Pop & Rock News

The October 1971 release of American Pie catapulted Don McLean to stardom, and the ensuing three years saw him touring internationally and recording further albums whilst coming to terms with his huge success. This superb live set was taped for broadcast on WNYU-FM in New York's legendary Bottom Line club in April 1974, and contains several of his best-known songs. It's presented here complete with background notes and images.

[B] A2. We Are Family (Medley Inc.[] br>You Can Do It[] br>On Your Knees)

Monoswezi weave traditional African songs and instruments with cool Scandinavian jazz. Zimbabwean mbira and vocals are enriched with Mozambican percussion and embellished with Nordic sax and sympathetic rhythm section

Back in 1971, Luke Gibson entered at the studio to record, for the first time a solo album. He had played before on garage blues group Luke and the Apostles and psych pop Kensington Market. He focused on his own songs and recorded them as he felt. The result was Another Perfect Day, one of the best singer songwriter albums to came out from Canada in the 70's and one of the most underated too.

The sessions were produced by Gene Martynec (Kensington Market) and captured all the emotions of a fabulous musician on the peak of his career. Including beautiful tunes like See You Again, Lobo and Angel, Another perfect Day is a lost gemm. A great album that walks through folk, country, pop and rock to create a rootsy, unique flavour.

· Reissued for the first time on vinyl!

· Includes an insert with unseen pictures and words by Luke Gibson himself

Dwight Yoakam: Kentucky born, Ohio raised; Tennessee jilted, California praised. That's the way the story goes, at least. In 1977 when Dwight moved to Nashville to pursue his honky-tonk dreams, Nashville was moving away from the traditional and Countrypolitan sound it had spent the better part of a century developing, and more towards the pop-country that still inhabits its airwaves. Dwight found that his musical aspirations were better suited on the leading edge of the post-Bakersfield, Los Angeles 'Cowpunk' scene where his music was better received by the West coast punks and drunks than the then-current Music City establishment. The Nashville industry eventually embraced the LA-based outsider in the late 80's and Dwight Yoakam turned out to be one of the best damn artists country music has ever known. Today, the massive influence of Yoakam's unique style of country music on Nashville is clearly demonstrated by the sheer number of times "Guitars, Cadillacs" is picked on lower Broadway each day. It never gets old. It's practically the city anthem.

Third Man Records, as you know, is thrilled to call Nashville home to its label headquarters, and calling Nashville home means putting out some real country music records. We did it earlier this year from one Margo Price, and we're doing it again now, just in time for the CMA Music Festival next week. Dwight Yoakam recently took to the studio with our fearless leader Jack White III to record two of the swingin'est tunes we've ever had covered in our Blue Series: "Tomorrow's Gonna Be Another Day" (Boyce/Venet, popularized by The Monkees) b/w "High On The Mountain of Love" (Dorman, popularized by Kenny Lynch, then Johnny Rivers, then the Beach Boys, and recorded by many others along the way). Produced by White and backed by the Third Man band of all-stars — Lillie Mae Rische, Daru Jones, Cory Younts, Dominic Davis, Fats Kaplin — these two renditions, into which Dwight's delivery breathes new life, proves that with the right artist behind the microphone, any song'll make an even better country song. Now, have you ever heard anything more Nashville than that

Hier kommt zusammen, was zusammengehört: Das zweite Album des Herrn Polaris ist zugleich das erste,
das der Augsburger Liedermacher auf seinem erklärten Lieblingslabel veröffentlicht. Schon als
Musikkonsument schätzte Bruno Tenschert Grand Hotel van Cleef und seine Künstler enorm, wie er gerne
betont: "Spätestens seit Tomtes 'Hinter all diesen Fenstern' bin ich Fanboy." Doch nicht nur das.
Insbesondere die Lizenzierung des Debütalbums von Death Cab For Cutie habe ihm damals komplett neue
Horizonte eröffnet. Hört man sich Tenscherts Idee von zugänglicher, dabei aber gerne versponnener, mal
ätherisch schwebender und dann wieder lustvoll polternder, jedoch stets eigenwillig zu Ende gedachter Musik
mit deutschen Texten an, ist es kein Zufall, dass er gerade diese beiden Bands zur Sprache bringt. Mit "Mehr
innen als außen" bietet Herr Polaris eine aus Gitarre, alten Keyboards, dezentem Schlagwerk, Vibraphon und
Flügelhorn gezimmerte Platte voller melancholisch-sehnsüchtiger Kleinode, die man in ihrer klar
akzentuierten Schlichtheit und textlichen Genauigkeit sofort aufzunehmen meint. Doch nach und nach
entdeckt man in den wenigen Einzelzutaten so viele Nuancen, dass man besser gar nicht erst von einer
weiteren Indie- oder Neo-Folk-Entdeckung zu sprechen beginnt. Obwohl es sich genau um eine solche
handelt!

