Buscar:bill x

Elvis Presley’s self-titled debut album forever changed popular culture on release in 1956, its earthquake aftershocks still felt some 65 years later. Gritty adaptations of Carl Perkins’ ‘Blue Suede Shoes,’ Ray Charles’ ‘I Got A Woman’ and Little Richard’s ‘Tutti Frutti’ helped make it the first Rock ‘n’ Roll album to top the Billboard charts, where it remained unchallenged for a full ten weeks. The iconic cover image with its distinctive lettering, showing Presley brandishing his acoustic guitar, helped embed the instrument in rock mythology too, indelibly changing how we conceive of the genre and its axemen. Elvis Presley proved that our hero was already the undisputed King of Rock ‘n’ Roll, just as he still is today.

7A Records are proud to announce the reissue of Dave Edmunds’ 1979 Rock Album, Repeat When Necessary, released on vinyl on August 25.
The Album
Originally released on Led Zeppelin’s Swan Song label in 1979, Repeat When Necessary went on to become Dave Edmunds’ biggest album. The album was not only his first to chart in the U.K. but his first to make the U.S. Billboard 200. Its lead single, the Elvis Costello-penned Girls Talk, became Dave’s biggest hit single since his revival of “I Hear You Knocking,” an international smash in 1970.
Dave Edmunds and his Rockpile colleagues (including Nick Lowe, who is also featured on this album) epitomized the back-to-basics approach of Great Britain’s pub rock scene. The band also incorporated strong power pop and rockabilly influences and paved the way for new wave. This fusion was arguably never more potent than on this album.
7A Records were granted full access to the original master tapes and the album has been remastered for vinyl by Roger Béchirian, who was also the studio engineer for the original release. The album comes in a gatefold sleeve featuring extensive sleeve notes and song lyrics and is pressed on Red 180g Audiophile Vinyl.

Producer Endemic Emerald has provided top-notch beats for
many in the rap game over the years - notable names such as
various members of the Boot Camp & Wu Tang camps,
Tragedy Khadafi, Ill Bill, and Planet Asia. On ‘Renegade
Soul’ he digs deep into his sounds to bring us his 1st
instrumental album. The set features an array of soulful
soundscapes, accompanied by a gritty undertone. The album
moves through different moods, utilising a range of jazzy
pianos, intense strings, and heavy basslines. Accompanied by
soulful voices throughout a real edge is provided and makes
‘Renegade soul’ guaranteed head-nod material. The album
will be available on 12” Vinyl, Cassette & CD on June 30th.

Produced by Endemic Emerald who has
worked with members of Wu Tang, Boot Camp
Clik, Roc Marciano, Ill Bill, Planet Asia,
Skyzoo

Available for the first time since originally released in 2006 via Stones Throw, Dudley Perkins & Madlib are pleased for the reissue of their sophomore collaborative LP, Expressions (2012 A.U.), their acclaimed follow-up to their 2003 debut effort, A Lil’ Light. And albeit the former can be accused of being excessively avant-garde, it’s Expressions where both Perkins and the Beat Konducta find a more fluid symmetry.

In everything from his collaborations with MF Doom and the late Jay Dee to his more recent pairing with Freddie Gibbs, Madlib is easily one of hip-hop's golden revolutionaries. At times his production has been accused of being sparse, but that's not the case with Expressions. This time around, Madlib's production is hitting all the funky corners with layered grooves that evoke the attitudes and emotions of A Tribe Called Quest's The Low End Theory.

Perkins's objective to keep the grooves flowing on Expressions is laid down with first lines of opener "Funky Dudley": "A little bit of funk and a dash of soul/ A little bit of George borrowed from my Ol' gran' pappy's stack of old school/ One nation under a groove." From there on the funk samples dance famously with Dudley's vocal style, which cross-pollinates the worlds of D'Angelo and Ol' Dirty Bastard. From "Get on Up" to the James Brown vocal sample in "Dolla Bill," Expressions uses Perkins's voice as if it were a sample itself, incorporating it in the production and the rhythms.

Madlib's production works flawlessly, his semi-psychedelic influence on R&B, soul and hip-hop keeping Perkins's style fresh and original. All the parts seem to be in place on Expressions as producer and emcee work side-by-side to create a cohesive sound that not only represents the creativity of the underground but could also awaken the tired ears of the mainstream.

From Alehouse to Playhouse Bjarte Eike and his barnstorming Barokksolistene capture the vital spark of Restoration London’s entertainment scene with a captivating new recording for Rubicon Classics! The Playhouse Sessions will be released on 23 September 2022 to coincide with Barokksolistene’s concert double-bill at London’s Southbank Centre.

‘A smattering of Purcell, dances from Playford’s Dancing Master, shanties, reels and ballads succumb to a nine-piece ensemble drawing on Baroque, jazz and folk styles for a no holds barred hooley of riotous improvisatory give and take,’ (BBC Music Magazine review of The Alehouse Sessions, August 2019)

London’s musicians, pushed in the 1650s, to the margins of society by order of Oliver Cromwell, found room for new forms of entertainment in city-centre taverns and alehouses. They remained there long after the restoration of the monarchy, performing sets of dances, theatre songs and bawdy ballads to audiences glad to be free from Puritan constraints on pleasure.

