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New Supa Killer Boogie Funk album of Funk Lab "Natural Feeling"

2026 Repress
Ivy Lab return for 2015 with their most ambitious and most accomplished EP yet, spanning across the most pearlescent of D&B through to rough, rugged glitch and raw half time grooves. Adding extra freshness is man of the moment Sam Binga and Brighton based El Train, each bringing their own take on the Lab sound. A stunning collection of work presented on multiple formats including limited edition vinyl with hand-crafted packaging from the Ivy Lab boys themselves.

2026 Repress

Ivy Lab and Alix Perez have been astounding electronic music audiences for years throughout drum & bass and further afield with their own 20/20 and Shades projects respectively.

Now in 2016 the two forces combine for a collaborative release like no other, drawing their own distinct styles to create the beautifully diverse, 'Arkestra' EP.

reActive Lab proudly unveils its first vinyl release, marking a defining moment for the label's evolution. reActive Lab Collective 001 brings together four of the label's core members - Chrivu, Dragne, Flavius, and Pattern Tusk - to craft a 12" that perfectly captures the collective's sonic DNA: deep groove, subtle minimalism, and timeless house energy. The record opens with Chrivu - "Cell Division", a vibrant house piece driven by a confident bassline and crisp percussive motion. Built with clarity and flow, it sets the tone for a journey anchored in groove and precision. Dragne - "Get Funk" follows with playful rhythm and low-end warmth - an irresistible combination of swing, bounce, and character designed for the dancefloor. On the flip side, Flavius - "The Interview" introduces a more introspective dimension - stripped-down yet immersive, balancing atmosphere with emotion through delicate textures and steady rhythm.

Closing the release, Pattern Tusk - "We Went On" blends soulful depth with minimal intricacy, offering a smooth, driving finale that resonates with both feeling and functionality. reActive Lab Collective 001 stands as more than a debut - it's a declaration of artistic identity. A 100% in-house release from reActive Lab, crafted with authenticity and intent. A promising first step in what's clearly a long-term commitment to sound, craft, and community. Short Description: reActive Lab makes its vinyl debut with reActive Lab Collective 001, a powerful VA featuring Chrivu, Dragne, Flavius & Pattern Tusk. Four deep and groovy house cuts blending energy, warmth, and minimal precision - a pure statement of the label's identity.

Sindh presents the Vagali EP, a striking continuation of his tunnelling, futuristic take on techno. Growling synths, driving basslines, alien atmospherics and finely tuned percussion define a sound that feels unmistakably his own.
Following his Komudo series — which has built a devoted following since its debut in 2024 — this latest release leans further into his signature sound design, pairing hypnotic sequences and menacing synth lines which feel right

Between electronic shadows and cinematic textures, this new album from QUENUM draws its influences from the likes of Massive Attack, Archive, and Burial. Started and produced in London, it reflects a change of time — both in the climate and within.

This project represents a personal and artistic turning point for QUENUM. He wanted to experiment with new ideas, not necessarily music for the club. The album was created in close collaboration with his son Zac, a talented musician who contributed both as a singer and instrumentalist on several tracks. They shared wonderful moments creating this album together.

He also worked hand in hand with his long-time friend Christophe Calpini, who played a key role in mixing and in developing the textures and atmospheres that shape the album’s sound. The result is an intimate, personal, and timeless journey, deeply rooted in the now.

Quenum elaborates: “The idea for my album was born during Covid in London, when concerts, museums, and social activities suddenly stopped. To cope, I started running daily and spending hours in the studio creating music. In our garden cabin I worked alongside my son Zac who was practicing piano, preparing for his entry into Trinity Laban Conservatoire. He listened to my tracks, and eventually contributed vocals with his ex-partner on two songs, ‘Blue Sky’ and ‘Never Like Before’. The album’s dark atmosphere reflects that period. Once it was complete, I asked my longtime friend Christophe Calpini to handle arrangements and mixing.”

A true pioneer of electronic music, QUENUM has been shaping the global techno and house scene for over two decades. One of his most celebrated tracks, “Orange Mistake”, co-produced with Luciano in 2001, became a turning point in his career. The success of this collaboration led them to launch the legendary Cadenza label, which rapidly grew into one of the most recognisable and respected imprints in the scene, known for its vital releases and unforgettable parties worldwide.

