Pop & Rock Novedades

Given that Banco del Mutuo Soccorso's debut album dates back to 1972 and that "Come in un'ultima cena", the band's sixth LP, was released in 1976, we can only draw a simple conclusion: very few, or perhaps no one else, were able to produce extremely high quality works of art in such a short time.

Even at the peak of their creativity, in '76 Banco has already exceeded any expectation with an English-language album ("Banco", 1975) and a soundtrack ("Garofano Rosso", 1976) and, with unprecedented inspiration, produces a yet newest testimony of uniqueness.

"Come in un'ultima cena" has been superficially branded by many as a more commercial and less progressive rock record than the previous ones, given the absence of particularly long tracks and, on the other hand, the presence of more catchy melodies. If listened carefully, we can just highlight how Banco was, at that time, still delivering a unique sound and complex musical structures, as they always used to mix rock and classical music in an inimitable way. Francesco Di Giacomo's unique voice, more than simple lyrics, sings of poetry, which in this case reveal a certain melancholic mood, as indicating that a musical and historical period was about to end definitively.

Another Banco del Mutuo Soccorso's jewel, "Come in un'ultima cena" is reissued on VM label on colored vinyl, as usual in a faithful reproduction of the original 1976 edition.

The accurate work of LP reissues from the Goblin's catalogue made by AMS Records was still missing a piece in particular, an isolated episode in the

Roman band's career, which many still ignore the existence of. "Volo" is in fact a very uncommon release, produced in a year (1982) where the musical

landscape in which Goblin were born had already deeply changed, For the band the period between the '70s and' 80s was an hectic one, passed

through various changes of style and line-up. Like a few others in their discography, "Volo" is not a soundtrack, although its title-track had been used as "Discoring" TV program opening theme. The band was lead by bassist Fabio Pignatelli and keyboardist Maurizio Guarini, together with Marco Rinalduzzi (guitar), Derek Wilson (drummer) and Mauro Lusini (vocals). This record is essentially a pop music album, wisely arranged and produced, featuring among others Antonio Marangolo on saxophone and Walter Martino on drums, who's mostly known to Goblin fans

for having played on "Profondo Rosso" and "Perchè si uccidono" by Reale Impero Britannico.

This AMS release, faithful to the original one, is the first ever LP reissue in exactly 35 years!

Friendship Fever is working closely with Jason Lytle of Grandaddy to give this seminal album the deluxe treatment it deserves. It will include the beautifully re-mastered original album intact, as well as an extra LP featuring unreleased demos from 1997 that include sketches of songs that became legendary Grandaddy tracks, like Bjork ELO Xanadu and the Birth of Chartsengrafs' and the fan-favorite For The Dishwasher.' Grandaddy was meticulous about documenting their early years and has also provided folders of raw original artwork elements for Under the Western Freeway, candid photographs, original flyer artwork, tour logs, doodles, and much more. New liner notes will be written by Gruff Rhys of Super Furry Animals. Our hope is that this release serves as an unparalleled time-capsule of this seminal Central-Valley California masterpiece. Ahead of its time, sitting peacefully alone in the universe.

Joan Baez is one of the most prominent figures of the 60s folk scene and a legendary musician, and activist. Growing up Mexican-American and in the Quaker faith in the 1950s created in Baez a strong belief in pacifism and a deep dedication to racial justice. After high school Baez moved to Boston and immediately fell in with burgeoning folk scene there, meeting the influential Odetta, and performing with Bob Gibson. It was her performance with Gibson at the 1959 Newport Folk Festival that led to her signing and this debut album, a truly fantastic piece of 1960s folk and the intro to one of the most important voices of the 20th century American left.

In 1980, while musical genres like punk and new wave were enjoying an incredible popularity and progressive rock seemed to be just an old faded memory, Le Orme, completely disinterested in following the trends of the moment, continued in the wake of popular/folk/baroque music with classical influences that started the previous year with the beautiful "Florian". The line-up remained the same, with the historical trio of Aldo Tagliapietra
(cello, guitar, voice), Antonio Pagliuca (piano) and Giuseppe Dei Rossi (vibraphone, marimba, glockenspiel, percussion) accompanied by the increasingly fundamental presence of Germano Serafin (violin, guitar, bouzouki, charango): in fact, all the LP songs also carry his signature, in addition to those of Pagliuca and Tagliapietra. Serafin would shortly leave the group who, probably not just by coincidence, will then contaminate their sound with the synthetic artifacts typical of the 80's. But that's another story: "Piccola rapsodia dell'ape" remains a genuine album, another step in an unrepeatable and unparalleled artistic evolution.