Norwegian violinist Bjarte Eike and his Barokksolistene have restored the spirit and substance of those long-forgotten performances with their Alehouse Sessions, hailed by The Times as ‘irresistible’ and ‘fabulously unrestrained’ by The Guardian. Five years ago the Norwegian violinist and his band scored a best-selling album with The Alehouse Sessions on Rubicon Classics. They return to the label with another compelling collection of music and words of the kind on offer more than three centuries ago at Henry Purcell’s favourite Westminster watering holes. The Playhouse Sessions, set for release on Rubicon Classics on 23 September 2022, reflects the uplifting energy and engaging emotional contrasts of Barokksolistene’s Alehouse performances.

“The album contains a sort of inner narrative that runs through the recording,” says Bjarte Eike. “It has become like a play in its own right, with each track being a small tale within a larger story.” The recording’s tracklist includes Eike’s beguiling arrangements of music from Purcell’s semi-opera The Fairy Queen and his own original compositions on words from the play on which it is based, Shakespeare’s A Midsummer Night’s Dream; popular songs and ballads such as ‘The Irish Washerwoman’, ‘I often for my Jenny strove’ and ‘The Three Ravens’; tunes from Purcell’s welcome odes and stage shows, Come ye sons of art and Dido and Aeneas among them; the ‘Willow Song’ from Shakespeare’s Othello; Eike’s own voice in Puck’s monologue from Act 5 of A Midsummer Night’s Dream; and John Dowland’s sublime air ‘Can she excuse my wrongs’.

London’s theatres were closed at the start of the English Civil War in 1642 and remained shut until the Restoration. Alehouses offered redundant musicians, actors and dancers a place to scrape a precarious living and soon became their creative refuge. “Although a few surviving theatres reopened in 1660 with the return of Charles II, there was little money around to rebuild those that had been demolished,” observes Bjarte Eike. “And a generation of musicians had already found an audience in places like the Black Horse in Aldersgate Street. So popular were their alehouse sessions that Cromwell tried to abolish them! But they outlived him and became part of Restoration musical life.” The form of a Barokksolistene Alehouse, he adds, is like a creative room. “Within its framework I can frequently refurbish the show with new contents. The Playhouse project is likewise an extension of the ever-evolving Alehouse Sessions. Together they tell the story of music and theatre in London during Cromwell’s time and after the Restoration. Of course there’s an historical context to what we do. But there’s also the practical context – which is even more important to me – of connecting with a contemporary twenty-first century audience. An Alehouse / Playhouse performance is not something for the museum; it's about music made in the present moment, just as it was in the London alehouses of Purcell’s day -- with their playhouses annexed to the rear of the beer-drinking saloons. The encounter of musicians onstage and the audience in the hall is the real magic of it. We have to fuse the audience into the action of our performance!”

The Playhouse Sessions will be launched on Friday 23 September with a late-night concert at the Purcell Room and a post-concert Alehouse Session in the foyer of the Queen Elizabeth Hall. Soprano Mary Bevan is set to join Eike and his Alehouse Boys for the first half of their Southbank Centre double-bill, offering unique interpretations of songs from Purcell shows and other hits from the late seventeenth-century London stage. “The Southbank Centre is a direct descendant of concerts given in the 1650s in the alehouses of London,” notes Eike. “These alehouses after all staged some of the world’s first public concerts. Later, after the Restoration, it became common for promoters to advertise alehouse concerts in the press and offer subscription tickets. Purcell and his fellow musicians were thus just as at home performing there as they were in the chambers of the royal court or in London’s new theatres.”

Bjarte Eike launched his Alehouse Sessions in company with like-minded musicians 15 years ago. The ensemble comprises a core of regular performers, all of whom have committed to memory a huge setlist of up to four hours of music. Typically they meet a day or so before a concert tour to share a meal and make music together; then next day, re-grouping thirty minutes before the show, they discover Eike’s select-menu for the evening. “That ensures that every show is fresh,” he notes. “I make sure we never repeat the same programme twice. It’s therefore essential to work with people who share my outlook and dare to adventure. We’re into a high-risk sport, with lots of traps and places where the unexpected appears - for good or for ill. And so the audience knows we’re vulnerable. But our skill is seen in how we re-act on the hoof to the unpredictable. That’s authenticity and honesty - and above all it’s a performance that’s genuine.”

Armed with a classical training and a background in folk music and improvisation, Bjarte Eike was drawn naturally to Early Music in all its stylistic variety. “I never really felt at home with only one genre,” he recalls. “Early Music allowed me to study profound, complicated compositions, but performing it has also opened up the chance of rebellion and uproar! Early music offers wide, multi-faceted areas of musical exploration for me. You find, for instance, links to different types of music wherever you look in seventeenth-century English repertoire. And I am fascinated by all these connections. They offer a foundation for the Alehouse Sessions and for all Barokksolistene performance more generally. Every member of the group plays, sings, dances and improvises without limitation. We’re all interested in the many different fields of being a stage performer and pushing hard at the ‘normal’ boundaries of what it means to be a classical musician.”

365XX, das erste Rap-Label in Europa, das sich ausschließlich weiblichem und genderqueerem Talent widmet, beschenkt sich und seine Artists zum dreijährigen Jubiläum mit einem Label-Sampler (inkl. aufwändig illustriertem Artwork von der aus dem Schwesternblog 365 Female MCs bekannten Henrike Ott). Darauf zu hören: CARY, Die P, Mariybu, MIMII, PALAS, SATARII, Skuff Barbie und YETUNDEY.

'Live at Radio City Music Hall' features performances by Nubya Garcia and Khruangbin.

