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Rockpile was a short-lived yet highly influential quartet, composed of Nick Lowe, Dave Edmunds, Billy Bremner and Terry Williams. Though Rockpile played together throughout the 1970s, the original 1980 release of Seconds of Pleasure was the only time the band was able to capture their magic on tape. Meshing the sounds of pub rock, power pop and rockabilly all through a blossoming new wave lens, Rockpile were renowned for their blistering live performances, which were brought to national attention on tours supporting Blondie, Bad Company, Van Morrison and Elvis Costello. Seconds of Pleasure has stood the test of time and cemented Rockpile as a one-album-wonder, but what a wonder it is! Featuring classics like Lowe’s pop-perfect “When I Write the Book” and “Play That Fast Thing (One More Time)” and Rockpile’s sole Billboard hit “Teacher Teacher,” Seconds of Pleasure remains a classic that should be found on the turntable of every music collector. Yep Roc is proud to announce a long overdue vinyl reissue of Seconds of Pleasure, pressed on yellow color vinyl and limited to 1,000 copies worldwide. The reissue was pressed at the state-of-the-art facilities of Citizen Vinyl in Asheville, North Carolina and the lacquer was cut by renowned mastering engineer Kevin Gray at Cohearent Audio. Over four decades later, Seconds of Pleasure has brought years of enjoyment and now has never sounded better!

A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.

Pressed at RTI, this 180g 45RPM 2LP set of E.S.P. renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.

For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' line-up. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.

As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.

Interlocking lines drive "Little One," alternating rhythms pulse through the funky "Eighty-One," melodies soar on the balladic "Iris," the aptly titled "Mood" broods over minor-key structures, and "Agitation" – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.

We are delighted to bring you the follow up to the successful 'The Bristol Punk Explosion (1977-1979) album released in November 2023 - a twelve-track compilation entitled 'The Bristol Punk Explosion Vol 2 (1977-1981).'The sleeve notes are written by Tim Williams author of the 1977 Loaded Fanzine. Tim talks about the transition from Soul to Punk, the demise of Prog Rock and the fashion culture that sat seamlessly alongside the music. There are three previously unreleased tracks never before available on vinyl. The Cortinas were the first. They played the Roxy Club, released two singles on Mark Perry and Miles Copeland's Step Forward label, graced the front cover of Sniffin' Glue and recorded a Peel Session. Taking their cue, bands like Social Security (the first band on Heartbeat Records), The Pigs (whose 'Youthanasia' single was released by Miles Copeland's New Bristol Records), The Media, 48 Hours and Private Dicks gave Bristol one of the strongest provincial early punk scenes. The area of Barton Hill gave us The X-Certs, who by 1978 could already pull audiences of five hundred into Trinity Hall. Though we did not realise it at the time, they effectively bridged the gap between the late 70s Bristol scene and what our American cousins like to term the UK82 bands. In time bands from the suburbs of Bristol started to appear on the scene, Misdemeanor (who were managed by the late Dennis Sheehan U2's tour manager for thirty plus years), Apartment from Downend (whose photo adorns the front cover) and Noiz Boiz from Weston Super Mare, the seaside town just down the road. This compilation is designed to give all fans of Punk a snapshot of what Bristol Punk was all about during that period. We close side Two of the album with The X-Certs Clash infused /reggae single 'Together' and follow it with one of Bristol finest Roots reggae bands Talisman and their single 'Wicked Dem'. The punky/reggae party had truly started as we move into the 80's Bristol Stylee! Bristol Boys Make More Noise!

In one sense, it's easy for artists-songwriters, specifically-to express their feelings in their work. After all, that's what the lyrics are for! But it's much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That's precisely why Girl and Girl's Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst's widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime's worth of woes-mental health, the human race's planned obsolescence if you've been living on this cursed rock you know what we're getting at-across a canvas of indie rock that feels both timeless and in-the-moment. An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother's garage in the afternoon after school. One afternoon, James' Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. "It sounded really great," James recalls. "We begged her to stay, and she said, 'I'll stay until you find another drummer.' We wore her down, and she eventually became a permanent member." After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. "That added to the intensity of the album," James says about the frenzied creative process overseen by producer Burke Reid. "I can hear the stress in the record, which is good because that's what it's about-being tense, tied up, and in your own head." Call A Doctor's eleven songs-spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records-are literally plucked from James' personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album's recording. "I've struggled with mental health for a lot of my life," he explains, "and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it." "This record is about an individual who's too far in their head, trying to get out," James continues while discussing Call A Doctor's overall outlook-specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it's important to emphasize how teeming with life Girl and Girl's music is. There's a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother’s garage in the afternoon after school. One afternoon, James’ Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. “It sounded really great,” James recalls. “We begged her to stay, and she said, ‘I’ll stay until you find another drummer.’ We wore her down, and she eventually became a permanent member.”

After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. “That added to the intensity of the album,” James says about the frenzied creative process overseen by producer Burke Reid. “I can hear the stress in the record, which is good because that’s what it’s about—being tense, tied up, and in your own head.”

Call A Doctor’s eleven songs—spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records—are literally plucked from James’ personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album’s recording. “I’ve struggled with mental health for a lot of my life,” he explains, “and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it.”

Far from the sound of collapsing under pressure, Call A Doctor finds James and Co. stepping up with their entire collective chest. This is a record that’s so out-and-out alive that you nearly feel like you’re in the same room with Girl and Girl as you listen to it; lead single “Hello” practically bursts through the speakers, amplified by Aunty Liss’ unbelievable stickhandling duties. “‘Hello’ is all about romanticizing your own misery. Letting those deep, dark, dirty thoughts take over. Understanding that even if you could pull yourself out, you wouldn’t because the constant stress and worry is far too familiar and comfortable.”

“Mother” pogos on a spiky groove that’s reminiscent of the geographically close New Zealanders who make up the legendary Flying Nun label, while “Oh Boy” draws from the Shins’ own jangly sound, injected with James’ wonderfully nervy vocals. Then there’s Call A Doctor’s sorta-centerpiece “Maple Jean and the Anthropocene,” a five-minute epic offering a new perspective on climate change and the notion of what it means, in a personal sense, to suffer: “I live in the bushland, and I was driving home one night and hit and killed a wallaby with my car,” James recalls while discussing the song’s lyrical inspiration. “My first thought was, ‘What is the universe trying to tell me?’ No remorse, no guilt, just total self-centeredness. Which was like, Woah, you fucking psychopath! This wallaby wasn’t put on this earth to send you a message. That’s what the song is about, our egocentric species - thinking you’re the main character and that everything that happens is somehow about you.”