American guitarist and songwriter Derek Trucks had already played with such artists as Bob Dylan, Joe Walsh and Stephen Stills by his twentieth birthday. After performing with The Allman Brothers Band for several years as a guest musician, Trucks became a formal member of the band in 1999 and appeared on 4 of their albums.

Trucks officially formed The Derek Trucks Band in 1996. The album
Joyful Noise features guests including his wife Susan Tedeschi (with who he formed The Tedeschi Trucks Band in 2010), Rahat Nusrat Fateh Ali Khan and soul artist Solomon Burke. Derek is best known for his slide guitar style and plays an eclectic blend of blues, soul, jazz, rock and
world music. The Derek Trucks Band won an Grammy Award for 'Best
Contemporary Blues Album' for Already Free [MOVLP1395] in 2010.

After a limited self-financed release this self-titled album can be seen as the proper debut by Indigo Girls. The album immediately boosted them up the charts, earning them a Grammy back in 1989, eventually reaching platinum in
1991. Featuring the complementing songwriting of Emily Saliers and Amy Ray and guest vocals by R.E.M.'s Michael Stipe, the album is a showcase for jangling folk-rock, beautiful balladry and poetic lyrics.

In the wake of the new acoustic song-based styles of Suzanne Vega, Tracy Chapman and 10,000 Maniacs, Indigo Girls would manage to garner respectable mainstream success and maintain their rabid core following throughout the three decades after this release.

A magical collection of Kentucky's own Roscoe Holcomb, one of the most legendary figures of Appalachian music and a huge influence on the 60s folk scene. Playing banjo, guitar, and singing in that beautiful high lonesome sound, this compilation spans his recordings from the late 50s and early 60s, mostly done in the "field" with a single microphone. A coal miner for most of his life, Roscoe knew the world he sang of all too well, his authenticity is unassailable. Though he found some success in the 60s thanks to the Greenwich Village scene, Holcomb stayed a laborer in Kentucky and passed away in 1981 at the age of 68, suffering for years from asthma and emphysema, the results of his years in the coal mines. Essential Americana.

Herman Poole Blount, better known to the world as Sun Ra, lived more musical lives in his 79 years on this planet (and others) than seems possible. In the 30s he was the most rigorous bandleader in Birmingham, heading the Sonny Blount Orchestra and filling every waking moment with music or philosophical discussions, by the 40s he had moved to Chicago and performed with luminaries such as Wynonie Harris, Fletcher Henderson, and Coleman Hawkins. By the 50s he had changed his name to Sun Ra and began performing with longtime Arkestra bandmates John Gilmore and Marshall Allen. By the 1960s, Sun Ra's vision of spiritual free jazz was fully formed. This collection features unreleased tracks from Sun Ra's Arkestra from 1963, focuses heavily on the masterful tenor saxophone of John Gilmore.

The Allman Brothers Band is best known for their typical Southern Rock sound and incorporating elements of blues, jazz and country music. Their eight studio album
Brothers Of The Road originally came out in 1981 and was produced by John Ryan, who did production work for Styx and The Doobie Brothers. The single 'Straight From The Heart' from the album became their first top 40 hit since their heyday. It peaked at #39 on the Billboard Hot 100 and
#11 on Billboard's Rock Top Tracks chart.