VM label reissue on coloured vinyl, faithful to the original 1980 edition, with gatefold cover and inner envelope with song lyrics.

Formed in London in 1977 by Mark Perry and Alex Fergusson, then editors of the punk fanzine Sniffin' Glue, Alternative TV was a post-punk group known for incorporating reggae rhythms and pushing the boundaries of the definition of punk towards the experimental and avant-garde. Their first album, The Image Has Cracked, came out originally in 1978 and is a wholly unique piece of British post-punk. Beloved by John Peel, and close confidantes of Throbbing Gristle, Alternative TV is one of the most original and beguiling groups of the era.

Raw, violent and catchy, Blitz's 1982 debut album sounded like a shot of pure rock and roll through the violence of the English working class. Made up by two punks and two skinheads, with a lot to say about violence and football, Blitz appealed to all kinds of lowlifes, who finally had a voice for their generation. This new version of the long out of print classic includes three bonus tracks (2 from the Carry On Oi! comp and one from the Total Noise comp).

Hailing from Antwerp, Belgium, the Kids formed in 1976 to prove to the world that punk was more than just a London vs New York fashion contest. Originally released on the PHILIPS label in 1978, and highly acclaimed as one of the best punk records EVER, the Kids' debut album is now available on cassette, with two bonus tracks recorded in 1977.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- INCLUDES 4 PAGE BOOKLET
- 10TH ANNIVERSARY
- INCLUDING THE HITS GIRLFRIEND' AND WHEN YOU'RE GONE'
- FIRST TIME ON VINYL!
- LIMITED EDITION OF 2500 NUMBERED COPIES ON PINK VINYL WORLDWIDE

The Best Damn Thing is the third studio album by Avril Lavigne, originally released in 2007. The album represents a musical departure from her earlier studio album Under My Skin (MOVLP1772) which incorporates more elements of post-grunge music.

The Best Damn Thing is seen by critics as Lavigne's most commercial album and was noted as her first effort to feature a wide range of producers for the studio album, including Matt Beckley, Rob Cavallo, Dr. Luke and Lavigne herself. The album received positive reviews from music critics, many praising her transition from grungy alternative rock music to more pop-punk music, with it being catchy and very radio-friendly.

The album debuted at number one in charts from the US, Austria, Canada, United Kingdom and many other countries. The album became one of the best-selling albums of 2007.

Four singles were released from the album. Its lead single Girlfriend' peaked at number one on the in the Billboard Hot 100. The single also reached number one in twelve other countries across the world including Australia, Canada and Japan, making it one of the best-selling singles of 2007 worldwide. Other singles, When You're Gone', Hot' and The Best Damn Thing' were successful around the globe.

2017 marks the 10th Anniversary of The Best Damn Thing. The album is now available on vinyl for the first time. This first, limited edition run is pressed on 180 gram solid pink vinyl.

Only 2,500 copies are available.

2017 is the year that the Rasmus have set themselves for a big international comeback.

The single »Paradise«, out March 31st 2017, showed that the band are not resting on their laurels or former accomplishments. »Paradise« sounds fresh and modern, but still strikes that chord of familiar Nordic melancholia that resonates with the group's hundreds of thousands of fans.

The new album »Dark matters« is set for release on October 6, 2017. »Dark Matters« was recorded and mixed in Stockholm, produced by the very successful Swedish team the family.

»The thinking behind our new songs was to create the kind of music we would like to listen to. We haven't abandoned our signature northern melancholy but you can hear a wide range of influences in our new compositions. The new album is like a rollercoaster with many different emotions and personal feelings. Our music is at times dark, speculative, melodic and sometimes even sad« singer Lauri Ylönen explains.

Despite all the new innovations, the rasmus don't deviate so much from the familiar sound so welcomed and loved by their fans. The Rasmus new album also means one thing that will cheer up their fans: a long world tour. »We are planning tours for 2017 and 2018 in most parts of the world, starting in November with Europe.« Ylönen tells us. The rasmus have released 8 studio albums between 1996 through to 2012 in more than 50 territories worldwide.