“This record is about an individual who’s too far in their head, trying to get out,” James continues while discussing Call A Doctor’s overall outlook—specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it’s important to emphasize how teeming with life Girl and Girl’s music is. There’s a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

The Shawshank Redemption tells the story of Andy Dufresne (Tim Robbins), a banker who is sentenced to life in Shawshank State Penitentiary for the murder of his wife and her lover, despite his claims of innocence. During his time at the prison, he befriends a fellow inmate, Ellis Boyd Red' Redding (Morgan Freeman), and finds himself protected by the guards after the warden begins using him in his money-laundering operation.

The film received multiple award nominations (including seven Oscar nominations) and highly positive reviews from critics for its acting, story, and realism. It is considered to be one of the greatest films of the 90s. In March 2011, the film was voted by BBC Radio 1 listeners as their favorite film of all time. The Shawshank Redemption is the highest-rated movie on IMDB with an average star count of 9.3, closely followed by The Godfather.

The Shawshank Redemption score was composed by multiple (Grammy) award winner Thomas Newman. The score was nominated for an Academy Award for Best Original Score in 1994, which was Newman's first Oscar nomination.

A central scene in the film features the soprano Letter Duet' ( Canzonetta sull'aria') from Mozart's The Marriage of Figaro, which is included on the soundtrack. Original songs by Hank Williams and The Inkspots are included as well.

"Stepmom is a 1998 comedy-drama film directed by Chris Columbus and stars Julia Roberts, Susan Sarandon, Ed Harris and Jena Malone. The story follows a terminally ill woman dealing with her ex-husband's new lover, who soon will become their children's stepmother. Susan Sarandon was nominated for a Golden Globe Award for Best Actress in a Motion Picture - Drama for performance. The music was composed and conducted by the legendary John Williams, who already worked together with Columbus on Home Alone and Home Alone 2: Lost in New York. They would also continue to work together on the first two movies of the Harry Potter franchise. For the soundtrack of Stepmom, Williams received a BMI Film Music Award in 1999. Stepmom is available on vinyl for the very first time as a limited edition of 500 individually numbered copies on translucent green coloured vinyl and includes an insert with liner notes by Chris Columbus."

Stepmom by John Williams, released 9 May 2024, includes the following tracks: "Time Spins Its Web", "A Christmas Quilt", "Taking Pictures" and more.

This version of Stepmom comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a translucent, green disc. Another vinyl is pressed as a translucent, green disc.

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

A tribute to one of the greatest songwriters & artists of our time! Features newly recorded covers from Keith Richards, Joan Jett and the Blackhearts, Rufus Wainwright, Lucinda Williams, Maxim Ludwig & Angel Olsen, Rickie Lee Jones, Mary Gauthier, Bobby Rush, Automatic, The Afghan Whigs, and Rosanne Cash. Special Record Store Day Edition pressed on Silver Nugget vinyl and housed in a silver laminated jacket Booklet features liner notes by compilation producer & former Lou Reed publicist Bill Bentley, featuring photos by Mick Rock and Timothy Greenfield-Sanders. "To me, Lou stood out. The real deal! Something important to American music and to ALL MUSIC! I miss him and his dog." - Keith Richards "Lou seemed fearless to me, like he'd rather die than be a people-pleaser. I took inspiration from that." - Rosanne Cash "Lou Reed is my earliest influence, my introduction to punk rock, and the soundtrack to the beginning of my romance with Maxim." - Angel Olsen "Lou Reed has been gone now for many years. He's one of the few people whom I miss as much now as when he left. There are so many instances where I wonder what he would say or what he would think. His general aura would always lend something really unique to the room. Thank God he left his great music and recordings. His personality is sorely missed. Love you, Lou." - Rufus Wainwright // It goes without saying that the legendary Lou Reed was a true rock 'n' roll pioneer. From The Velvet Underground's debut in 1967 all the way through the end of his days, Reed sang truth from his heart. He lived life to the limit-and then some. The Power of the Heart is a tribute to Reed's freedom of expression with covers spanning his ground-breaking years with the Velvets into his majestic solo career. Each track is a glorious extension of the Rock 'n' Roll Animal's soul, ever adventurous and avant-garde. The Power of the Heart: A Tribute to Lou Reed kicks off with a legend in his own right, Keith Richards, reimagining the Velvets' classic, "I'm Waiting for the Man." Richards' rendition instantly invites you on board this unforgettable ride. In stark contrast, "Perfect Day" is somehow even more melancholy than the original given the Rufus Wainwright treatment, featuring sparse fingerpicking and gentle harmonies. Joan Jett and the Blackhearts deliver a version of "I'm So Free" that would have even Lou rockin' in his grave. It's thrilling to hear these songs reinterpreted and sung by such heavyweights; you can even hear as Lucinda Williams channels the spirit of Lou with her take on "Legendary Hearts." Other notable tracks include a punk-drunk, loved-up duet by real-life lovers Angel Olsen & Maxim Ludwig with "I Can't Stand It," and Rickie Lee Jones' reimagining of "Walk on the Wild Side," both whimsical and enticing with her whispery vocals, stripped-down percussion, and a piano fit for a late-night lounge. This tribute album truly defies genre, but its throughline, in the end, is its heart: a deeply thoughtful collection of songs that shaped a generation, each paying homage to a man whose body of work still sings.