The Ornette Coleman Quartet is one of the most important groups in the history of jazz, a truly groundbreaking group that featured the brilliant Don Cherry, Charlie Haden, and Ed Blackwell. In the early 60s this quarter of young guns recorded some of the earliest examples of "free jazz" and were on the vanguard of a new jazz that would shape everything from the spiritual jazz of Strata East and the downtown skronk of John Zorn. This collection compiles early 60s Quartet recordings that were not released on LP at the time. Fantastic collection of one of the greatest jazz quartets in history.

Von der Liebe, den Selbstzweifeln, den Erwartungen, den Stolpersteinen und dem Leben in der
Großstadt Berlin. Maxine Kazis erzählt mit ihrer EP - Metamorphose' ihre ganz eigene Geschichte und
nimmt uns mit auf eine Reise in ihre turbulente Welt. Beim schriftlichen festhalten ihrer Erlebnisse und
dem Produzieren ihrer Songs stand ihr Peter Plate zur Seite, der bereits große Erfolge mit seiner Band
Rosenstolz sowie mit Sarah Connor und Annett Louisan verzeichnen kann. Dabei entstanden sind
elektronische Popsongs, die nicht nur zum Tanzen, sondern auch zum Nachdenken anregen. Maxine
trägt ihr Herz auf der Zunge, nennt die Dinge gern beim Namen und hält nichts von Tabus. Egal ob
Sex, Essstörung, Ängste oder Lebenskrisen, Maxine Kazis lässt uns an guten, wie auch schlechten
Erlebnissen teilhaben und zieht uns in Ihren Bann. Hürden sind da um sie zu nehmen und Maxine hilft
uns beim nötigen Anlauf. Perfektion ist langweilig, die Abweichung von der Norm macht uns
liebenswert. Mensch sein, Fehler machen, daraus lernen oder wie Maxine sagt: - Hinfallen, aufstehen,
weitertanzen'

01. Prologue
02. Kettering
03. Sylvia
04. Atrophy
05. Bear
06. Thirteen
07. Two
08. Shiva
09. Wake
10. Epilogue

A strictly vinyl only release on this absolute stunning sun soaked EP from Sophie Lloyd that has already been heavily supported from Ashley Beedle & Greg WIlson!
Follow Me Home is 9 minutes worth of floaty, yacht rock goodness that can only be made to sound better if you was lay on a lilo in the Adriatic with a cocktail in hand....
It also comes with a dub version too if you're not too keen on a certain headband wearing vocalist :)
A Burn U Know ups the tempo a bit more and is a thigh slapping, mouth organ led slice of barnyard disco that rumbles along like a freight train with snaps of classic 808 percussion bringing it from the wild west to the basements of Manchester and back out to the Croatian coast....Support come in already from Ashley Beedle, Greg Wilson, Pete Herbert, Psychemagik, Faze Action, Man Power, Andy Pye (Balearic Social), Tristan Da Cunha and Chris Coco who will be featuring it in his radio show and Ibiza sunset sets (all these before doing a hard promo run).

New Bottles Old Medicine is the 1970 debut from British group Medicine Head, a duo at the time, that had only shortly before been discovered by legendary DJ John Peel, who immediately signed them to his Dandelion record label. One of the more enigmatic and inventive groups of the British folk-rock scene, the duo's leader, John Fiddler would simultaneously sing, play guitar and operate a bass drum and hi-hat cymbal with his foot, while bandmate Peter Hope-Evans would play harmonica, jew's harp, and various percussion instruments. Creating a sound that was simultaneously ethereal and earthy, and with a voice that touched on the heartbroken vibes of Nick Drake and John Martyn, Medicine Head are truly one of the most brilliant groups of early 70s UK scene and rarely get the attention they deserve. This deluxe 180 gram vinyl reissue hopes to help right that wrong.

Milo Scaglioni - former member of Sub Pop signed Jennifer Gentle and bassist with Jim Noir, Dellera and Sonic Jesus - marks his debut solo album with a psych folk delight that nods to the English traditions of his adopted homeland.