Rock & Roll, Rhythm & Blues, Mambos, Cha Chas, Exotisches, unglaublich Seltsames! Zusammengestellt wurden diese raren Stücke von Professor Bop, der vielen eigentlich als Radiomoderator bekannt ist. In mühsamer Kleinstarbeit wurden längst vergessene Geheimnisse der Musikgeschichte geborgen und liebevoll zusammengestellt.
"Down At The Ugly Men's Lounge" ist eine skurrile Zusammenstellung dieser Raritäten und soll dem Zuhörer eine Tür in die Vergangenheit öffnen, zum Hören und Tanzen anregen.

A kind of hush pervades throughout Standards Vol VI, the latest release by The National Jazz Trio of Scotland, the ironically named project helmed by Falkirk’s musical polymath, Bill Wells, that is neither a trio, nor a jazz band. If this collection of ten covers probably comes closest to the latter in its late night renditions of actual standards, the presence of long-term NJToS member and collaborator Aby Vulliamy as the record’s lone vocalist adds to its solitary air. This follows Standards Vol IV (2018), which featured fellow NJToS co-founder Kate Sugden as primary vocalist, while Gerard Black, a member of the group since 2016, took centre stage in similar fashion on Standards Vol V (2019). Wells has long been a fan of Vulliamy, both of her work as a viola player with numerous collaborators, and as a singer.

Vulliamy played viola on Everything’s Getting Older, Wells’ 2011 collaboration with Arab Strap vocalist Aidan Moffat. Wells went on to play melodica on Vulliamy’s solo record, Spin Cycle, released on Karaoke Kalk in 2018. With the intent of producing the saddest heartbreak record ever made, Wells sourced a back catalogue of miniature epics, reinterpreting each tale of everyday yearning to make a canon of melancholy loungecore designed for nights in alone, if not always lonely. Beyond the concept of isolation behind Standards Vol VI, practical concerns added to the affair, with Wells recording backing tracks at home in Glasgow, while Vulliamy added her voice from her home in Yorkshire. The result on Standards Vol VI is a thing of quiet beauty that sees Wells and Vulliamy reimagine a panoply of pop classics in their own aloof sounding image.

Shades of Margo Guryan and Claudine Longet abound in Vulliamy’s delivery over Wells’ woozy, low-slung guitar and piano, with samples culled from a session with Teenage Fanclub’s Norman Blake. Little electronic percussive clicks and hisses lend things an even more otherworldly air on a record bookended by opener, Donovan’s proto hippy classic, Catch the Wind, and Dixieland miniature, Careless Love. The eight points in between take in a first half led by The Beatles’ normally jaunty We Can Work it Out, flipping the loveable mop-tops’ perky optimism for something more soul searching. This is followed by I Wish You Love, Albert Beach’s English language version of French songwriter Charles Trenet’s evergreen, Que reste-t-il de nos amours. The Bee Gees lost classic, To Love Somebody, is up next, with more impossible to answer questions coming in Why Can’t I?

The latter is a Rodgers and Hart composition that first appeared in the duo’s 1930 Broadway musical, Spring is Here, in which the show’s two heroines commiserate each other over their shared loneliness. Wells stumbled on the song in a tatty Rodgers and Hart songbook, which, like its subjects, had been left on the shelf before he and Vulliamy brought it in from the cold. The second half of Standards Vol VI leads with Matchmaker, Matchmaker, Jerry Bock and Sheldon Harnick’s much covered evocation of a pre dating app era from their 1964 hit musical, Fiddler on the Roof. This is followed by Billy Rose and Dave Dreyer’s showbiz staple (with Al Jolson also taking a credit), Me and My Shadow. While made famous by showbiz double acts ranging from Frank and Sammy to Robbie and Jonathan, here it flies decidedly solo. Johnny Mercer and Hoagy Carmichael’s Skylark comes next, a song inspired by Mercer’s yearning for Judy Garland. We hear ya, bub. The most downbeat take on Bacharach and David’s The Look of Love you’re ever likely to hear comes next, ushering in the short farewell of Careless Love, before the lights are turned out forever. Yeah, well. Whatever gets you through the night…

Byard Lancaster was a composer/multi-instrumentalist born in Philadelphia in 1942. He started playing alto saxophone at an early age and later took up flute and bass clarinet. While attending Berklee College of Music, Lancaster and pianist Dave Burrell organized late-night jam sessions with fellow students and touring musicians. In 1965, he moved to New York and quickly became part of the city's burgeoning scene – playing with jazz luminaries such as Archie Shepp, Sunny Murray, Bill Dixon and Marzette Watts.

It's Not Up To Us, Lancaster's 1968 debut as a leader, was originally released on Vortex, a subsidiary of Atlantic responsible for first albums by Chick Corea, Keith Jarrett and Sonny Sharrock. Featuring guitarist Sharrock (another Berklee alum), It's Not Up To Us is true fire music – fusing elements of free jazz, soul/R&B and traditional folk song.

On the opening title track, Lancaster's luminous flute draws the listener in, while bassist Jerome Hunter grounds the tune with a simple descending theme over Keno Speller and Eric Gravatt's syncopated rhythms. "John's Children," a reference to the group's status as post-Coltrane players, showcases the modal strumming of Sharrock's steady drones as Lancaster cries into the void. After repeated listens, Lancaster's original compositions become visceral aural memories ingrained in the ear, while the standards ("Misty" and "Over The Rainbow") sound the most avant-garde pieces on the album.

This first-time vinyl reissue is recommended for fans of Albert Ayler, Don Cherry and Pharoah Sanders.