Over the years, QUENUM has continued to explore new creative paths and refine his artistic identity, constantly reinventing his sound while maintaining his unique musical signature. His insatiable curiosity and openness to new influences have kept him consistently in demand, from intimate underground venues to the world’s most respected festivals and clubs.

An album like a film, a childhood like a journey.



With Rêves, Senbeï unveils the most intimate and ambitious work of his career. Known for his unique blend of electronic music, hip-hop, and Asian sounds, the beatmaker reinvents himself here in an orchestral and cinematic universe, a far cry from his previous albums.


Inspired by the great soundtracks of children's adventure films—The Goonies, The Neverending Story, Charlie and the Chocolate Factory—Rêves is a sonic immersion where childhood nostalgia meets the emotional power of an orchestra.



A unique symphonic production.



For the first time, Senbeï has called upon a 15-piece orchestra, recorded in conditions close to those of film music. Strings, wind instruments, and electronic textures echo each other to create a rich, evocative universe, filled with luminous melodies and magical tension. This album is not just a collection of tracks: it is an adventure to be listened to like reading a story or watching a film.

Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who line-up that sends the music into an ethereal stratosphere.

Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the bevelled compositions melt away all preconceived notions of "jazz," ˜rock," and "ambience," following a loose theory Davis dubbed "New Directions."

Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch – he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.

If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons – not the least of which is the seemingly telepathic communicative methods employed by the group's members. The line-up is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.

Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as colour is the primary unit of currency on Davis' Sketches of Spain, laid-back episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.


Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt – and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.

RRL and Lay-Far are back on GAMM with a killa 7" exploring the bridges between Jamaican sound systems and UK 90's club culture.

Side A delivers an uptempo dub vs breakbeat tune that probably could've been championed by someone like Grooverider or similar in the mid 90s.

On the B side we find a fierce original jungle version with those Amen drums hitting bang on.

COLLECTING ORDERS FOR 2026 REPRESS

In this fifth release of 616 LAB the Sicilian artist 616 delights us and gives us the chance to have in our bag a record with four super tracks for the club to play in any moment of the set! All recorded in live on the two-track tape recorder (revox a77) without the help of computers AND microchips. Love transistor

The moment the instantly recognizable intertwined guitar passage on the title track to the Eagles' Hotel California begins, the record's genius becomes obvious all over again. Ranked the 118th Greatest Album of All Time by Rolling Stone, certified by RIAA as the third best-selling LP in history, and considered the foundation on which the Golden State's mid-‘70s music scene was built, the 1976 landmark is a music staple immune to shifts in trends, eras, and styles. Fearlessly addressing the chaos and consequences of American life, its songs remain strikingly prescient and gain creedence with each passing day.

Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl, and limited to 17,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set ensures you will want to permanently check into and never leave this particular Hotel California. Up to the herculean task of standing head and shoulders above all prior reissues, this collectible edition plays with extreme clarity, organic richness, tube-like warmth, massive dynamics, and microscopic levels of detail. You'll be able to practically smell the colitas and feel the breeze in your hair. Songs come across with an epic sweep and feature immersive, front-to-back soundstages that allow the music unprecedented air, roominess, and separation. As for the noise floor? It's basically as invisible as the spirits that waft in the corridors of the unforgettable title song.

Aesthetically, the premium packaging and presentation of the UD1S Hotel California pressing befit its esteemed status. Housed in a deluxe box, it features gorgeous foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes.

Indeed, the opportunity to zero in on all the particulars of the 26-million-selling Eagles record dubbed "a legitimate rock masterpiece" by vaunted Los Angeles Times scribe Robert Hilburn has never been better. A global phenomenon that marked the band debut of guitarist-singer Joe Walsh, Hotel California continues to resonate and connect with listeners of all generations taken by its narrative depth, stark directness, picturesque melodies, daring majesty, and ardent emotionalism. Adorned with a breathtaking exterior photograph of the Beverly Hills Hotel that serves as the simultaneously haunting and alluring cover art, and rounded out by a rear-cover shot of the Lido Hotel lobby that reinforces a notion that teeters between permanence and transience, Hotel California is brilliantly tied to a specific place that functions as a universally understood metaphor for the American Dream.