Having lived in England for a decade, Milo moved back to Rome to make the record. This is a split indie release between Manchester's Akoustik Anarkhy and Italian label Crytmo Records (a division of the Rome based Misty Lane Records). As co-producer, Milo enlisted his own travelling wilburys to assist in creating the record's insatiable atmosphere with some of Italy's finest musicians, Roberto Dellera (Bass), PJ Harvey collaborator Enrico Gabrielli (Piano, Organ, Rhodes, Sax, Vocals), Lino Gitto (Drums, Percussion, Organ), Gianluca De Rubertis (Piano, Wurtlizer), and Simone Prudenzano (Drums).

Bolstered by 'October's Beatlesesque harmonies and the down-and-out eccentricity of The Kinks, the smoky melancholia of 'Sea of Misery' and the final jam at the end of 'Enough is Not Enough' (an homage to Love's Da Capo), each track floats along in a sun-blushed magic-hour haze and is unapologetically simple, hence the title. Simple Present is bound together with the honesty of early Leonard Cohen, the flair of fellow countryman Fabrizio de Andrè and Gruff Rhys's melodic nous - not to mention English lyrics which, says Milo, were a natural occurrence. When I moved back to Italy, even though I am Italian and have lived there until the age of 19, I still felt English,' he says. None of my initial inspiration came from Italians. The UK and the States had always been my place where to look for inspiration.'Sometimes to truly discover yourself you have to go a long way before finding your way back again. To quote Shakespeare' tells Milo. Life can end up becoming 'a tale told by an idiot full of sound and fury signifying nothing.' Simple Present is about living. It's about finding the way to live an authentic and satisfying life as a present to yourself.'

Third album from Plantman, the first in three years - following the critically-acclaimed 'Whispering Trees' and subsequent first full release for its precursor, 'Closer To The Snow', in 2013.

'To The Lighthouse' represents a subtle but significant step forward in the evolution of Plantman, as the songwriting of mainman Matthew Randall (ex-Beatglider) shifts further from the well-trodden path of many of his contemporaries and establishes a defined identity as a singer-songwriter, with his distinct yet gentle delivery creating an atmosphere and intensity that many yearn for but never achieve.

For admirers of Bedhead, Durutti Column, Yo La Tengo.

"Questo sporco mondo meraviglioso" is one of the numerous collaborations between the director Luigi Scattini and Piero Umiliani, and one of the most interesting and varied soundtracks within the composer's repertoire. A work full of influences and musical quotes, with guests and valuable collaborators such as Edda Dell'Orso and I Cantori Moderni di Alessandro Alessandroni. Some of the songs presented in this album are among his best works.








[H] B1 | Mondo, Dove Vai (complesso beat con effetti elettronici)

"The Folk Group" represents a peculiar work within Piero Umiliani's seemingly endless career. Recorded for the Background Music series, it uncovers the Maestro's passion for folk and '60s/'70s music. It's especially characterized by the bizarre "Guitar Improvisation" and the incredible and funky "Underworld", a gem that we recommend to any hip-hop producer!

After all the accolades from press and peers, what's a legendary band left to do Rent out an abandoned office space in the middle of the desert in New Mexico in lieu of a regular recording studio, go in with little or no preconceived notions of what would happen, set up, plug in and get loud! After seven days Deerhoof had found (you guessed it) The Magic, a raw and refreshing wallop of an album about leaving your comfort zone and finding a pineapple.

With The Magic, Deerhoof dreamed up an alchemy of '77 punk, pop, glam, hair metal, doo-wop, hip hop, and R&B, late-night car rides, long days, spandex, shadows, and attitude. Poetry into noise, volume knobs into pleasure, friendship into rock band.

"Maybe it came from the music we liked when we were kids, when music was like magic—before we knew about the industry and before there were rules—sometimes hair metal is the right choice. We all showed up in the mood to sing. says drummer Greg Saunier.

For singer and bassist Satomi Matsuzaki, the making The Magic was the latest episode of an ongoing gamble. "I joined this band a week after I arrived in San Francisco from Japan. I hopped on a MUNI bus to have a first meeting with Deerhoof. I got off at a wrong stop. I was lost and confused. They found me on a dark street corner after I called for help from a pay phone. Since then my adventure expanded. Deerhoof is a vehicle with four powered wheels that takes me through forest, desert and buildings. My life is adventure!