Originally released in October 1993, “The Crossing” was Paul
Young’s fifth and final album for Columbia Records. Produced
mainly by Don Was and featuring top musicians such as Billy
Preston, The Memphis Horns, Jeff Porcaro and Pino Palladino,
the album is regarded by fans and critics as one of Paul
Young’s very best solo works. When interviewed for this 30th
Anniversary release, Paul Young said: “If you were to ask me
the albums I most enjoyed making they would be the first
and the last for Columbia Records; No Parlez and The
Crossing. On The Crossing, it was the caliber of the musicians
that I worked with and I was working with my musical heroes,
some of which I’d admired since I was a teenager. The
sessions were so relaxed and all the people in the studio
were such lovely people to work with, I will remember it
forever.” 7A Records is reissuing The Crossing on 180g coloured vinyl and CD. The recordings have been remastered and
the packaging will include rare photos, extensive liner notes, an exclusive Paul Young interview and lyrics to all of the
songs. The vinyl version comes in a gatefold sleeve and pressed on 180g Turquoise Viny

MEANTIME das neue Album des kanadischen Songwriters Grant Davidson aka Slow Leaves, handelt vom Warten auf etwas Bedeutsames im Leben und davon, wie all die alltäglichen Dinge, die während des Wartens passieren, das eigentlich Bedeutsame ausmachen. Wenn man blinzelt, verpasst man es; wenn man zu viel nachdenkt, verpasst man es. Wenn man Glück hat, gibt es in der Zwischenzeit die Liebe und den Tod und nicht viel weniger. Das Album ist durchzogen von einer eleganten Erdigkeit, Meantime ist eine Sammlung von Folksongs, die mit paisleyfarbenen 1960er- und 70er-Jahre-Tönen verziert sind. Während die Musik eine Retro-Sensibilität aufweist, wird diese durch eine Unmittelbarkeit in den Texten ausgeglichen, die ihn fest in der heutigen Zeit verankert. Slow Leaves ist ein in sich geschlossenes Soloprojekt, bei dem Davidson jeden Aspekt der Musik und ihrer Präsentation kuratiert, einschließlich der Rolle des Multiinstrumentalisten, Produzenten, Coverdesigners, Fotografen und Videofilmers. Er betrachtet die Gesamtheit dieser verschiedenen Aspekte als wesentliche Teile eines größeren Projekts der Selbsterkenntnis durch künstlerische Methoden. Sein Folk- und Psych-Rock-Stil erinnert an ältere Songwriter wie Mickey Newbury, Nick Drake, Roky Erickson, Gene Clark und Neil Young. Aber sie leben auch in der Welt der modernen Klassiker wie Andy Shauf, Bonny "Prince" Billy, Bedouine, Big Thief und Bill Callahan. Seine seidige Stimme wurde schon mit Roy Orbison oder Bryan Ferry verglichen.

Debut Album Nottingham post-punks Do Nothing blend jerky, spidery rhythms with surreal, half-spoken vocals that recall the Fall 's Mark E. Smith . Do Nothing was formed in 2017 by four long-time school friends: frontman Chris Bailey, guitarist Kasper Sandstrøm, drummer Andy Harrison, and bassist Charlie Howarth. All had played in various acts around the city; the band got their start at the popular Maze Club. Bailey, whose father was a singer in an a cappella folk group, grew up listening to the sounds of Simon & Garfunkel , and his own biggest influence was Tom Waits . Initially attempting to copy big names like LCD Soundsystem (as heard on their first 7" single, "Gangs," released in 2019), they eventually became more confident about doing their own thing, and Bailey gave his stream-of-consciousness lyrics and outsider stage persona free rein. Associated with, but wary of, the then-popular post-punk revival, they made clear it was their intention to follow their own path. Their debut EP, Zero Dollar Bill, was released in 2020; another, Glueland, arrived the following year, with an album in the works.

New York City's loudest band A Place to Bury Strangers have had their intense live performance captured and immortalized directly to 12” wax. The post-punk legends are the 9th & latest entry in the Live at Levitation archival vinyl series. “Levitation 2021 was our second show as a new band and I felt so psyched to bring the new band members to such an epic festival. It was like a homecoming for me. Bob Mustachio was doing lights and playing with Ringo Deathstarr, Kikagaku Moyo & the Black Angels all on the same bill had me so rev’d up and excited. I knew it had to be an epic show. I remember right when we started I was flailing around so much like a freak on speed that I almost flung my guitar off the stage. By the time we got out into the crowd I thought I was gonna pass out. I remember we rented this PA speaker from Rock N Roll Rentals and for some reason they trusted us with this top of the line like $5000 12” monitor that we rolled around in the crowd while I was screaming at the top of my lungs. I love Levitation and Austin Psych Fest. They are always a UFO of a good time.” - Oliver Ackermann (APTBS)

Mike Viola is a producer, musician, songwriter and singer. Viola may be best known for his work with Panic! at the Disco, Andrew Bird, Ryan Adams, Jenny Lewis and Mandy Moore, but his solo career stands on its own starting with a number of acclaimed records as the leader of New York based cult favourite Candy Butchers and 7 critically adored Mike Viola records. His original music has been featured on soundtracks for movies such as That Thing You Do!, Walk Hard: The Dewey Cox Story and Get Him to the Greek. Decades into his career his music continues to resonate with and inspire new generations of musicians and music lovers. Viola is cranking out more music than ever including the fan favorites; “The American Egypt” from 2019 and “Godmuffin” from 2021. Paul McCarthy was recorded over the summer of 2022 on 1/2” tape at “Barebones”, Viola’s home studio in Los Angeles. Joined by his friends Jake Sinclair on bass and Brendon Urie on drums. Viola says, “I set out to make a sonic monster using the legs of James Gang Rides Again, the heart of Black Sabbath Paranoid, with my kid brain inside my greying middle aged head on top. I’ve hit a point in my life where instinct has taken the reins fully, logic now waits in the wings to sweep up the stage and pay the taxi fare home. This album is the result of committing to this path fully and laughing all the way.” Viola will support the album release with his first tour in over a decade with dates in Europe and the US in Winter/Spring 2023, and more dates to follow later in 2023.