The single »Paradise«, out March 31st 2017, showed that the band are not resting on their laurels or former accomplishments. »Paradise« sounds fresh and modern, but still strikes that chord of familiar Nordic melancholia that resonates with the group's hundreds of thousands of fans.

The new album »Dark matters« is set for release on October 6, 2017. »Dark Matters« was recorded and mixed in Stockholm, produced by the very successful Swedish team the family.

»The thinking behind our new songs was to create the kind of music we would like to listen to. We haven't abandoned our signature northern melancholy but you can hear a wide range of influences in our new compositions. The new album is like a rollercoaster with many different emotions and personal feelings. Our music is at times dark, speculative, melodic and sometimes even sad« singer Lauri Ylönen explains.

Despite all the new innovations, the rasmus don't deviate so much from the familiar sound so welcomed and loved by their fans. The Rasmus new album also means one thing that will cheer up their fans: a long world tour. »We are planning tours for 2017 and 2018 in most parts of the world, starting in November with Europe.« Ylönen tells us. The rasmus have released 8 studio albums between 1996 through to 2012 in more than 50 territories worldwide.

The influences of Cavernlight are numerous and run deeply into different genres, but ultimately all of them have one thing in common... pain and suffering prevail. Whether they be doom, black metal, noise, dark post-rock or even inspiration from beloved singer-songwriters that have since been put to rest and whose sadness lives on eternally, each source of inspiration deals with a fundamental hurt. On this debut full length Cavernlight have finally found a comfortable, mature balance between their influences, inspiration, and intended narrative. Using these elements they have crafted an album of miserable doom laced with harsh tones and heart-piercing melodies.

The blackness of Cavernlight's debut is a passionate, soul-rending, difficult listen." - Invisible Oranges

"Pessimists, nihilists, misanthropes and deadborns: the history of Celeste is just as it sounds: negative, gloomy and destructive. A sevenfold, life-denying deluxe noise-theatre." This is Metal Hammer's conclusion on CELESTE's last album "ANIMALE(S)". Four years later, after more than ten years of existence and more than 300 shows all around the globe, CELESTE releases the highly anticipated follow-up, their sixth album "INFIDÈLE(S)".

CELESTE, along with Blut Aus Nord and Deathspell Omega, may be considered as one of the most important bands of the worldwide famous French avant-garde black metal scene. However CELESTE's influences are so wide that this label does not do them justice. The spectrum of their sound is hard to define but at the same time easy to recognise by its uniqueness. As Metal.de puts it: "CELESTE are gargantuan and obscure, mysteriously black. No ray of light can penetrate the darkness surrounding them. Yet, if you need a picture you should imagine 'ANIMALE(S)' as a faceless, gloomy monstrosity which uses its countless arms to pick elements from various musical pidgeon-holes without giving a shit whether it is black or doom metal, post-hardcore or sludge. The only thing which matters is that CELESTE successfully managed to follow their agenda with many more facets than on their first albums."

Not yet satisfied with the level of detail on "ANIMALE(S)", CELESTE have doubled their efforts in writing and producing "INFIDÈLE(S)". Thus their new album is by far their most diversified to date, showcasing ever richer melodies. While "ANIMALE(S)" was rather a cohesive concept album, on "INFIDÈLE(S)" each song is different and stands on its own. CELESTE have gone a long way from their relentless first albums where you could barely notice when a song finished and the next one started. Here we are facing 10 different absolute entities, each with its own character and emotion.

As usual vocalist Johan worked closely with a photographer in order to create an artwork which matches the artistic vision of the band. The worldwide renowned artist Marta Bevacqua accepted the challenge and the massive production with ten female models was certainly worth the effort. The resulting artwork of "INFIDÈLE(S)" is simply iconic.

CELESTE still are, and will always be the masters of black. Like no others they understand its various shades, its warmth and its coldness, its exclusiveness and immersiveness, its monstrosity and its beauty.

"Hopefully, their status as one of the most under-recognized hardcore/metal hybrids will soon come to an end." Pitchfork

Deep Purple stands alongside Led Zeppelin and Black Sabbath as part of the Holy Trinity of British hard rock. The list of the band's classic songs is legion, and the influence it's had on successive generations of musicians is both enduring and remarkable. Parlophone will celebrate Deep Purple's history with three definitive collections.