Confronting the darker undercurrents and oft-ignored constructs attached to that romantic notion, the record's songs revolve around a host of shared themes: excess, mobility, stability, illusion, fame, destruction, and idealism included. Notably, Hotel California appeared at a crucial junction in American history: During the country's bicentennial and amid escalating controversies related to the Vietnam War, energy crisis, and governmental corruption. That the Eagles manage to channel such cultural, social, and economical matters into a cohesive, stately, big-picture statement is alone a stupendous feat. That the album's reach, boldness, vitality, accessibility, and understated intensity have never waned make it a marvel.

Reflecting on Hotel California 40 years after its original release, and indirectly explaining its enduring appeal and increasing relevance, singer-songwriter Don Henley confirmed the record pertains to the "loss of innocence, the cost of naiveté...the difficulties of balancing loving relationships and work, trying to square the conflicting relationship between business and art; the corruption in politics, the fading away of the Sixties dream of ‘peace, love and understanding.'"

It can be argued that Henley and company squarely hit on and drove home those ideas in the surreal title track, chart-topping "Life in the Fast Lane," and grand "The Last Resort" alone. But that would miss the forest for the trees. Experienced as an unbroken whole, complete with the pristinely shot imagery and physical grooves, Hotel California unfolds like a geography-conscious saga by James Michener and plays like colour-saturated movie shot on 70mm film by Martin Scorsese. It's about our collective and individual decisions – and the shape of our past, present, and future. And, just like that conjured by our imaginations, Hotel California continues to take on a life of its own.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers

The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.

Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.

Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.

On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.

The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.

All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.

Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.

How enduring is the signature song from Harry Chapin’s Verities & Balderdash? So timeless that it became the subject of a 2025 documentary in which artists from multiple generations weigh in on its impact on their lives and craft. “Cat’s in the Cradle” doubtlessly remains the main event on the singer-songwriter’s 1974 album. The legendary opening track also serves as a guidepost for the bold personal and social material that follows — as well as the gorgeous folk-rock arrangements that underpin the New York native’s most commercially successful work.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, housed in a Stoughton jacket complete with a four-page insert, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Verities & Balderdash presents Chapin’s fourth full-length in audiophile quality for the first time on vinyl. Captured during a golden era for sonics and production, the Top 5 effort features remarkable tonal balance, instrumental separation, and organic naturalism. Those valued aspects come into supreme focus on this reissue, which plays with dead-quiet surfaces and a low noise floor.

The newfound clarity, openness, and imaging underscore the lasting appeal of Chapin’s tender deliveries, soulful timbre, and careful phrasing. Every word comes across with incredible realism, while his underrated guitar playing occupies its own distinctive space. Also notable: The extension of the tasteful string accents; airiness of the backing vocals; depth and shape of the spare bass lines; and width and depth of the soundstaging. When on “Six String Orchestra” Chapin calls out names of instruments, they appear like magic, the band performing feet from you. Chapin has never sounded so lifelike on record.

Certified double platinum, Verities & Balderdash resonated with the times and public. “Cat’s in the Cradle” reached No. 1 on the chart on its way to being inducted into the Grammy Hall of Fame. The romantic ballad “I Wanna Learn a Love Song” flirted with the Top 40 and wrapped listeners in the equivalent of a cozy blanket. The record’s other single, the mini-epic “What Made America Famous?,” helped establish Chapin as one of the country’s most incisive and insightful commentators.

Verities & Balderdash teems with situational devices and topical matters. Chapin observes everything from the polarization of the nation to changes in moral standards and cultural priorities. He investigates pressing themes without ever turning preachy or elevating himself above the matters at hand. On “Halfway to Heaven,” whose coda races to the finish and ranks as the most urgent moment on the record, Chapin inhabits the mind of his frustrated protagonist akin to an eagle-eyed novelist.

Conveying emotions that range from melancholic to carefree, Chapin is as much of a singer as a storyteller. He assumes the voice of multiple characters within a single narrative. During the quirky “30,000 Pounds of Bananas,” a tale based on a delivery-truck accident in 1965, Chapin alters his delivery, pronunciation, and diction to become an old man reflecting on the mishap and mess. The tempo, too, adjusts to match the speed of the vehicle Chapin describes.

Adorned with timely laugh tracks to reinforce the bittersweet humor, the stripped-down “Six String Orchestra” takes everything up another notch, with Chapin intentionally missing guitar notes or playing a broken passage to illustrate the failures of the hopeful protagonist who doesn’t have what’s required to make it as an artist.