Say no more. You're safe now. We got medicine for you: a joint EP by Ubahnrider and Quimbie with five dynamic pieces of electronic music. Prancing around you with flags waving, seducing with a foolish wink of our smokey eyes.

What will it do to you? Shoot you to the Moon? Transform everything into strange patterns and colours you haven't tasted yet? Result in a Cosmic Smash? Don't resist - relax. You're going on a billion year trip to love.

It was obvious that Nathan Boost would soon be providing an EP for Unlimited Happiness. Long time affiliate to Nowadays Magazine and wonderkid if it comes to producing his recognizable sound, He effortlessly provides new music flickering from fast paced minimal inspired dancefloor hitters to slow electronic jams. We’re already wondering what he’ll do next…

Fleetwood Mac is the tenth studio album by British-American rock band Fleetwood Mac, released on 11 July 1970. This was the first Fleetwood Mac album with Lindsey Buckingham as guitarist and Stevie Nicks as vocalist, after Bob Welch departed the band in late 1974.

The album peaked at number one on the US Billboard 200 chart dated 4 September 1976, 58 weeks after entering the chart, and spawned three top-twenty singles: "Over My Head", "Rhiannon", and "Say You Love Me", the last two falling just short of the top ten, both at number 11.

1000 Die-cut leather structure gatefold with eight artist photo cards & insert.

"Welcome to the America Dream Reserve, home to husband & wife duos, pub legends, one-man-bands, preachers’ sons, and country-lounge entertainers..."

About: America Dream Reserve is a home for kindred souls. An hour-long journey into the world of lo-fi drumcomputer folk, disco-pop-lounge, haunting ballads, obscure vanity pressings, and synthesized string ensembles. A collaborative compilation between Charles Bals, creator of the inimitable Club Meduse, and Smiling C.

Sleeve: This is a premium edition of ADR housed in a die-cut leather structure gatefold. It comes with eight loose double-sided swappable photo cards with artist photos on both sides, and an insert with write-up about the project. Limited run.

Compiled by: Charles Bals & Henry Jones.

Debut album recorded for launch of new record label by award-winning mastering engineer Kevin Gray!
Recorded all-analogue/all-tube at Gray's new studio, Cohearent Recording, for Cohearent Records!

Shapes and Sound from jazz saxophonist Kirsten Edkins is the debut LP release from Cohearent Records — the new record label companion to famed mastering engineer Kevin Gray's latest enterprise, an all-valve (vacuum tube) recording studio (Cohearent Recording) adjoining his home-based mastering facility in California.

"It's the 'essence of an era' we are trying to recapture with today's musicians, not the sound of specific spaces, engineers or recordings," Gray told music reviewer Michael Fremer.

This album was produced all-analogue/all-tube at Gray's Cohearent Recording on December 10 and 11, 2021. Dave Connor produced, while Gray and Ryan Wirthlin co-engineered. Edkins on sax was joined by Gerald Clayton (courtesy of Blue Note) on piano, Ahmet Turkmenoglu on bass, Lemar Guillary on trombone and Chris Wabich on drums.

Edkins, a composer and saxophonist from Los Angeles, graduated from Eastman School of Music on scholarship. She studied composition and arranging with Bill Dobbins, as well as Walt Weiskopf and the legendary Ray Ricker. Before her time at Eastman she studied with Bob Sheppard, a jazz recording artist and woodwind specialist. Edkins is a sought-after improviser who has performed with Arturo Sandoval (Al "Tootie" Heath), Tim Hagans, Clay Jenkins, John Beasley, and Geoffrey Keezer.

She has performed with the Clare Fischer Big Band, Bill Holman Big Band, Bernie Dresel Big Band (The BBB), Sara Gazarek and others. She's appeard on television shows such as American Idol, Duets, Knight Rider, Glee, and Bones, plus The Tonight Show. She's also a music educator whose associations include Cal State Fullerton, Stanford Jazz Workshop, Saddleback College and Golden West College. She also direct the American Jazz Institute's community outreach program and teaches saxophone at Occidental College in Eagle Rock.

The album is an excellent showcase for Gray's new recording studio. Cohearent Recording was born from Gray's relentless passion to create the best sound recordings. It was that passion that has inspired Gray's long career cutting lacquers for such noted labels as Blue Note, Music Matters and Analogue Productions.

He spent 15 years building gear for the project. "I had a novel idea: In order to get the vintage sound we all love, (I'd) design and build an all-valve (vacuum tube) recording system from microphones through to the disc cutting head, NO transistors or IC's anywhere in the signal path. That took much longer than anticipated but it is finally complete."

Gray was inspired to use his own living room as the studio space when he realized it was similar in size and shape to legendary jazz recording engineer Rudy Van Gelder's Hackensack N.J. parents' home. Many classic jazz albums were recorded there by Gelder.