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

CONTEXT During the height of the pandemic, Melbourne, Australia experienced the longest lockdown in the world, keeping residents inside their homes for a total of 262 days. In the midst of this were the five members who would form AWOL, driven to create and write music almost out of necessity. Once the ban was lifted, the band hit the recording studio and released their debut EP, AWOL, in 2021 through Last Ride Records. The timing was perfect as the Australia hardcore scene was experiencing serious growth, and AWOL soon found themselves playing shows with Speed, Iron Mind, No Apologies, and on a country wide run supporting No Pressure in early 2022. The band’s persistent drive and heavy playing style caught the attention of Flatspot Records, who will release AWOL’s debut full length, Tear 'Em To Bits this Spring. It’s not hard to listen to Tear 'Em To Bits and feel like you’re going to get ripped apart. The nine tracks are monstrous, filled with gruff vocals, groove-driven riffs, and meaty breakdowns. AWOL draws from bands like Madball and Biohazard, but also fit right along modern day acts like King Nine and God’s Hate. The lyrics are punishing, covering everything from deception and failed relationships to addressing drug addiction and police brutality. And while the record packs a lot of aggression, AWOL is purely here to revel in hardcore and the community it’s built for them. On making Tear 'Em To Bits the band simply states: “The only goal was to make a good hardcore record that we were proud of and that our friends could get behind.” AWOL is Christian Schultz (vocals), Mike Williams (guitar/vocals), Otis T Bennie (guitar/vocals) Pat Shanahan (drums) and Pablo Barnes (bass) Produced and recorded by Mike Deslandis, with additional recording by Otis T Bennie, at Black Lodge Studios. Mixed by Jon Markson at The Animal Farm. Mastered by Brad Boatright at Audiosiege. MARKETING AND SELLING POINTS: * AWOL is one of the biggest hardcore bands in Australia at the moment * Can appeal to not only the Hardcore crowd but also Punk, Metal, and Rock demographics as well * Has toured w/ No Pressure, Regulate, The Story So Far, Speed * Will tour AUS, US, UK, EUROPE in 2024 * A perfect hardcore release that will stand the test of time! * Has played festivals such as L * Mixed by Jon Markson (Drug Church, Drain, Regulate, Koyo) * Music Videos for AWOL (single) + Tear Em’ To Bits (Single) * Alexa Gallo of Wordless PR will be working press * The Syndicate will be working Radio Campaign * Matt Hughes Good As Gold will be working UK press + radio * Released by Last Ride Records in AUS * First EP on Flatspot Records * Pressed on Colored Vinyl

Repress!

The soundtrack for Le Hasard et la Violence, a strange French-Italian
movie which came out in 1974 and was directed by Philippe Labro and
written by Jacques Lanzmann
It was a time of thesis films on ultra- violence such as Stanley Kubrick's A
Clockwork Orange (1971) and John Boorman's Deliverance (1972). Labro's
feature film differs from those of his American counterparts by an almost
dreamlike approach and a soft psychedelia. A sort of lysergic atmosphere that
has more to do with the idea of an LSD trip at Castel's than with Californian
counterculture.
Michel Colombier, is a musician of classical formation, who went to the
Conservatoire Supérieur de Musique in Paris. His music for Le Hasard et la
Violence reflects his career: from Gainsbourg to the Beach Boys, via Paul
Williams. A soundtrack that goes from neoclassical to contemporary, via groovy
pop and slow music along with the main theme, a killer ballad with timeless
lyrics. a kind of romanticism specific to Colombier. Let's forget our post- post
modern irony that is no substitute for intelligence and let us be caught by the
emotional power of this soundtrack.

This batch of releases is what Deeper Knowledge Records is really all about - showcasing and making available fantastic music that has been rarefied, but with no correlation to its quality. That is to say, music that we feel is every bit as great as well known, much-loved and canonized classics, but just never reached the ears of as many folks, only due to its unavailability. And the music made by the close-knit foursome of Trevor Byfield and Clive Matthews as artists, and Norman "Fox Fire" Vassell and the late Clinton "Percival" Williams as producers, is just that. Starting in the late '70s and into the early '80s, this foursome cut some of the best and heaviest roots reggae tunes of the era. We will be issuing eight great singles from these folks. Trevor Byfield's "Burning Bush", a classic ode to herb smoking. Originally issued on the Fox Fire imprint, re-presented using the same Fox Fire design as used on the original, which is one of our favorite label designs of all time!

From the bouncy, catchy acts at Motown (like The Temptations, The Marvelettes, and Stevie Wonder), to the horn-driven, gritty soul of Stax/Volt (such as Otis Redding and Booker T. & The MG’s), there was much diversity within classic soul. This essential LP edition contains 25 of the most legendary original songs of the idiom. If you’re looking for a way to start a soul music collection on vinyl, this would be a fantastic set to begin with. Here you can find the most influential artists, from the genre’s inception in the 1950s until 1962. The track listing covers the period when R&B was giving way to soul music. It includes smashes and classic soul anthems by such celebrated figures as Sam Cooke, Ray Charles, Otis Redding, Aretha Franklin, James Brown, Ike & Tina Turner, Ben E. King, and Marvin Gaye, to name a few. The underlying virtues of the R&B/soul music exposed here are represented by a direct emotional delivery, a pride and artistic integrity, and a feeling within the music which transmits itself to the listener. You can call it soul or R&B, it can be more or less intense, lively or educational, but it has to have those ingredients to truly succeed. From the explosion and growth of American soul, and its lasting impact upon the U.S. charts since then, this defining era is still regarded as one of history’s greatest musical movements. All of this remastered material represents a formidable slice of American popular culture, allowing listeners to experience some of the finest and most emblematic tunes of the soul genre.

Acclaimed Americana duo Larry Campbell & Teresa Williams have been called "the first couple of Americana" by MOJO Magazine, while American Songwriter declared: "They have created a sound that is spirited, stirring and timeless"

Initially Larry and Teresa made their marks separately: Larry as indispensable multi- instrumentalist with Bob Dylan, kd lang, Sheryl Crow, Keith Richards and Emmylou Harris among others, and Teresa as a stage actor in productions like Keep On the Sunny Side where she portrayed Sara Carter and Always...Patsy Cline where she starred as none other than Patsy herself.Their performing partnership, however, was born when recording and touring with Levon Helm, iconic drummer and voice of The Band.

"All This Time" by Larry Campbell & Teresa Williams includes the following tracks: "Ride With Me", "I Think About You", "A Little Better", "We Done Earned It" and more.

