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Lucinda Williams’ music has gotten her through her darkest days. It’s been that way since growing up amid family chaos in the Deep South, as she recounts in her candid new memoir, Don’t Tell Anybody the Secrets I told You. Over the past two years, it’s been the force driving her recovery from a debilitating stroke she suffered on November 17, 2020, at age 67. Her masterful, multi-Grammy-winning songwriting has never deserted her. To wit, her stunning, sixteenth studio album, Stories from a Rock n Roll Heart, brims over with some of the best work of her career. And though Williams can no longer play her beloved guitar – a constant companion since age 12 – her distinctive vocals sound better than ever. The band rocks out on the album’s jubilant opening track, “Let’s Get the Band Back Together,” which features a gang of background singers, including Margo Price and Buddy Miller. Inspired by “that need for community after all the isolation of the pandemic,” Williams offers, the song is “about getting old friends together again who’d drifted apart.” Price also joins her on the bluesy protest, “This Is Not My Town.” The evocative “New York Comeback” also includes guest vocalists – Bruce Springsteen and Patti Scialfa. A Lucinda Williams fan, Springsteen had joined her onstage in London a few years back, and he and Scialfa had wanted to contribute to a Williams album for a while. With Reese Wynans on B3 and the Pettibone-Mathis guitar attack, the musical setting perfectly matches the theme of “Comeback,” as well as on the catchy story-song “Rock N’ Roll Heart,” to which Springsteen and Scialfa also contributed vocals. Says Williams, “Having Bruce and Patti on these songs feels really great. It’s just so cool!” As she promises on the powerful last track of Stories from a Rock n Roll Heart–one of the best albums of her career–Lucinda Williams is “never gonna fade away.”

Santana's self-titled debut album announces the arrival of a new Guitar God. Made during the legendary bandleader's most fruitful and creative period, the classic 1969 set functions as an accessible entry point into the tangy worlds of Latin music by way of an intoxicating blend of Afro-Cuban percussion, jazzy tempos, exotic leads, bluesy riffs, and psychedelic accents.

Indeed, separation between Carlos Santana's fluid fills, spicy solos, and broiling grooves and pianist Gregg Rolie's soulful Hammond organ runs allows the music to come alive with a newfound freshness and radiance. Songs simmer, with each passage bursting forth with vibrant colour. Just like the equally essential follow-up Abraxas, Santana also lays claim to one of the biggest (and unfortunate) production gaffes in music history.

For nearly four decades, copies were produced with the left and right channels reversed, meaning that everything was placed in a backwards manner. This even extended to compilations on which individual songs from Santana were included. Rest assured that, in addition to boasting reference audiophile sonics, this 180g 45RPM 2LP set gets all the specifications exactly right. And with a record of this magnitude, you want everything to be perfect.

Bound by natural chemistry and earthy spirituality, the record's innovative synthesis of myriad styles goes beyond anything that came before – as well as nearly everything that's followed. Playing with the finest band that the iconic guitarist ever had, Santana doesn't water down any exotic roots or simply incorporate mainstream Western styles into a Latin framework. This is a true hybrid, responsible for opening up borders, transcending cultural divides, and, most importantly, exhilarating the senses.

Released just weeks after the band blew minds at Woodstock, the groundbreaking record stands alongside Miles Davis' Bitches Brew and Jeff Beck's Beck-Ola as a pillar of rock fusion. Featuring the Top Ten radio smash "Evil Ways" and jam favorite "Soul Sacrifice," it hasn't aged a day. Hear like never before why Rolling Stone says Santana is #149 on its list of the Greatest Albums of All Time.

Miles Davis is regarded to be one of the most influential and acclaimed figures in the history of jazz and 20th-century music. At the request of Columbia Records executive George Avakian, he formed his first regular quintet in 1955. After all members of the first quintet left Davis a few years later, he hired the core of the second quintet in 1963 and the final member in late 1964. The second quintet would record and play together until the end of the 60s.

Sorcerer is the third album by the Second Great Miles Davis Quintet. The quintet consisted of Miles Davis on trumpet, Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums. It was recorded in May 1967 and contains a darker sound. The last song on the album, "Nothing Like You", features vocals by Bob Dorough.

Sorcerer is available as a limited edition of 2500 individually numbered copies on translucent green coloured vinyl.