Some of the same microphones used on those earlier Gelder recordings are in use in Gray's setup. The custom vaccum tube electronics are different and for Shapes and Sound Gray used a tube-based Studer C37 rather than an Ampex.

Gelder's Hackensack recordings for both Blue Note and Prestige, Gray says, are "some of my favourite jazz records, and they are also exceptionally good sonically."

In 2016, After Reissuing Two Bruce Haack Albums, Haackula And Electric Lucifer Book Ii, Telephone Explosion Began Speaking With Ted Pandel (bruce's Lifelong Friend And Business Partner) About Working On The 1970 Masterpiece The Electric Lucifer. It Turned Out There Was Another Matter That He Wanted To Discuss: Finding A Final Resting Place For The Bruce Haack Archive.

We Were Shown Test-pressings Of The Electric Lucifer Board Mixes From His Columbia Studio Sessions, Countless Pieces Of Written Music, A Large Number Of Personal Photos, An Invitation From Raymond Scott Inviting Bruce To Play His Newly Created Electronium
Instrument (now Owned By Devo's Mark Mothersbaugh), Poems, Press Clippings, And, Most Importantly, A Heavyduty Shelf Containing 213 Reel-to-reel Tapes. All Of The Chosen Material On The Preservation Tapes Is Unreleased, Has Only Been Heard By A Handful Of People And Showcases A Relatively Unknown Period In Bruce's
Musical Career Where Bruce Was Recording For Sparrow Records (who Billed Themselves As "america's Best Christian Music Record Label'). Bruce's Signature Farad Vocoder Continues To Feature Prominently, But The Lyrical Content Is Decidedly More Religious.
The Bruce Haack Archive Is Now Resting In The Provincial Archives Of Alberta, In Edmonton,
Alberta, Canada.

“What It Means To Be King'' is the first posthumous album from late Chicago legend, King Von. Known as one of the great storytellers in modern hip-hop, Von’s untimely passing in November 2020 came on the verge of him reaching superstardom, with his album “Welcome To O'Block'' hitting number thirteen on the Billboard 200. Fans can finally expect to hear the finished product of the lead single, “Don’t Play That,” which Von himself teased on social media while still with us. Joining Von, the album features appearances from 21 Savage, G Herbo, Fivio Foreign, Moneybagg Yo, Lil Durk, Polo G, A Boogie Wit da Hoodie, Dreezy, OMB Peezy, Boss Top & DqFromDaO. Long Live King Von. Pressed on silver & black marble vinyl; widespine sleeve; 12-page booklet.

It is undeniable that Billie Holiday's singing changed in her later years. Her voice darkened and shifted to a lower range. Her economy of expression distilled her sound to its essence — a kind of heightened speech. The classic LP Songs for Distingué Lovers — her best work of the 1950’s — has also deepened and become burnished with time. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging

Bobby Harden & The Soulful Saints are proud to announce their debut album, "Bridge of Love." The album's ten original compositions are presented in sparklingly-clear stereo sound and run the soul gamut, from grits-n-bricks R&B ('Played a Fool by You') to throw-back psychedelia ('One Tribe'), svelte seventies pop ('One Night of the Week') and some seriously sophisticated ballads ('Wounded Hearts', 'Bridge of Love'). Together they document Bobby's life journey in song. Through youthful self-doubt in the opening track 'It's My Time', to confirmation on the exuberant finale 'Raise Your Mind', Bobby proves that faith and hard work can pay dividends. "Life is a joy when you free your soul."Throughout the album, Harden's voice is tailored to perfection by the almost impossibly dexterous Soulful Saints, and further dressed to the nines by an accoutrement of Latin percussion, full-on horns, high-flying backing singers and even a string quartet. This comes as no surprise as The Soulful Saints have performed live and recorded together with acts such as Sharon Jones & The Dap-Kings, Charles Bradley & His Extraordinaires, Lee Fields & The Expressions, The Budos Band, Mark Ronson, Antibalas, The Impressions, & The Wu-Tang Clan.The album is produced by Dala Records founder Billy Aukstik, and recorded at Hive Mind Recording in Brooklyn, New York. Kurtis Powers of BQE Records Co-Executive Produced the album along with Aukstik.

Bobby Harden & The Soulful Saints are proud to announce their debut album, "Bridge of Love." The album's ten original compositions are presented in sparklingly-clear stereo sound and run the soul gamut, from grits-n-bricks R&B ('Played a Fool by You') to throw-back psychedelia ('One Tribe'), svelte seventies pop ('One Night of the Week') and some seriously sophisticated ballads ('Wounded Hearts', 'Bridge of Love'). Together they document Bobby's life journey in song. Through youthful self-doubt in the opening track 'It's My Time', to confirmation on the exuberant finale 'Raise Your Mind', Bobby proves that faith and hard work can pay dividends. "Life is a joy when you free your soul."Throughout the album, Harden's voice is tailored to perfection by the almost impossibly dexterous Soulful Saints, and further dressed to the nines by an accoutrement of Latin percussion, full-on horns, high-flying backing singers and even a string quartet. This comes as no surprise as The Soulful Saints have performed live and recorded together with acts such as Sharon Jones & The Dap-Kings, Charles Bradley & His Extraordinaires, Lee Fields & The Expressions, The Budos Band, Mark Ronson, Antibalas, The Impressions, & The Wu-Tang Clan.The album is produced by Dala Records founder Billy Aukstik, and recorded at Hive Mind Recording in Brooklyn, New York. Kurtis Powers of BQE Records Co-Executive Produced the album along with Aukstik.