Drummer Tony Williams had joined Miles Davis’ band and played on landmark Blue Note albums by the time he recorded his 1964 debut album Life Time at age 18. These five adventurous original compositions featured Sam Rivers, Bobby Hutcherson, Herbie Hancock, Ron Carter, Gary Peacock and Richard Davis. 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.

What a difference a year makes, right? HOUSE Of ALL's follow-up to their self-titled debut came about at some risk to band and label . . . so absolutely sure of their debut, Martin Bramah asked for an advance on recording costs for the follow-up before their self-titled album had even been released. Needless to say, things went pretty well with the debut, which led to a few sold-out tours, wildly enthusiastic press and great sales. Follow-ups do come with perils, but perhaps Bramah's presumption was the very thing which has allowed CONTINUUM to escape the dread second album syndrome, because . . . it's fantastic! Whatever initial re-establishment of synaptic connection was needed to get things grooving on their debut, after many years since they'd last played together (excepting Peter Greenway, whose genuine bravery in joining four former members of The Fall whom he alone had never played with before) is history now. The grooves are bigger, the lyrics brilliant, Tomos Williams' production is top-notch and the necessity sitting on this album while the first one kept on rolling offered the advantage of allowing Dave Trumfio (of The Mekons and Pulsars) time to fine-tune the mixing and mastering . . . and it sounds HOT.

FYEAR is a Montréal-based ensemble led by composer Jason Sharp and poet/writer Kaie Kellough that fuses spoken word into genre-bending compositions for electronics, two voices, two drummers, and processed saxophone, pedal steel guitar, and violins. FYEAR incorporates drone, out-jazz, post-classical, ambient metal, avant-rock, and modular synthesis in a sonic and stylistic palette the opposite of collage or pastiche: the FYEAR ensemble integrates a unique and unified sound/aesthetic while traversing adventurous and variegated terrain. Kellough’s poetic materiality conveys acute political-existential themes, alternating between declarative, meditative, and cut-up/semiotic manifestations. This self-titled debut album is a supremely innovative 40-minute multi-movement work; an ardent mission statement that mines the interzone where Saul Williams, Moor Mother/Irreversible Entanglements, Shabazz Palaces, Zulu, Angel Bat Dawid, Damon Locks/Black Monument Ensemble, Shabaka Hutchings, and Matana Roberts are all iconoclastic neighbours. FYEAR melds improvisation and composition, traditional notation and graphic scoring, electronic and acoustic instrumentation, lucid recitation and abstract vocalization, balancing intensive structure with an expansive sense of exploration. Through several years of collaboration, development, workshops, commissions and performances conducted by Sharp and Kellough, their wordsound practice has culminated in this nine-piece group which also features poet/writer/activist Tawhida Tanya Evanson (present director of the Banff Centre Spoken Word program) violinists Josh Zubot and Jesse Zubot (Tanya Tagaq, Darius Jones, Joshua Hyslop), pedal steel player Joe Grass (Tim Hecker, Patrick Watson), drummers Stefan Schneider (Bell Orchestre) and Tommy Crane (The Mingus Big Band, Aaron Parks), with live visual typographics from Kevin Yuen-Kit Lo, who also designs the album art. Propelled by the vocal interactions of Kellough and Evanson, FYEAR interrogates our present and future post-capitalist polycrisis, invoking collective anxieties, emotions, and critiques. FYEAR re-poetizes our constructed, manipulated social/conceptual realities, re-inscribing questions about the future by setting them to a wildly dynamic and evocative temporal soundtrack: Who does it belong to? How will it be shared? How do we project a collective future into the contested challenges of climate change, global migration, wealth gaps, safety/precarity, identity/affinity, segmentation / segregation, all our seemingly irreconcilable histories and forward visions for the world we dream to inhabit

Williams was one of the greatest jazz pianists of all time, but she was also a victim of geography. Her technical brilliance, complete control of the piano, creative imagination, wit, and constant desire to stretch herself put her at the top of her field although relatively few (beyond her fellow pianists) seemed to realize it during her lifetime. Born and raised in Baltimore, she recorded her first three albums in her hometown. But other than a few lesser-known sets in Europe, a handful of albums for Jazz Focus in Canada and her Red & Blue label in Detroit, and just two projects in New York for the Max Jazz label, all of her recordings were made on the West Coast where she lived starting in 1976. Jessica was reluctant to travel much, particularly in her later years, and her visits to New York were rare so she was largely overlooked by East Coast critics. Listeners who are only familiar with Jessica Williams’ later work where she is generally heard with a trio or as a soloist stretching out mostly on standards (although focusing more on originals on her own small label’s releases) will be surprised by Orgonomic Music. The pianist heads a septet, the largest group on any of her many recordings. While Jessica plays some stunning lines on the piano, the emphasis is as much on her writing as on her playing, and each of the other musicians get opportunities to have their say. Orgonomic Music, which was released by the small Clean Cuts label in 1981, has been out of print for decades. The original eight selections (six of the pianist’s originals, one piece by Stone, and John Coltrane’s “Dear Lord”) are joined by two previously unreleased performances.

Gary Clark Jr. releases his new studio album JPEG RAW on 22nd March 2024.

This new body of work signals a brave new world for Clark’s ever-expanding creative palette. The new music is dense and adventurous with a more cohesive synthesis of his eclectic musical universe. His samples, Thelonious Monk and Sonny Boy Williamson, decorate flourishes of African, World Music, and even Jazz while merging with rock, R&B, hip-hop and blues; familiar areas he has ventured before, this time with more unity forging a fresh new style.

Clark’s lyrics are pointed, deeply personal, outspoken and socially conscious with occasional forays into rap and spoken word from Clark himself. The sonics are immersive, verging on modern groove-oriented psychedelia with hip-hop driven beats in verses giving way to anthemic choruses, rich with power-chording and wide fuzz riffage.

JPEG RAW is Clark's first album since 2019’s critically lauded This Land, which became his third consecutive top 10 on the Billboard 200 chart and garnered three Grammy Awards, including Best Rock Song and Best Rock Performance (“This Land”) and Best Contemporary Blues Album (This Land). Clark’s first Grammy win was awarded in 2014 for Best Traditional R&B Performance (“Please Come Home”).