The Magic is a mixtape imbued with Deerhoof's sorcery—boldness, wonder, technical know-how, risk. It is a mixtape by the kid with the biggest music collection you've ever seen, who will take you camping and show you how to pull a rabbit out of a hat.

The Magic comes out on June 24, and will be supported by an extensive tour.

'The Civil Wars' is the second and final album by alternative folk band The Civil Wars (Joy Williams and John Paul White). In their short existence, the band won 4 Grammy Awards, worked with Taylor Swift and toured with Adele.

'The Civil Wars' entered at number 1 in the Billboard 200 chart and features the Grammy Award Winning Song 'From This Valley' plus the singles 'The One That Got Away' & 'Dust To Dust'.

The album also includes a brilliant cover of the Smashing
Pumpkins classic 'Disarm'.

Lovely record. An intimate, unshowy, reaching blend of British folk and minimalism in the tradition of Robert Wyatt solo, quietly co-mingling Henry Flynt and Ivor Cutler, Eastern outernationalism and Radio art. Beautifully presented, too, in a die-cut, inside-out sleeve, with a poster. Check it out!

Melbourne singer-songwriter Emma Russack has a habit of releasing albums every two years. Lucky for us, 2016 is well underway and album number three is ready to be unveiled. 'In a New State' follows on from 'You Changed Me' (2014) and 'Sounds Of Our City' (2012). The album draws a slight yet significant change in approach with a new producer (John Lee - Mountains In The Sky, Beaches, The Ocean Party), a proper studio and Emma taking back the guitar reins.

Emma recalls the experience that lead her to John Lee's Phaedra Studios: "In January 2015, I approached John Lee about recording and producing what would become my third record. I locked in dates for March which I subsequently had to cancel for lack of funds. In the meantime I enrolled in a law degree and started recording the album with my housemate Joe, who plays in a band called King Gizzard and The Lizard Wizard. I figured I would tinker away at it and make the record on my own, in my own time. On my way to my waitressing job one frosty morning, I received an email from Creative Victoria informing that I was the recipient of a grant to record an album. I was shocked because I had forgotten about even applying! I called John that evening and we made plans to meet in his studio and discuss making the record (again)."

With the record back on, Emma met up with John to discuss everything in more detail. "At this meeting I was going through another one of my Crazy Horse obsession periods. I told John I wanted the record to sound like Crazy Horse - in fact, I told John I was planning on recording a cover of "Lookin' for a love" from 'Zuma'. John was sceptical. It became apparent that I really didn't know what I wanted and I went home from the meeting feeling a bit deflated. John then listened to a demo that I had recorded with Joe of 'Cottesloe' (first track on album). Essentially just me and some interweaving guitars - very sparse, very minimal. He said something to the effect of "this is how your album should sound, and you should play all of the guitars, on all of the songs". So that pretty much explains the basics of the record. Apart from production work, John also played percussion and the piano and recent band mates Cameron Potts and Liam Halliwell filled in on drums and bass. They nailed their parts after only just learning the songs." Emma continues "We tracked the songs in three days. My vocals took two days. A real accomplishment considering it has always taken me a year to finish records. There are no covers on the album and I play all the guitar. For the first time my voice isn't covered up by harmonies'.

The independence Emma gained during the recording process is reflective in the songs, too. They're about becoming strong and self-reliant. And resilient. And they're about memories. Says Emma "Memories of me floating on my back in the ocean at Cottesloe, Perth, and feeling free. Walking through Melbourne CBD and realising how I finally feel at home. Thinking about my future and deciding to save up for a house in Mystery Bay on the South Coast of NSW (that's why I'm back at uni).'

DELUXE VINYL EDITION!!!By the time this performance was recorded on the final night of her NYC debut in 1977, this show had become the hottest ticket in town and the Bottom Line was deluged with celebrity ticket requests, including from other iconic performers like Bruce Springsteen and Mick Jagger, who both attended. This three night engagement at the legendary music room was essentially Parton's New York City coming out party, and even those not necessarily country fans can surely appreciate this show for its pure entertainment appeal and Dolly's undeniable charisma.