"Got Your Six" ist das sechste Studioalbum der amerikanischen Heavy-Metal-Band Five Finger Death Punch. Es wurde am 4. September 2015 veröffentlicht. "Got Your Six" verkaufte sich 119.000 Mal und landete auf Platz zwei der den Billboard 200. Re-Issue auf rotem Vinyl.

The Stoned Immaculate is the sixth studio album by American hip hop recording artist Curren$y. It was his major label debut, which was received well and remains his highest charting album to date. It debuted at #8 on the US Billboard 200 and #2 on the Rap/Hip Hop Album charts and features the singles "What It Look Like" and "Jet Life" with guests Big K.R.I.T. and Wiz Khalifa. The album features many more guest appearances, including Pharrell, Estelle, 2 Chainz, Marsha Ambrosius, Daz Dillinger, Corner Boy P, Young Roddy, and Smoke DZA amongst others.

Collins and Collins were the American brother and sister duo (Bill & Tonee) who released the self-titled album in 1980, which was their first and final release. The soul/two-step classic "Top Of The Stairs" was written by the Songwriters Hall Of Fame duo Nicolas Ashford & Valerie Simpson. The single was released as a promo and commercial 7" single and became a massive hit in the UK soul scene. The album also contains other great soul, disco and boogie tracks by the duo, such as the cover of Harold Melvin's "You Know How To Make Me Feel So Good", "Please Don't Break My Heart" and "Do You Wanna Dance". The 8 track-set was produced by American disco producer John Davis.

For the first time, this sought-after album is being reissued on vinyl.

BLUE/TURQUOISE VINYL.

Echocord welcomes the return of Mathimidori to the imprint with his ‘Anata’ EP, accompanied by a remix from New Yorker and Novel Sound boss Levon Vincent.

Mathimidori is the dub techno leaning guise of Germany’s Mathias Kaden, known for his works under his own name on imprints such as REKIDS, Ovum and Freude Am Tanzen, while Mathimidori material has found a home on the likes of Mule Musiq, Raum, Ornaments and of course Echocord where he returns here following 2020’s ‘Akebono’ LP.

Opening the release is ‘Anata’, a texturally dense six-and-a-half-minute composition fusing pulsating subs, billowing synth atmospherics, spiralling dub echoes and sporadic dubbed out spoken word running atop a crisp 4/4 rhythm. ‘Zanziba’ follows and dives deeper via ethereal pads, snaking low-end pulsations, choppy stab sequences and heavily echoing reggae chants.

Levon Vincent steps up to remix ‘Zanziba’ next, delivering a typically raw and dynamic rework, upping the energy levels as dub stabs dynamically unfold and retract amongst a thunderous low-end drive, intricate synth flutters and low-slung drums across its ten minute duration.

Black Duck captures a band already deeply in tune with one another. The three-piece super-group consists of Douglas McCombs, Charles Rumback, and Bill MacKay each has a distinct musical voice that is instantly recognizable, yet blends seamlessly with one another-their time performing together, playing to the moment and reading each other and the spaces they"re in formed a fluency between the trio which allows them to follow each other down winding paths and short tangents alike. McCombs is a founding member of Tortoise, Pullman, and Brokeback and the long-standing bassist for Eleventh Dream Day, an artist whose contribution to the music world can not be overstated. MacKay began releasing records in the early 2000s. He has released several acclaimed solo albums with Drag City as well as a duo album each with Nathan Bowles (Banjo, Black Twig Pickers), and Katinka Kleijn (Cello, Chicago Symphony Orchestra (CSO)), and two beloved records with Ryley Walker. Rumback burst onto the fertile Chicago improvised music scene in the early 2000"s. His fluid technique and expressive playing garnered him much attention. In addition to his solo releases, Rumback has recorded with Ryley Walker, jazz greats such as Jim Baker, James Singleton, and Greg Ward. Black Duck"s debut is a testament to that fluency, an expedition led by three veterans into alluring worlds bathed in myriad splendors. Black Duck is a gallery of sonic tapestries, unbound by any genre constraints. Black Duck redefines what two guitarists and a drummer can do, pieces move from breezy shuffles to stormy blues rumbles to gorgeous textural drones. Playing entirely improvised live sets for years helped develop the trio"s acute senses for one another, knowing precisely how to listen to the others and bolster whatever direction they move in. In the short time the trio have played together, they have performed at Big Ears Festival and alongside acts like Yo La Tengo.

The Great Divide ist das 50. Studioalbum des amerikanischen Country-Sängers Willie Nelson und wurde 2002 das erste Mal veröffentlicht. Es enthält mehrere Duette und musikalische Kollaborationen mit Künstlern wie Rob Thomas von Matchbox Twenty, Lee Ann Womack, Kid Rock, Sheryl Crow, Brian McKnight und Bonnie Raitt. Ausserdem erreichte es im Release Jahr Platz 43 der US-Billboard 200 Charts.

Ab dem 23.06.2023 als 1LP über die Universal Music Katalog erhältlich.

”Born Sinner” ist das zweite Studioalbum des amerikanischen Rappers J. Cole. Es wurde am 18. Juni 2013 unter den Labels Roc Nation und Columbia Records veröffentlicht und erreichte doppelten Platinstatus sowie Platz 2 der US-Billboard 200. Zum 10- jährigen Jubiläum ab dem 16.06.2023 als 2LP verfügbar.