MidnightRoba is Roba El-Essawy, the voice of UK trio Attica Blues. Golden Seams marks Roba's return to music, this time both as vocalist and producer. Recorded during lockdown of 2020, Golden Seams features artists Jason Moran, Ben Williams, Edward Wakili-Hick, Junius Paul, David Mrakpor, Robert Mitchell, Tony Nwachukwu, Artyom Manukyan, Bubby Lewis, Mike King, Alec Harper, Dezron Douglas and Tommaso Cappellato. The album's foundation is firmly inspired by jazz, but in a style of her own. From electronic tracks such as Safe With Me, Self Doubt and Shelter Within, to the ballads Don't Let This Change, Reminded and jazz ballad Be Still, to the spiritual Bitter Boy (ft Jason Moran) and the classical title track Golden Seams.

The album was supported by Gilles Petterson on both BBC Radio 6 (as a feature artist) and Worldwide FM and by Kevin Le Gendre on BBC Radio 3's J to Z; by Tony Minvielle, Anne Frankenstein and China Moses on Jazz FM, where Don't Let This Change featured as Track of the Week, as well as by Kev Beadle, Alexander Nut, Leanne Wright, Charlie Dark, etc on NTS, Totally Wired Radio and Worldwide FM.

Today's club culture all started with Northern Soul and its roots in the Mod all-nighter scene of London clubs. All the ingredients were there: DJs privy to the latest imports and advance promos, dancers fuelled by illegal uppers, venues which had scarcely opened when the pubs were all but deserted. The records, drugs and clubs have all changed, true, but the lifestyle is identical. Featuring classics from the Northern Soul Scene including Tom Jones, Ronnie Jones, Brotherhood of Man, Sonny Childe, Billie Davis, Tony Newman, Bats and more. Presented for the first time on orange colour vinyl and CD, this is essential for any funk and soul lovers.

Repress.

A timeless classic created and arranged by GLENN UNDERGROUND originally released in the mid-90s on a BOO WILLIAMS' EP. The track took Europe by storm and now on a special 1-sided 12" from STRICTLY JAZ UNIT MUZIC it's available again. CLOUD BURST' is the ultimate peak time Chicago warehouse sound from the innovator GLENN UNDERGROUND. Grab this low end heavy, snappn', uplifting groove. A Chicago jacking anthem. Mastering by the Gorilla Oven Studio.

For the five members of Punchlove - multi-instrumentalists Jillian Olesen, Ethan Williams, Joey Machina, Ian Lange-McPherson, and visual artist Viz Wel - moving into a maze of a house in Brooklyn together was the transition that created the album they had been writing their whole lives. Quietly evolving from a bedroom project to a headlining live phenom, Punchlove has geared up a densely layered bed of emotionally serrated pain-pop songs that coalesce around a digitally-stimulated, emotional brand of modern neoshoegaze. Channels, out March 1st on Kanine Records, is an album of deeply prepared sounds, sharply honed instrumentals, and a band performing them that knows each other all the way through. Having met studying music technology in college, multiple members of Punchlove work mixing live bands at prominent NYC venues and in the studio. Using that expertise, the inhouse production, mixing, and recording is a palpable highlight; mastered by 2000s shoegaze stalwart Kurt Feldman (The Depreciation Guild), the record melds DIY recording and experimental sonic visions with studio quality. Punchlove is dedicated to pushing the envelope of experimental sonic practices in live performances, where they can be seen performing with real-time audio reactive analog visuals, executing real-time sampling and looping, self-mixing onstage, running radios and tape loops through effects, improvising, and playing guitar with everything from double bass bows to vibrators. In their home recording environment, experimentation is at the core of their creative process, where they integrate self-programmed digital signal processing systems, psychoacoustic phenomena, tailored feedback, elements of 3D audio, immersive field recording soundscapes, early electronic instruments, and experimental recording and mixing techniques into the greater backdrop of pop songwriting. FOR FANS OF: Radiohead, Wednesday, Hum, DIIV, my bloody valentine, The Smashing Pumpkins, bdrmm, A Place to Bury Strangers

The Pheromoans are tenants of an unruly domain. Over the last 18 years the group have evolved from garage rock primitivists to auteurs of their own curious sound; a frothy brew of loose electronics, refractory rock and humdrum musing. Their songs are mutable, capricious, unreliable narrations, often withholding as much as they reveal. Russell Walker’s understated vocal has always been the band’s unifying focus, it is wry, unsparing and wilfully honest. Walker’s lyrics are an observational tour de force, sometimes droll, yet often tipping over into unlikely pathos. With previous releases on Upset The Rhythm, Convulsive and Alter, 2024 will witness The Pheromoans return with lucky album number 13, entitled ‘Wyrd Psearch’ (out March 1st on Upset The Rhythm).
‘Wyrd Psearch’ was recorded in Lewes throughout 2023. This was undertaken by founding member James Tranmer, his keen instinct for how the band should sound shaping many of the creative decisions. Joined by new guitarist Henry Holmes, the five piece doubled down on a decidedly breezy, melodic approach. Scott Reeve’s drumming is ever brisk, whilst Daniel Bolger explores AOR peripheries on keyboard and bass. “Wyrd Psearch finds us on relatively zestful form” affirms Walker “whether it be merrily recalling the Jason Williamson / Tim Lovejoy Covid summit, or mentally bathing in the pleasures of lunch hours spent strapped to a listening post in Borders.” With The Pheromoans there is always a familiarity at play, only broken and reassembled, like a bygone sitcom gone rogue in your memory. This contributes to the group’s peculiarly British outsider perspective, one that shouts from the sidelines, but never goes unnoticed.
Subjects covered lyrically on ‘Wyrd Psearch’ include “mid-life crises, male pattern baldness, and thwarted artistic and personal ambitions” according to Walker himself. “Nothing is off limits for scrutiny, even rural arts communities” he concludes. Lead single ‘Downtown’ swings with chiming guitars and finds Walker mid-breakdown trying to persuade a loved one to accompany him into the town centre to collect controlled medication and wind back the clock to happier times. “I want to keep you in cotton wool until pay day” he confides. ‘Cropped to Death’ and ‘Father Austin’ are ruminative and more relaxed in nature, whilst ‘Twibbon Wife’ is a more energetic effort, all jabbed synth chords, circuitous basslines and rampant drum fills. ‘Faith in the Future’ similarly bounds along with reverie.
Walker claims that the album’s title is an expression of his frustration at the ubiquity of people claiming things are eerie or weird / wyrd in the present cultural milieu. The artwork for the record is designed as an actual word search too, a knowing nod to how we all grapple for meaning amongst the absurdity of each day. Leaning into ‘weird’ as a coping mechanism is not on The Pheromoans’ agenda however. This album holds little sway with the supernatural, it’s not enough. The overriding impression given by ‘Wyrd Psearch’ is of a band renewed with ideas. There’s no trouble finding the right words, they’re hitting their mark, keeping up with the commentary. ‘Wyrd Psearch’ is a document of The Pheromoans mastering their unquiet moment.