Chapin, of course, did not have any such problem. The lynchpin of a career cut short by a tragic traffic incident, Verities & Balderdash is Exhibit A of the savvy craft, feeling, and perspective he lent to American music.

Carly Simon’s No. 1 smash “You’re So Vain” lingers as one of the most clever and famous songs ever recorded. The subject of mass speculation ever since its release, soon after which it occupied the top spot on multiple Billboard charts for weeks, the anthem kept a captive public guessing at the identity of its smug subject for decades. The question surrounding the protagonist’s identity remained perhaps the only mystery on the otherwise sexually open and autobiographically daring No Secrets, Simon’s commercial breakthrough and ‘70s singer-songwriter staple.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, strictly limited to 3,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set affords the platinum-certified 1972 effort the finest sonic treatment it’s received on vinyl. Helmed by Richard Perry and recorded at London’s Trident Studios — where Beatles, David Bowie, and Elton John captured landmark LPs — No Secrets touts exceptional production qualities highlighted by this restorative reissue.

Audiophiles and record collectors, take note: This is the first time No Secrets has been available on 45RPM. The wider grooves and dead-quiet surfaces pay instant dividends. Simple, elegant, and disarming, songs seemingly float amid wide, deep soundstages. Simon’s voice takes on a confident, assertive tenor that emerges with accurate imaging, balanced tonality, and palpable presence. String arrangements and backing vocals come through with similar realism.

Enhanced by an all-star cast — Simon’s then-husband James Taylor, Paul and Linda McCartney, Mick Jagger, Lowell George, Klaus Voorman, Bobby Keys, Jim Keltner, Nicky Hopkins, and Bonnie Bramlett are among the renowned musicians who lend a hand — No Secrets advances Simon’s themes of personal introspectiveness, no-holds-barred reflectiveness, and feminist-inspired boldness. She makes every moment of No Secrets worth savoring. Simon invests her all in the songs, handling beautiful ballads, sassy folk-rock numbers, and bluesy fare with calm, composure, and candor.

While acknowledging her own regrets (“You’re So Vain”) and loss (“The Carter Family”), Simon champions the highs (“The Right Thing to Do”) and pains (“His Friends Are More Than Fond of Robin”) of love in a sincere manner indicative of her maturity as both an artist and singer. The New York native distinguishes “When You Close Your Eyes” with deep-rooted spirituality, recalls childhood joys via charming sentimentality on “It Was So Easy,” and and takes ownership of her persona on a cover of Taylor’s “Night Owl.”

“We have no secrets
/We tell each other everything,” Simon sings at the record’s midpoint, encapsulating both the themes and bravura of an effort that was nominated for four Grammy Awards and saw her write or co-write every song but one. Combined with Perry’s savvy instrumental arrangements, her self-assured performances and forthright lyrics grant No Secrets an edginess and relevance immune to the ravages of time.

Looking back on her career in the early 90s, Stevie Nicks described the first track of Rock a Little as “the most exciting song that I had ever heard.” This coming from a superstar who was already closely affiliated with several bajillion-selling Fleetwood Mac albums — to say nothing of her own benchmark solo debut. Her remarks attest to the enthusiasm and effort she invested in her third record, a 1985 work that quickly furthered Nicks’ profile and cemented itself as a piece of 80s pop lore.

Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, strictly limited to 4,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set presents Rock a Little in audiophile sound for its 40th anniversary. Helmed by a cadre of producers and engineers, and recorded for a reported one million dollars, the platinum-certified album teems with a head-spinning array of colors, tones, dreamscapes, and accents. This reference-grade reissue marks the first time they are all brought to light and conveyed with proper balance, dimensionality, and positioning.

Though Rock a Little doubtlessly has period characteristics of a mid-80s LP, Nicks and company spare no expense when it comes to distinguishing the music with expansive sonics distinguished with lush melodies, high-tech percussion, echoing vocals, sampled keyboards, and layers of sophisticated accents. The degrees of spaciousness, headroom, and dynamics are nothing less than inspiring, while the newly enhanced detail, texture, and clarity make the songs sing like never before. As for Nicks’ voice? Wait ’til you experience the transparency and depth.

Those advantages extend, of course, to the aforementioned “I Can’t Wait,” a statement-making opener shot through with modulating synthesizers, splashy drums, metallic guitars, and serious drama. Holed up in a massive studio, Nicks required just one take to nail her part, which she called “magic and simply not able to beat.” The singer-songwriter also distilled the reverberating emotional essence of the Top 20 tune, stating “when I hear it on the radio, this incredible feeling comes over me, like something really incredible is about to happen.”