Marilyn Manson and the Spooky Kids, live on Tampa Bay's WYNF 'Radio Clash' program on April 26th 1992. Before signing a national record deal, Marilyn Manson cultivated a strong regional following in Florida. This LP features material from a broadcast on Tampa's WYNF on April 26, 1992, more than two years before the release of their first album. Included are earlier versions of songs from 1994's Portrait of an American Family, as well as a few that wouldn't make it onto that or their subsequent records.

The Runaways, live at the New York Palladium, on 7th January 1978.

A few months after the release of their third album, the Runaways started a tour with the Ramones. Their first performance being at the Palladium, New York on January 7, 1978, broadcast on the King Biscuit Flower Hour. Featuring future solo stars Joan Jett and Lita Ford, the band burn through songs from each of their first three albums, as well as a few that had, at this point, only been heard on their Live In Japan LP.

With The Object Isn't There UK guitar player and producer Jack Allett has made a deeply personal masterpiece based around cyclical guitar parts and electronic percussion. Playing like a half remembered fever dream with an aesthetic that is ragged, hypnotic and spacey, its two side-long pieces touch on minimalism, kraut-infused dub and euphoric dance floor optimism. As comfortable being played after Manuel Göttschings E2-E4 as right before a Terekke lo-fi house anthem, it is laced with the melancholy of an early morning post-rave comedown. Yet for all the references and name-checking, it's a record that is hard to compare to anything else, past or present.



BIOGRAPHY



Jack Allett works as a producer in London and has been active for many years as an experimental guitar player, releasing a solo record on Blackest Rainbow and collaborating with UK avant-guitar player Cam Deas. The Object Isn't There was written, recorded, and mixed in Camberwell and Camden, London, UK. 2012-2016.



INFO



This record is about - insofar as instrumental music need be about anything - hallucinations. The title The Object Isn't There serves as a concise definition, derived from the quote 'An hallucination is a strictly sensational form of consciousness, as good and true a sensation as if there were a real object there. The object happens to be not there, that is all.' (William James, The Principles Of Psychology, 1890)



Having experienced constant tinnitus - a form of auditory hallucination - for the last 13 years, Jack has long questioned the distinction of something experienced as being either there or not-there. Even if, strictly speaking, an hallucination is something that's not there, if the reality of how it affects day-to-day existence is undeniable then to any extent that matters, it is there. But The Object Isn't There is no tale of woe, nor simply a response to this one condition, and tinnitus need not be considered only as distressing or distracting. Allett sees it merely as one example of many things in life that cross this uncertain terrain:



There are obvious parallels here with the notion of active listening. There is room for emotion too, particularly the kind of overwhelming, -all-consuming emotion that, once it fades, is hard to believe was actually how you felt. Essentially the music here is concerned with being overwhelmed by a sensation, never really being sure to what extent you are conjuring it up yourself, to what extent it exists independently of you, but ultimately deciding that it doesn't much matter; the sensation itself was undeniable.

— Jack Allett

A swirling haze with a plenitude of sounds bobbing to it's surface it's a heartfelt

ltd to 300 copies.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- INCLUDING 4 PAGE BOOKLET WITH LYRICS
- INCLUDES GALAXIE', SKINNED' AND NEW LIFE'
- RANKED NUMBER 357 IN ROCK HARD MAGAZINE'S BOOK OF 'THE 500 GREATEST ROCK & METAL ALBUMS OF ALL TIME'
- LIMITED EDITION OF 1500 NUMBERED COPIES ON YELLOW VINYL

Soup is the second studio album by American rock band Blind Melon, released eight weeks before vocalist Shannon Hoon's fatal drug overdose.

The album proved to be a challenging, gripping record that is just as strong and perhaps even more rewarding than their debut album.

2 X 4' is about Hoon's experience at a drug detox, Galaxie' is about Hoon's experience with his car, a 1964 Ford Galaxie and Skinned' is about serial killer Ed Gein.

The producer of the album, Andy Wallace, is seen on the cover, sipping soup.

In 2005, Soup was ranked number 357 in Rock Hard magazine's book of 'The 500 Greatest Rock & Metal Albums of All Time'.

This album is now available as a limited edition of 1500 numbered copies on yellow vinyl. The records are housed in a deluxe gatefold jacket with the original 4 page Menu' booklet.