Repress.

Studio One's music in the 1970's took the label to new heights. The new style of Disco Mix brought many areas of Reggae together ­ Roots, Lovers, Disco and Dub all came together in extended form, re-versioning classic hits, experimenting with new studio technology, over-dubbing, syn-drums and more producing what many fans describe as the most creative and innovative phase in the history of the legendary Studio One Records.

This Studio One Disco Mix album includes many sought after classic tunes only ever released in very small quantities (on Studio One's very first 12" records as well as it's infamous Music Lab 10"s out of New York) and consequently many of these track s have been unavailable since their day of release. Studio One Disco Mix features many of the classic Studio One artists such as Alton Ellis, Sugar Minott, Jackie Mittoo and Willie Williams (with his classic re-versioning of his own "Armigideon Time") alongside less well artists such as Doreen Schaeffer, Judah Eskender Tafari and George Dudley and many more.

Introducing the anticipated 7" re-release of the Equasions single 'It's So Hard To Say "So Long"' & 'World Of Lonliness'. A timeless soul/funk single recorded in San Antonio in 1971, revered by sweet soul collectors internationally, has now become available for the first time in over 50 years through Symphonical Records, in partnership with band leader/songwriter, Robert Williams.

This limited repress is a testament to the sound of San Antonio. The Equasions were immersed in the city's defining impression, performing alongside other local acts Royal Jestors, Sunny & The Sunliners, The Primes, Joe Jama plus many more, all of whom worked to carve out the Alamo sound, one that resonates continues to inspire today.

The 5-piece vocal group, led by Robert Williams, consisted of Vernon Shannon, James Hartfield, Ricky Cotton, and Lamar Sumter. Brackenridge High School graduates, the group were formerly known as 'The Volumes', with their first single being released on Manny Guerra's imprint, 'Garu'. Two years later, the group switched members and formed their new name, recording their single at Joey Internationals studio.

Robert remarks that both songs were written as a universal message; for no one in particular but everyone can relate to. 'It's So Hard To Say "So Long"', is a poignant sentiment to lost love, yet hope created through beautiful harmonies, whereas 'World Of Lonliness' is a psychedelic reflection of society of the era, which Robert mentions remains true today.

From Star Wars, Harry Potter, Gladiator, Pirates of the Caribbean, Munich, Madagascar, Sherlock Holmes, come and rediscover these cinema masterpieces like you've never heard them before.

Bringing together the 15 musicians of the vibrant Curieux Orchester, this unique experience offers an immersion that is both intimate and dynamic through the major works of these two genius composers: John Williams and Hans Zimmer

10 Year Anniversary Vinyl Release (first time vinyl pressing of Blake Mills’ debut album). Includes Hi Res Audio Download Card & Poster Foldout. BLAKE MILLS is a Grammy-nominated songwriter, guitarist, producer, and composer based in Los Angeles. In 2010, Blake’s solo career began with this self titled critically acclaimed album released only on a limited run of CDs and digitally. It became a cult favorite over the years, with 2019 marking the first time it will be pressed on vinyl. In 2015 he produced the highly acclaimed sophomore album SOUND & COLOR for ALABAMA SHAKES. The album reached #1 on Billboard charts and was nominated for six Grammys, winning Best Alternative Album, Best Engineered Album, Best Rock Performance and Best Rock Song. Blake went on to produce the albums NO SHAPE for PERFUME GENIUS, DARKNESS AND LIGHT for JOHN LEGEND, WE’RE ALL GOING TO DIE for DAWES, and SEMPER FEMINA foR LAURA MARLING - earning him his second Producer of the Year Grammy nomination. Blake also composed original music for DAVID O’RUSSELL’S Academy Award nominated film JOY. As a session player and sideman he has worked with BECK, CASS MCCOMBS, JACKSON BROWN, LUCINDA WILLIAMS, BAND OF HORSES, FRANK OCEAN, RANDY NEWMAN and NEIL DIAMOND, among others. RICK RUBIN and T BONE BURNETT frequently call upon his services as a guitarist, and equally enamored is ERIC CLAPTON who told Rolling Stone magazine “Blake Mills is the last guitarist I heard that I thought was phenomenal

Emotional Rescue's vital Konduko reissue series sadly comes to an end here with a look at the label's final years. In those days it moved away from reggae, disco and boogie towards an enduring electro sound that had a vast and lasting impact on the Miami scene.

The biggest tune from that time was when Noel Williams linked with local songwriter Lawrence Dermer aka Der Mer for the track reissued here. 'Fall Out' soon became a hit with its driving electro-funk rhythms. The original sits next to the later Fresh '86" mix as well as a NAD disco mix from Dan Tyler, best known as one of the Idjut Boys. It's an irresistible package of body-popping electro with hooks for days.

Edo.G's latest Album FreEDOm couldn't come at a better time in history as we are in an age where it seems like our freedoms are slowly getting taken away with a corrupt dictator in office.

FreEDOm has a sound that is reminiscent to one of your favorite Hip-Hop albums with songs that touch every part of your life. Edo.G's conscious lyrics over banging beats are bound to resonate and inspire. The song "Smoke" features Masta Ace, marking their first collaboration since the critically acclaimed 2009 "Arts & Entertainment" album. “Boom”, Produced by Sir Williams is the first music video from the album that sheds light on gun violence and the affect it has on victims, families and communities. FreEDOm is Edo.G’s 15th studio album produced by up and coming producers Torchbars, Kelz With Tha Heat, Sir Williams, Geronimo X, DJ Scienz & more.