The seekers in New York City's Psychic Ills have spent more than a decade following their muse wherever it takes them. Inner Journey Out, the band's highly anticipated fifth album and first since 2013, is the culmination of an odyssey of three years of writing, traversing the psych-rock landscape they've carved throughout their career and taking inspired pilgrimages into country, blues, gospel, and jazz.

Inner Journey Out started out the way many Ills records have - with frontman Tres Warren's demos.  Like all of their records, Elizabeth Hart's bass is the glue that holds everything together. Where other recent albums found Warren overdubbing himself to create a blown-out, widescreen sound, this recording handed the reigns to a multitude of guest players. A cadre of musicians and vocalists - including Mazzy Star's Hope Sandoval, who duets on lead single 'I Don't Mind' - join in on the journey. This is the first record to feature touring keyboard player Brent Cordero, his Farfisa and Wurlitzer work is a staple throughout.  Rounding things out, is a platoon of drummers and percussionists including Chris Millstein, Harry Druzd of Endless Boogie, Derek James of The Entrance Band, and Charles Burst, one of the record's engineers.  These musicians build the frame on which Warren lays his hazy guitar and vocals.  An endless array of friends and guests also provide pedal steel guitar, horns, strings, and backing vocals, which culminate in a career-defining moment for the Ills.

Thematically, Inner Journey Out is a detailed exploration of the interior and the exterior, and the pathway between the two. The focused songwriting makes the stylistic departures fit seamlessly within the band's dexterous ethos. The rousing gospel number 'Another Change' and the far-out free jazz exploration 'Ra Wah Wah' help shape Inner Journey Out into a multi-faceted, full album experience. It's the most personal Psychic Ills album, too, hinting tantalizingly at love and loss but denying the listener resolution — asking questions, but never answering; seeking, but never fully concluding.

A decade on from releasing their critically lauded cult debut, Dins, and the deep dive into cosmic improvisation of Mirror Eye that followed, through the more recent and straightforward outings of Hazed Dream and One Track Mind, Psychic Ills have delivered their most remarkable statement yet with Inner Journey Out.

File next to other drop out symphonies like Ladies and Gentlemen We Are Floating in Space by Spiritualized, Pacific Ocean Blue by Dennis Wilson, and Born to Be With You by Dion, and let your journey begin.

British alternative-folk musician, guitarist, multi-instrumentalist and songwriter Robert Coyne returns this June with a new album, his third now with long-time collaborator (and pioneering drummer of the avant-garde Krautrock band Can) Jaki Liebezeit. The follow-up to the pair's 2013 album The Obscure Department and 2015's Golden Arc, I Still Have This Dream finds the pair in contemplative moods.

Adopting a similar approach to their work as on previous releases together, and masterfully executed, Coyne meditates on the themes of self-delusion, miscommunication, isolation, and misunderstanding, saying that some of the time it's 'just me talking to myself'. All the while Liebezeit's famous metronomic drumming style instils a sense of calm into this quiet storm. I Still Have This Dream is the product of two stand-alone artists who have come to know each other's strengths by heart, and developed the ability to complement these in the most exhilaratingly quiet, and stirring, way. Coyne describes their partnership as 'especially dream-like.'

In the same way that ideas and lyrics gently and naturally surface from Coyne, I Still Have This Dream sets its stall out as an album that rewards investigation. It is intimate, introverted almost, in its experimentation but with a maturity and lyrical confidence that conspire to create atmospheres of melancholia and suspense. Liebezeit's style ensures that he only plays what needs to be there, providing the perfect pacing for Coyne's meditative couplets. Speaking of this contradiction, Coyne has previously said; 'I think the music is quite peaceful, and meditative, but there's tension in it, too, and in the lyrics, which are generally quite dark ... I think that conflict represents my feelings and personality quite well, and may not be a conflict at all, in fact ...'

About Robert Coyne:
Robert Coyne is the son of the late 2004 musician, painter and author Kevin Coyne. He initially worked as a musician, among other things with his father Kevin Coyne, with Eric Burdon, The Barracudas, The Scientists, Amy Rigby, Spooky Tooth, Sky Saxon and Chris Wilson of the Flamin 'Groovies , just to name a few.