Hey, BÖC fans—what say you to a 2-LP set of 17 demos, live tracks, album outtakes, and non-LP single sides that have never appeared on vinyl! Rarities Vol. 1 follows the long, rollicking road of Long Island's own Blue Öyster Cult all the way from their late-'60s incarnation as Soft White Underbelly up through
the Agents of Fortune album sessions. Along the way you'll
encounter all the elements that made BÖC the one band beloved by intellectuals, metal heads, punks, and jam bands alike: the vaulting literary ambitions, the gleeful love of pop culture, and the maximum, multi-guitar, rock 'n' roll riffage. The set starts with the psychedelically-infused Soft White Underbelly demo sessions they cut for Columbia, grabs some great live tracks from the band's personal archive (including Eric Bloom's hilarious retelling of the old I sold my soul for rock and roll' tale on the 14-minute
take of 7 Screaming Diz-Busters'), circles back to some rare singles (like their take on Born to Be Wild'), and selects some choice outtakes from such classic albums as Secret Treaties and Tyranny and Mutation.
The double-album set comes inside a gatefold cover featuring photos from the Sony Music Archive and notes by Scott Schinder featuring exclusive quotes from BÖC founding members Buck Dharma and Eric Bloom. Limited Edition of 1000 in Pearl White
Vinyl, exclusive to Record Store Day/Black Friday!

Deniz Tek is best known as a founding member of the influential Australian 70's independent rock band Radio Birdman. Originally from Ann Arbor, Michigan, the guitarist / singer / songwriter has long been based in Australia, maintaining an active and prolific solo career as well as spearheading Radio Birdman's ongoing revival. He has also toured and recorded with many of the iconic figures of Detroit rock's greats: MC5, The Stooges, The Rationals and Sonics Rendezvous Band. Mean Old Twister is the follow-up to 2013's acclaimed "Detroit", and will features the same band - bassist Bob Brown and sometime ATOMIC ROOSTER and SPINAL TAP drummer, Ric Parnell.

Jerry Garcia created an unparalleled legacy across the American landscape, most notably in his role as a founding member, singer, songwriter and lead guitarist of the Grateful Dead. Jerry's unmistakable guitar tone enchanted multitudes of "Deadheads" throughout the band's 30-year career and beyond. The prolific nature of Garcia is evident in the breadth of albums he released throughout his iconic musical career which in addition to the Dead included work with the Jerry Garcia Band, New Riders of the Purple Sage, Old and in the Way, Legion of Mary, Garcia/Grisman, projects with Merl Saunders and as a solo artist. Considering Jerry was the most recorded musician of all time, there's always some overlooked gem just waiting to be discovered.

The majority of the songs for Jerry Garcia's debut solo album Garcia (1972) were first recorded by Jerry and Bill Kreutzmann (drums) as simple acoustic guitar and drum tracks with Jerry then overdubbing all other parts. This was the first studio album to be released by the Grateful Dead family for over a year, the last being the Dead's American Beauty. As a result it benefited from some stellar new Garcia / Hunter compositions, six of which became regulars in the Grateful Dead repertoire: "Deal," "Bird Song," "Sugaree," "Loser," "To Lay Me Down" and "The Wheel." It reached No. 35 on Billboard's album charts - the peak of Garcia's solo career.

Jerry touched on the album in an interview with Rolling Stone: "I'm doing it to be completely self-indulgent musically. I'm just going on a trip. I have curiosity to see what I can do, and I've a desire to get into sixteen track and go on trips that are too weird for me to want to put anybody else I know through. And also I want to pay for this house."

Jerry Garcia created an unparalleled legacy across the American landscape, most notably in his role as a founding member, singer, songwriter and lead guitarist of the Grateful Dead. Jerry's unmistakable guitar tone enchanted multitudes of "Deadheads" throughout the band's 30-year career and beyond. The prolific nature of Garcia is evident in the breadth of albums he released throughout his iconic musical career which in addition to the Dead included work with the Jerry Garcia Band, New Riders of the Purple Sage, Old and in the Way, Legion of Mary, Garcia/Grisman, projects with Merl Saunders and as a solo artist. Considering Jerry was the most recorded musician of all time, there's always some overlooked gem just waiting to be discovered.