If the album wasn't enough, the Digipak CD includes a full-length documentary based on the ED O.G & Da Bulldogs hit song "I Got To Have it". This ground-breaking documentary is a true artistic masterpiece on how one song can change your life. This is an in-depth look into Edo.G's journey through the music industry being dropped from a major label to finding his way independently. It highlights his life and career from his early teenage years to the present day. Through touring the world and making a positive impact with his music, Edo.G’s continued relevance in Hip Hop is not to be questioned.

All true improvisation involves an element of chance: the coming together of a nexus of influences impulses and actions that result in spontaneous creation. Often in the world of jazz these creative sparks blaze briefly in performance, and then disappear as the sonic vibrations fade from the air, but sometimes chance intervenes again, and moments thought to be gone forever can resurface in unexpected ways. As master drummer Jeff Williams sorted through his archive of cassette tapes from his extensive international career, he had no idea that hidden within it would be a recording of a 1991 evening when he joined storied NYC legend David Liebman for a set of spontaneous performances. Reunited together fifteen years after the breakup of their seminal band Lookout Farm in 1976, the two players reaffirmed their deep musical bond with a set of free-flowing exploratory dialogues in front of a receptive audience. Believed lost for many years, these performances can now be experienced again, with all their fearless freshness and pure committed musicianship undimmed by the passage of time.

Jeff Williams has established a formidable reputation as a drummer, composer, educator and bandleader on both sides of the Atlantic. His relationship with Liebman was forged in the exciting, expansive atmosphere of the New York scene in the early 70s: the meeting of Williams, the laid back Midwesterner, and Liebman, the mercurial, quintessential New Yorker, was an inspired coming together of opposites that always made the creative sparks fly. Williams remembers the journey that led to the Bar Room 432 on that 1991 evening:

“Just as I was leaving my home town of Oberlin, Ohio to move to New York City in 1971, I was given David Liebman’s phone number by someone who told me that Dave had started an organisation for jazz musicians there. I knew of Dave, from Ten Wheel Drive and John McLaughin’s My Goals Beyond, but I couldn’t have imagined what a significant role he would play in my musical life. Shortly afterwards, Dave would leave Elvin Jones and Miles Davis to start his own band, with Richie Beirach, Frank Tusa, and myself, (later adding Badal Roy), naming it Lookout Farm. We released two albums on ECM and one on A&M to wide critical acclaim, and toured across Europe, Japan, India and the US.”

“Following the dissolution of Lookout Farm, Dave and I embarked on a short duo tour opening for Gary Burton. That would be the last time the two of us would play until the occasion of this recording, fifteen years later.”

“Fast forward to 1991 when I discovered an attractive bar located on the far West Side of 14th Street in Manhattan. Bar Room 432 would become a six night a week jazz club for a few years, providing me, and many others, with the opportunity to perform our music. Catching wind of this, Dave suggested we do a duo performance there.”

“Luckily, I recorded it.There was no preparation, no set music to be played - we simply improvised, picking up where we’d left off. David’s mastery of the soprano saxophone is in full bloom here, as well as his incredibly resourceful musical mind.”

The performances are revelatory, moving in pure improvisation from clear, songlike melody to furious density, from ambience to pulsing groove, from light into darkness and back again. Cleaned up and remastered by Alex Bonney, the sound of the tape captures the warm, wood-lined ambience of the room, allowing the full power and dynamics of William’s drums and the warmth and fullness of Liebmans’ soprano sax to sing out, engaging the contemporary listener just as it engaged the hip Manhattan crowd thirty three years ago.

With her captivating voice and richly detailed songwriting, Sarah Jarosz has emerged as one of the most compelling musicians of her generation. A four-time Grammy Award-winner and ten-time nominee at the age of 30, the Texas native started singing as a young girl and became an accomplished multi-instrumentalist by her early teens. After releasing her full-length debut Song Up in Her Headat 18-years-old, she went on to deliver such critically lauded albums as Follow Me Down, Build Me Up From Bones, and Undercurrent, in addition to joining forces with Sara Watkins and Aoife O’Donovan to form the acclaimed folk trio I’m With Her. Her fifth studio album, World On The Ground, produced by John Leventhal, went on to win the Grammy award for Best Americana Album. In 2021 Jarosz released the Grammy-nominated Blue Heron Suite, a much-anticipated song cycle which she composed after being the recipient of the FreshGrass Composition Commission.

The seventh album from Sarah Jarosz finds the highly decorated songwriter at the apex of change. A Texas native, she’s spent most of her adult life living in New York City, but shortly before writing the album Jarosz left her adopted home to join her soon-to-be husband in Nashville, TN. The geographic shake-up led to a sonic one as well for Polaroid Lovers. For the first time in her career she opened herself up to collaborators, leading to writing sessions with Daniel Tashian, Ruston Kelly and Natalie Hemby. The creative reorganization of her writing process evolved to include a much richer and more electric sound in the studio and being in Nashville meant access to a world of hot shot players. She tapped guitarist Rob McNelley (Miranda Lambert, Carrie Underwood), Tom Bukovac (Tom Petty, Vince Gill) on guitar and organ, her husband- bassist Jeff Picker (Nickel Creek), and drummer Fred Eltringham (Sheryl Crow, Lucinda Williams) for the album recording. Tashian took the helm as producer and the whole album was laid down at the legendary Sound Emporium.

As it goes with all change, Jarosz’s major life events had her feeling contemplative. While sitting on the precipice of adulthood, Polaroid Lovers finds her reflecting on past loves, childhood dreams, the places she lived in and all the versions of herself that she’s been. Although the listener experiences the sonic shift forward, the album’s subject matter is a photo album of the past. Jarosz has never sounded more assured. Polaroid Lovers is filled with the kind of confidence that comes from hard won life experiences and the conviction of someone who truly knows herself.

