile of musical weaponry.
We kick things off with "Introductions", the first of two upbeat, vocal-laden pieces of DJ-friendly dance music that make up the A side. A new hardware-focused approach produces whirling, stabbing chords and a groovy baseline to meet the eponymous sample of this track. Up next, "Coming In Hot" which does just that - presenting a cohesion of warm, groovy techno littered with dubby synths and a throwback feel.
On the flip side is a pair of fresh takes reminiscent of the more functional sound of the era - the timeless, loopy techno that powers dancefloors worldwide. There’s nothing quite like finding a hidden gem on the B side! Robotic vocal loopings and a galloping low-end form “Notch”, a warehouse tune completed by a warmer feeling send-off littered with floating pads and a classic Reese bass. Closing out the release is “Synthetic Scream”, a synthesiser in anguish showcasing an almost mournful interpretation of the 909 era, complete with fast, driving percussion and classic break hits.
Welcome to Era Specific Noise - New school old school.
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"Amid the great British bands that have inspired the theme of this year’s National Album Day, Stereophonics continue to prove themselves to be one of the greatest. Originally formed in Cwmaman, South Wales, in 1992, the group, now consisting of Kelly Jones (vocals, guitar), Adam Zindani (guitar) Richard Jones (bass), Jamie Morrison (drums) and touring member Tony Kirkham (keyboards), made their mark with the Words Gets Around (UK No.6) and Performance and Cocktails (UK No.1) albums, and continued their chart-topping run with their third release, 2001’s Just Enough Education to Perform. Remaining at the top of the UK charts for two weeks, the album sold 140,000 copies on its way to becoming the fourth biggest-selling album in the UK in 2001. Re-entering the charts several times over the next three years, it would be certified six-times platinum and crowned the 39th best-selling album of the decade. With more than 400,000 copies sold to date and streaming figures sailing past the 340 million mark, Just Enough Education to Perform makes a welcome return to vinyl for this year’s National Album Day, in an exclusive, limited-edition green pressing. Beloved by fans, the album featured three Top 10 singles, ‘Mr. Writer’ and ‘Have a Nice Day’ making for a timeless work that fuels Stereophonics’ continued appeal. Still releasing music today, the group have continued their chart-topping streak, with their latest album, 2022’s Oochya!, becoming their eighth UK No.1 album."
"One of the most iconic groups of the late 20th century, Dire Straits established their timeless sound from the
moment they first appeared on the London gig circuit, in 1977. With faultless musicianship and memorable songs
that quickly connected with music lovers, it was clear the group would set their own path, proving that, even amid
the new-wave era, classic songwriting would never go out of fashion.
After three years of relentless hard work, touring, writing and recording their music, the group entered the 1980s
well on their way to becoming the biggest-selling band in the world. That year’s Making Movies album would also
make its presence felt on the silver screen, thanks to the inclusion of the UK No.8 single ‘Romeo And Juliet’ – later
used in films such as Empire Records, Hot Fuzz and I, Tonya – and live favourite ‘Tunnel Of Love’, which featured in
the 1982 Richard Gere film, An Officer and a Gentleman. Dire Straits’ frontman, Mark Knopfler, would later explain
to The Times how satisfying it was to write ‘Tunnel Of Love’: “It’s the moment when you know you’re really on to
something,” he said. “There’s a certain part of the song that I call the breakdown and when I got there I could feel
the drums, the piano, all the things that I wanted all the instruments to do. When you get to that state, there’s a
strange sense of one thing following another, of elements falling into place quite naturally.”
Paying extra attention to those elements, this half-speed master of Making Movies has been overseen by Miles
Showell at Abbey Road Studios, in London, resulting in a cut that has a superior high-frequency response (treble)
and very solid and stable stereo images. Pressed on 180g vinyl, it comes with alternative artwork that swaps the
red and the blue of the original album sleeve, plus a printed inner sleeve, a “Half-Speed Master”-branded obi-strip
and an Abbey Road certificate of authenticity.
"
If you haven’t been living under the rock you certainly know who Marilin is. Marinella is an Italian-born, London-based artist who with her utmost professionalism is no stranger to the powers of light and darkness, that depends on the mood of the party she is performing at. However here we will leave the light alone and focus on the darkness. Favoured by sir Craig Richards himself, Mariiin has toured the globe playing at the most different and unique events that has given her the edge and insightful knowledge she possesses. Whether she takes people on the musical journeys by herself or with her partner in crime Bobby, it is always an experience that is impossible to forget with the burning desire to repeat and repeat infinite number of times.
Her solo EP “La Notte” has a very unique and defined dark character which has landed on the label with absolutely in sync with its vision.
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THE CHEFS tauchten zum ersten Mal auf der ,Vaultage 79" Compilation aus Brighton auf. Zwischen 1980 und 1981 veröffentlichten sie drei Singles: zwei auf dem legendären Brightoner Label Attrix, eine auf Graduate Records. John Peel und andere Radio DJs spielten ihre Songs zu Tode, was schließlich in BBC Radiosessions mündete. Nachdem THE CHEFS zu SKAT geworden waren, brach die Band auseinander. Helen McCookerybook sollte als HELEN AND THE HORNS Erfolge für sich verbuchen und ist heute noch solo aktiv. Diese Doppel-LP mit 26 Tracks von THE CHEFS enthält sämtliche ihrer Aufnahmen auf Attrix und Graduate Records, dazu bisher unveröffentlichte Songs des verschollenen Debütalbums, und Songs aus den Radio Sessions für John Peel und Richard Skinner. Dies sind die Wurzeln von C-86, von Indiepop und vielem mehr. Nebenbei ist ,Records&Tea" auch noch ein wirklich gutes Album.