Originally released in 1974, Jerry's second solo effort was once again simply titled Garcia but to distinguish it from his eponymous 1972 debut, the album took its revised name from a "Compliments Of" sticker which appeared on promotional copies of the album. It was produced by long-time collaborator John Kahn, who selected the compositions with the exception of "Russian Lullaby," and it peaked at #49 on the Billboard charts. In addition to a track list that features classics from artists like Chuck Berry, Smokey Robinson, and Peter Rowan, Garcia (Compliments) also boasts an all-star cast of the '70s most in-demand session players including drummer Ron Tutt (Elvis), guitarist Larry Carlton (Steely Dan, Joni Mitchell, Fourplay), organist Merl Saunders, and legendary backing vocalists Merry Clayton and Clydie King.

"Most of those songs I didn't know...so I went in there like a studio vocalist, with the lyrics - most of them I'd only heard one or two times," Jerry explained. "That was one of the few times when I didn't really go on a trip about the material. I let John do the material selecting, except for a few suggestions like Russian Lullaby, which was one of mine."

Jerry Garcia created an unparalleled legacy across the American landscape, most notably in his role as a founding member, singer, songwriter and lead guitarist of the Grateful Dead. Jerry's unmistakable guitar tone enchanted multitudes of "Deadheads" throughout the band's 30-year career and beyond. The prolific nature of Garcia is evident in the breadth of albums he released throughout his iconic musical career which in addition to the Dead included work with the Jerry Garcia Band, New Riders of the Purple Sage, Old and in the Way, Legion of Mary, Garcia/Grisman, projects with Merl Saunders and as a solo artist. Considering Jerry was the most recorded musician of all time, there's always some overlooked gem just waiting to be discovered.

Originally released in early 1976, Garcia's third solo outing Reflections features a diverse mix of roots-oriented styles with contributions from his two primary vehicles of musical expression - the Grateful Dead and the Jerry Garcia Band. In some ways, Reflections picks up where Garcia and the Dead left off on Blues For Allah. Speaking about the sessions, Garcia explained "we were having fun in the studio is what it boils down to, and that's pretty rare for us. The energy was there, and I thought, 'I've got a solo album coming up. Let's cut these tracks with the Grateful Dead. I've already taught them the tunes.'"

Assembled in Bob Weir's home studio, Ace's, Garcia and the Dead laid down well-worn but never previously recorded songs including "They Love Each Other," "It Must Have Been The Roses" and "Comes A Time" plus a new song, Robert Hunter's "Might As Well" - a document of the Dead's 1970 trip across Canada aboard the legendary Festival Express. The balance of the record showcases the late-1975 Jerry Garcia Band core featuring John Kahn, Ron Tutt and Nicky Hopkins, plus Larry Knechtel of the famed Wrecking Crew. Like the material recorded by the Dead, the Jerry Garcia Band's selections were also road-tested prior to recording. The cuts included the seminal Garcia/Hunter ballad "Mission in the Rain" plus renditions of Hank Ballard's rocker "Tore Up Over You," "Catfish John" and Allen Toussaint's "I'll Take A Melody."

As Steve Silberman noted in the 2004 All Good Things box set, while Reflections was effectively two half-albums in one, "it's one of Garcia's most artistically unified statements of harmony, affirmation and joy."

Jerry Garcia created an unparalleled legacy across the American landscape, most notably in his role as a founding member, singer, songwriter and lead guitarist of the Grateful Dead. Jerry's unmistakable guitar tone enchanted multitudes of "Deadheads" throughout the band's 30-year career and beyond. The prolific nature of Garcia is evident in the breadth of albums he released throughout his iconic musical career which in addition to the Dead included work with the Jerry Garcia Band, New Riders of the Purple Sage, Old and in the Way, Legion of Mary, Garcia/Grisman, projects with Merl Saunders and as a solo artist. Considering Jerry was the most recorded musician of all time, there's always some overlooked gem just waiting to be discovered.

Originally released in 1978, Cats Under The Stars (adorned with Anton Kelley's Egyptian-influenced cover art) is the first album to officially acknowledge the Jerry Garcia Band by name and also served as Garcia's first on the Arista label. One of his finest overall albums outside of the Dead, the beloved 9-track collection features all original material including a pair of songs by longtime collaborator John Kahn as well as a spate of Garcia-Hunter gems (the title track and "Gomorrah" became Dead staples). Keith and Donna Godchaux, Merl Saunders and Maria Muldaur also appear here. Although not necessarily a financial success Cats Under The Stars remained one of Jerry's favorite recordings, "The record I worked hardest at and liked best was Cats Under The Stars. That was kind of like my baby...(Cats Under The Stars) had everything - chops, production, songs."