Gruff Rhys is pleased to announce his new album "Sadness Sets Me Free" which will be released by Rough Trade Records on 26.01.2024. This incredibly will be the 25th album he has released in his 35 year career individually, collaboratively and as a member of various bands. "Sadness Sets Me Free" is also the follow up to 2021"s "Seeking new Gods", his first solo top ten record. The album will be available in a range of formats including a unique Dinked edition on "honeycomb neo-neapolitan" vinyl, an LP sleeve with "container doors" and a bonus 7" with exclusive audio for the first 1500 copies. A gatefold soft pack CD also includes a pull out poster. Lead-off single "Celestial Candyfloss" is a telling four minute glimpse of the forthcoming album, revealing the heady wonders and classic pop sounds within. Soaring strings carry the sweet melodies along, anchored by just enough necessary melancholy to add emotional ballast. The eye-popping video was created by long-time collaborator Mark James and compliments the scope and style of the song on a galactic scale. "Celestial Candyfloss" is, Gruff says, "an attempted pocket symphony about the cosmic lengths that people will travel in the pursuit of love and acceptance. Mark James has brought the Sadness Sets Me Free album cover to life & managed to place me watching TV interference in a shipping container that"s lost in space. For what is apparently the 25th album I"ve had a hand in writing I"ve reverted to a rich seam of inspiration relating to shedding some light on sadness and the general terror of cosmic loneliness." And so it was that Gruff and his band - Osian Gwynedd (piano), Huw V Williams (double bass) and former Flaming Lips drummer turned Super Furry Animals archivist Kliph Scurlock (drums) piled into a van driven by the late, legendary tour manager "Dr" Kiko Loiacono and raced from Dunkirk, where they had just played the final show of a tour of Spain and France, to the outskirts of Paris in the early hours of a March morning in 2022. There, in La Frette Studios, a recording facility installed in a 19th-century house, Gruff and his road-hardened group tracked "Sadness Sets Me Free" in just three days. Backing vocals were added along the way by Kate Stables from This Is The Kit along with additional strings and orchestration and it was mixed between Marseille and Cardiff. What finally emerged from these intense bouts of cross-continental activity was Gruff"s most accomplished and beautiful record to date. In a career that has taken him from the slate-mining towns of north-west Wales, down to the expat communities of Patagonia, up to the Mandan tribe of the Great Plains of North America and across to the Tuareg rock groups of the Saharan Desert, Gruff Rhys, one of Britain"s most beloved and successful singer-songwriters, has always been willing to follow an opportunity, wherever it may lead him. "At this point I quite like working with serendipity," he says. "Not in a cosmic way, but I try and leave things open to chance encounters and chance geography. As I"m around 25 albums in I"m always looking for ways to make a different-sounding record".

Gruff Rhys is pleased to announce his new album "Sadness Sets Me Free" which will be released by Rough Trade Records on 26.01.2024. This incredibly will be the 25th album he has released in his 35 year career individually, collaboratively and as a member of various bands. "Sadness Sets Me Free" is also the follow up to 2021"s "Seeking new Gods", his first solo top ten record. The album will be available in a range of formats including a unique Dinked edition on "honeycomb neo-neapolitan" vinyl, an LP sleeve with "container doors" and a bonus 7" with exclusive audio for the first 1500 copies. A gatefold soft pack CD also includes a pull out poster. Lead-off single "Celestial Candyfloss" is a telling four minute glimpse of the forthcoming album, revealing the heady wonders and classic pop sounds within. Soaring strings carry the sweet melodies along, anchored by just enough necessary melancholy to add emotional ballast. The eye-popping video was created by long-time collaborator Mark James and compliments the scope and style of the song on a galactic scale. "Celestial Candyfloss" is, Gruff says, "an attempted pocket symphony about the cosmic lengths that people will travel in the pursuit of love and acceptance. Mark James has brought the Sadness Sets Me Free album cover to life & managed to place me watching TV interference in a shipping container that"s lost in space. For what is apparently the 25th album I"ve had a hand in writing I"ve reverted to a rich seam of inspiration relating to shedding some light on sadness and the general terror of cosmic loneliness." And so it was that Gruff and his band - Osian Gwynedd (piano), Huw V Williams (double bass) and former Flaming Lips drummer turned Super Furry Animals archivist Kliph Scurlock (drums) piled into a van driven by the late, legendary tour manager "Dr" Kiko Loiacono and raced from Dunkirk, where they had just played the final show of a tour of Spain and France, to the outskirts of Paris in the early hours of a March morning in 2022. There, in La Frette Studios, a recording facility installed in a 19th-century house, Gruff and his road-hardened group tracked "Sadness Sets Me Free" in just three days. Backing vocals were added along the way by Kate Stables from This Is The Kit along with additional strings and orchestration and it was mixed between Marseille and Cardiff. What finally emerged from these intense bouts of cross-continental activity was Gruff"s most accomplished and beautiful record to date. In a career that has taken him from the slate-mining towns of north-west Wales, down to the expat communities of Patagonia, up to the Mandan tribe of the Great Plains of North America and across to the Tuareg rock groups of the Saharan Desert, Gruff Rhys, one of Britain"s most beloved and successful singer-songwriters, has always been willing to follow an opportunity, wherever it may lead him. "At this point I quite like working with serendipity," he says. "Not in a cosmic way, but I try and leave things open to chance encounters and chance geography. As I"m around 25 albums in I"m always looking for ways to make a different-sounding record".

After the fall of the Deep City label, Rocketeers bandleader Frank Williams set up shop under the name of his twin daughters Saadia and Giwada and got to work reinventing the Miami Sound. Tracked between 1968-1970, this LP gathers 15 of Saadia's funkiest and deeply soulful moments, featuring Pearl Dowell, Joey Gilmore, Little Beaver, Frank Williams' Rocketeers, Robert Moore, Brother Williams, and Sam Baker. Your next sample, first dance, workout jam or closing credits is buried in here somewhere.

Super Funky Forest Green and Blue Splatter Vinyl.

After the fall of the Deep City label, Rocketeers bandleader Frank Williams set up shop under the name of his twin daughters Saadia and Giwada and got to work reinventing the Miami Sound. Tracked between 1968-1970, this LP gathers 15 of Saadia's funkiest and deeply soulful moments, featuring Pearl Dowell, Joey Gilmore, Little Beaver, Frank Williams' Rocketeers, Robert Moore, Brother Williams, and Sam Baker. Your next sample, first dance, workout jam or closing credits is buried in here somewhere.