Twenty-five years later, Little Plastic Castle feels like a greatest hits collection. Her highest charting release on Billboard (peaking at #22) and containing her third Grammy nomination for Best Rock Performance - Female (“Glass House”), Ani DiFranco’s ninth studio album shows the Little Folksinger grappling with her independent career bubbling up into the mainstream — dissection of her fashion choices, a new expanded listenership encroaching on the die-hards, examination of what it means to sell out — encapsulated in singalongs so indelible that they’re staples of her live set decades later. This 25th Anniversary Edition sees a new remaster by Heba Kadry, the addition of three bonus tracks mixed by Tchad Blake, and a new CD package and first-time release on vinyl (2 LP). To make Little Plastic Castle, Ani returned to one of her favorite places to record in that era—the live-in studio the Congress House in Austin, Texas. In this relaxed setting she commented, "This album seemed to happen more organically than earlier studio releases." Ani is joined by drummer Andy Stochansky and bassist Jason Mercer who played with her on her 1997 tours, as well as bassist Sara Lee who toured with Ani in 1996. LPC also prominently features outside musicians including drummer Jerry Marotta (Peter Gabriel, Indigo Girls), a horn section composed of three Austin session musicians who add flavor to "Little Plastic Castle" and "Deep Dish," and trumpeter Jon Hassell (Brian Eno, Talking Heads) providing the sustained subtle solo on the 14-minute final track "Pulse." The three bonus tracks are recordings of Ani playing with the rhythm section of Sara Lee and Jerry Marotta, a trio that never reassembled after their single day of tracking. Though Ani described it as “the most light-hearted album I’ve made in a long time,” this record covers a wide range of topics — the impermanence of existence ("Fuel"), mutual respect ("Pixie"), forgiveness ("As Is"), drugs (“Two Little Girls”) — and emotions.

Twenty-five years later, Little Plastic Castle feels like a greatest hits collection. Her highest charting release on Billboard (peaking at #22) and containing her third Grammy nomination for Best Rock Performance - Female (“Glass House”), Ani DiFranco’s ninth studio album shows the Little Folksinger grappling with her independent career bubbling up into the mainstream — dissection of her fashion choices, a new expanded listenership encroaching on the die-hards, examination of what it means to sell out — encapsulated in singalongs so indelible that they’re staples of her live set decades later. This 25th Anniversary Edition sees a new remaster by Heba Kadry, the addition of three bonus tracks mixed by Tchad Blake, and a new CD package and first-time release on vinyl (2 LP). To make Little Plastic Castle, Ani returned to one of her favorite places to record in that era—the live-in studio the Congress House in Austin, Texas. In this relaxed setting she commented, "This album seemed to happen more organically than earlier studio releases." Ani is joined by drummer Andy Stochansky and bassist Jason Mercer who played with her on her 1997 tours, as well as bassist Sara Lee who toured with Ani in 1996. LPC also prominently features outside musicians including drummer Jerry Marotta (Peter Gabriel, Indigo Girls), a horn section composed of three Austin session musicians who add flavor to "Little Plastic Castle" and "Deep Dish," and trumpeter Jon Hassell (Brian Eno, Talking Heads) providing the sustained subtle solo on the 14-minute final track "Pulse." The three bonus tracks are recordings of Ani playing with the rhythm section of Sara Lee and Jerry Marotta, a trio that never reassembled after their single day of tracking. Though Ani described it as “the most light-hearted album I’ve made in a long time,” this record covers a wide range of topics — the impermanence of existence ("Fuel"), mutual respect ("Pixie"), forgiveness ("As Is"), drugs (“Two Little Girls”) — and emotions.

Grammy-nominated, global superstar Kelly Clarkson is back with her tenth studio album chemistry, set to arrive June 23rd, 2023. The Texas-born singer-songwriter first came to fame in 2002 as the winter of the inaugural season of “American Idol.”

Her debut single “A Moment Like This” followed and quickly went to #1 on Billboard’s Hot 100, ultimately ranking as the year’s best selling single in the U.S.

Further, Clarkson is one of pop’s top singles artists, with 17 singles boasting multi-platinum, platinum and gold certifications around the world, including such global favorites as “Miss Independent” and “Because of You.”

Her multi-Emmy Award-winning daytime talk show “The Kelly Clarkson” show is currently filming its 4thseason and has already been picked up for its 5th and 6th seasons.

Additionally, she was the winning coach on seasons 14, 15, 17 and 21 of “The Voice” and is currently a coach for Season 23.
Kelly is one of the most popular artists of this era with a total worldwide sales of more than 25 million albums and 40 million singles.

Grammy-nominated, global superstar Kelly Clarkson is back with her tenth studio album chemistry, set to arrive June 23rd, 2023. The Texas-born singer-songwriter first came to fame in 2002 as the winter of the inaugural season of “American Idol.”

Her debut single “A Moment Like This” followed and quickly went to #1 on Billboard’s Hot 100, ultimately ranking as the year’s best selling single in the U.S.

Further, Clarkson is one of pop’s top singles artists, with 17 singles boasting multi-platinum, platinum and gold certifications around the world, including such global favorites as “Miss Independent” and “Because of You.”

Her multi-Emmy Award-winning daytime talk show “The Kelly Clarkson” show is currently filming its 4thseason and has already been picked up for its 5th and 6th seasons.

Additionally, she was the winning coach on seasons 14, 15, 17 and 21 of “The Voice” and is currently a coach for Season 23.
Kelly is one of the most popular artists of this era with a total worldwide sales of more than 25 million albums and 40 million singles.

Intuitive analog Electronix by the talented Alberta Balsam, one of Rotterdams upcoming talents.