The same can be said for nearly all of Rock a Little. Crafted by the likes of Songwriters Hall of Fame multi-instrumentalist/producer Rick Nowels, Heartbreakers organist Benmont Tench, bassist Bob Glaub, jack-of-all-trades Greg Phillinganes, and session-pro guitarists Waddy Watchel, Les Dudek, and Danny Kortchmar — along with another two dozen or so participants — the record spills with diverse ideas, shapes, and moods. Everything is in the right place, as evidenced by the swirling glide and sensual undertow of the slightly funky title track to the snapping rhythmic pace and big hooks of “Imperial Hotel,” one of Nicks’ standout moments.

“What was it she wanted?” Nicks queries on “No Spoken Word,” continuing a theme of contemplation that runs through the narratives. Nicks never lands on a definite answer, but hearing her explore loneliness, love, and the secrets we keep to ourselves proves continuously rewarding. Take her passionate performance on a cover of Chas Sanford’s “Talk to Me,” a Top 5 smash furthered by tasteful saxophone lines and understated folk elements. Immersive yourself in the grand sonic corridors of “If I Were You,” laden with Nicks’ signature mysticism.

Moreover, surrender to the gravitas of the closing “Has Anyone Ever Written Anything for You,” a piano ballad composed about the death of Joe Walsh’s three-year-old daughter. As Nicks asserts earlier on the album, she sings for things money can’t buy.

So, rock a little, yes, but dare to feel even more.

Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a telephone pole for all to see. Bold, personal, and autobiographical, Anticipation announces the arrival of an artist who won’t back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while also giving yourself to a partner. Simon’s connection to her folk roots would never be stronger.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. Audiophiles and record collectors, take note: This is the first time Anticipation has been available on 45RPM. The wider grooves and dead-quiet surfaces prove extremely rewarding.

The rhythmic framework anchored by session pro Andy Newmark’s drumming sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expansive responsiveness. And just as Simon’s vocals feel more transparent and direct, so, too, do the supporting choral arrangements.

Released before the singer-songwriter movement reached full bloom, Anticipation remains remarkable for the high-quality songwriting and Simon’s gutsy stance. The album cover — depicting the vocalist holding the gates at Queen Mary’s Garden in Regent’s Park and seemingly defying anyone to take her on — serves as a metaphor for the content within.

Known for having relationships with high-profile partners, Simon was heavily involved with Cat Stevens leading up to the recording of Anticipation. She draws from her experiences to craft tunes that resonate because of their honesty, realism, and strength. Few of those moments are better known than the Top 20 title track, which Simon composed in just 15 minutes as she waited for Stevens to pick her up for a date. Imbued with the nervousness, tension, and excitement that accompany the moments when a romance could go either way, the Grammy-nominated song presages the feminist-minded vulnerability and burning longing that informs a majority of the record.

On the soulful “Legend in Your Own Time,” also inspired by Stevens, Simon harnesses yearning as a conduit to feel-good paradise. Deemed by Rolling Stone an “absolute clincher, an awesome description of the psychic ravages of gone-nuts, know-nothing love,” her cover of Kris Kristofferson’s “I’ve Got to Have You” moans with no-holds-barred desire and breathtaking sensuality.

For all the wanting Simon pursues on Anticipation, her way of staying in control — vocally and personally — make the record a courageous statement of contemporary femininity. For further evidence, look to the bossa nova of “Summer’s Coming Around Again,” somber “Share the End,” soothing “Three Days,” and sincere “Julie Through the Glass,” a tribute to her young niece.

Simon would achieve international fame with her next album, No Secrets. Yet as this definitive reissue shows, Anticipation suggests the rest of the world was just a little late catching up to her.

Casual Treatment presents the second record on his imprint. Joined by Argentinian powerhouse Jonas Kopp, they offer 4 collaborative works constituting Co.lab EP.

To celebrate the 20th anniversary of the album Tales Of The Forgotten Melodies, Wax Tailor unveils a 2LP Gatefold reissue of his iconic album Tales Of The Forgotten Melodies. A true must-have for all fans of the artist and vinyl enthusiasts!

Collecting orders for 2024 Repress

The last Drexciyan storm... 6 Drexciya tracks for the life aquatic. Essential!!!