About Jaki Liebezeit:
Liebezeit is best known for his exceptional "metronome" style of playing; other members of Can have suggested that he sounds as though he is "half-man, half machine". Liebezeit provided drums, in his patented "Motorik beat", for Michael Rother's late-1970s solo albums. In 1980, he became a member of Phantomband. Later he recorded with numerous musicians, such as Jah Wobble and Philip Jeck, with whom he produced an album for Jah Wobble's 30 Hertz Records, and has contributed drums and percussion to many albums as a guest throughout the years, such as the Depeche Mode album Ultra and Brian Eno's album Before and After Science. Recently, he has worked with Burnt Friedman on the Secret Rhythms albums.

When you hear a band with something different about them, something unique, that rare and precious quality, the shock of the new, you just know.

Barcelona's Seward are extraordinary. A four-piece that don't go in for typical song structures that captivate one minute with a heart-tugging melody, before collapsing into thrilling noise the next. They ascend from delicate acoustic beauty to dissonant chaos, from atmospheric samples to scrunching wreckage.

Second Two: Chapter Home for Naim Records (home of the Mercury Prize-nominated Eska) is a stunning work of art. A record to get lost in. These are unconventional, original songs that ditch the tired verse-chorus-verse structure but trigger the same addiction cravings that the best pop music can.

It's the follow-up and third part of a trilogy of albums that began with 2011's Home: Chapter One and continued with 2014's Home Was a Chapter Twenty Six. Mixed and mastered by regular collaborator Matt Pence (Midlake, American Music Club, John Grant) at his Denton, Texas studio The Echo Lab, it's their definitive album. Second Two: Chapter Home encompasses so much and demands to be heard in its entirety.

They call their music 'free song'. It's a new appellation for a new musical age, a determination to avoid using those same genre names that haven't changed for decades.

They're a band borne from live performance. They thrive upon it. Their recordings always aim to capture the feeling of playing live. You can hear the room, the air. The sense of space; the tension and electricity.

Seward have picked up plaudits from music sites Line of Best Fit and A New Band A Day, performed for John Kennedy's XFM show and picked up a growing host of fans from stellar live performances at SXSW in the States, the UK's Great Escape festival, Vive Latino in Mexico, Exit in Serbia, Sziget in Hungary, Pohoda in Slovakia and Spain's Primavera Sound. Seward prefer to let their music breathe. They haven't opted for the usual online portals to get their music out there. To hear their album, you need to buy it.

Seward are your new favorite group. And they're about to begin their most momentous chapter yet. Time to turn the page and make your own discovery.

their purpose may not be defined, but it is rational. The band is lost in the beauty of noise-making, and the path it beats into human consciousness. Part experience, part music, all brilliant.

Cruel Sister was an album recorded in 1970 by Folk Rock band Pentangle. All the tracks are versions of traditional songs. Whereas their previous album had been produced by Shel Talmy, and featured quite a heavily produced, commercial sound, Cruel Sister was produced by Bill Leader, noted for his recordings of Folk musicians.

The whole of side two of the album is taken up with an extended version of the ballad 'Jack Orion', previously recorded by Jansch on his own Jack Orion album. The arrangement on Cruel Sister develops through several sections with different rhythms and instrumentation.

Allmusic gave the album resounding approval in their retrospective review, applauding its 'dense, layered sound that is woven within the fabric of each song like a tapestry' and praising Jacqui McShee's vocal work in particular.

7" of cult classic original sountrack by michel legrand - must have! includes 2 important previously vinyl unreleased bonus tracks

Ultralimited (100 copies) 7" of this cult classic - with handfolded original cover art - beautifully made and manually crafted. Vinyl is the same as with unlimited regular version. including 2 important previously vinyl unreleased bonus track.

Tony Joe was the third studio album by Tony Joe White, released in 1970. It contained the singles 'High Sheriff of Calhoun Parrish' and 'Save Your Sugar For Me'. The album was recorded at RCA Victor Studios, Nashville and Lyn-Lou Studios, Memphis, and produced by Billy Swan.

A mixture of original recordings and covers, it featured White's versions of 'Hard To Handle' made popular by Otis Redding and 'Boom Boom' by John Lee Hooker.