Charlie Watts “Anthology” is an affectionate retrospective and a reflection of just how frequently Watts was able to exercise his jazz muscles between Rolling Stones commitments to create a bespoke discography of his own. Including 3 unreleased tracks.
The names of Charlie's jazz heroes fell from his lips like a superfan turning the pages of a personal scrapbook. Charlie Parker, Gerry Mulligan, Chico Hamilton, Dave Green, Stan Tracey, Peter King, Courtney Pine, Gail Thompson, Brian Lemon, Gerard Presencer, the Red Rodney group and collaborator Jim Keltner. He knew every player, every session, every album, every outfit they wore on the cover, and he spoke about them with a deep and genuine reverence. He may have been a globally loved hero in the biggest band in the word, but he swatted away any compliment or comparison with his musical favourites. He counted himself their admirer, never their equal.
The Anthology includes an extended essay by Paul Sexton which documents Charlie Watt’s jazz career and the essential albums covered in the collection.

**Limited edition single-sided LP 300 copies**

David Horridge's unreleased bedroom studio tape material (1982).

Shortly after releasing the inimitable Light Patterns, David Horridge recorded a handful of demos. These sole artifacts from Dave capture the same Mancunian melancholy presented on
Light Patterns, and offer an insight into David’s contributing piece of the puzzle. It comes as no surprise that every track laid to tape from that era is an absolute gem.
David’s playing comes in the form of well-timed melodies and carefully placed basslines.

Nothing forced or rushed, and each movement really sits with a mood. Journey Within is an even more sedated, mellow effort than Light Patterns. The songs were perhaps even sketches for a
follow up that never manifested. The album’s greatest strength is in setting a peaceful, pastoral mood that allows for a relaxed listen all the way through. Hypnotic stuff.
The only deviation is the final song, One Note Bossa, which came as a surprise with its use of a drum machine. A feature that demonstrates what might have been were David have continued to
experiment and release albums...

RIYL: Durutti Column, Woo, Pat Metheny, and Steve Hiett.

Ned Milligan is a New York based elementary school teacher and occasional musician. He’s behind the great small-run label Florabelle since 2015. This is his sixth solo album.

"My work in the past five years has been grounded in recording and playing outdoors, trying to communicate the meaning of being in a particular location and finding meaning in interacting with whatever sounds or elements are equally present. I'm still excited by all of it! This sense of purpose continues with Considerable and the most I could wish for is that the specificity of what I am doing and where I'm doing it manages to evoke something in anyone listening--a connection to their own environments and spaces. None of these pieces is strictly documentary or one-take in approach or composition, but I hope that the combination of processed and "factual" sounds achieve integrity."

chimes, singing drum, autoharp, field recordings, processing: Ned Milligan
campfire recording in "Sky Smokes & Electronics": Jerome Klap
additional percussion in "Mosey With Me": Rory Milligan
singing: graciously and anonymously donated

recorded mostly outdoors, sometimes indoors in York, Maine.

"Commemorating the 25th anniversary of Sir Georg Solti’s passing “The Greatest Recording Of All Time” Now sounding better than ever before
Transferred and remastered in HD sound at 24bit / 192kHz from the original two-track stereo mastertapes.
The first all-new transfer in over twenty-five years.
The first-ever stereo production of Wagner’s Ring cycle, still considered the benchmark today."

Tchiss Lopes - ram name Narciso Lopes - lay down plenty of reggae and funana experiments all in inspired by the local rhythms of the island of Santiago on Stranger Ja Catem Traboi, his seminal debut LP from 1982. It has become a hard to find and expensive cult classic that now gets reissued on vinyl and CD courtesy of Arabusta. It is as energetic, rhythmic and melodic as music gets, with great politically and socially aware conscious male vocals sung in Portuguese. Singer, instrumental performer and composer Lopes release seven albums in all, but this one set the highest standards of his career.

It's hard to think of any other act whose music being added to digital streaming sites would make as many headlines as De La Soul. It has been followed up with a big reissue project that's brought all their many great albums - they made more than just that one iconic one, you know - back to print. Stakes Is High brought the same high levels of wordplay, great beats and overall narrative as any of the band's albums, and all at a time when hip-hop's initial popularity began to wane. Fact fans, take note - Mos Def guested on one tune 'Big Brother Beat' and Common on 'The Bizness' way before anyone knew who either of them was.

Repress!

‘Shapes,’ the third album from London-based multi-instrumentalist, Robohands, fuses elements of jazz, krautrock, hip hop and ambient music. For fans of Khruangbin, Yusef Dayes, CAN, Coltrane and 70s library music moods.

Shapes is the solo project of London based composer, instrumentalist and producer Andy Baxter. His debut LP Green was released on Village Live Records in 2018 and was received with much love and acclaim in the UK Jazz, hip hop and surrounding scenes.

His follow up full-length, 'Dusk’, dropped in 2019, combining soul, funk, Latin & experimental moods. It featured vocalists & musicians from around the world including legendary New York French horn player, John Clark, who has worked with Isaac Hayes, Gil Evans Orchestra, McCoy Tyner, Jaco Pastorius, Ornette Coleman and many more greats.

'Shapes' is inspired by 1970s library music and their legendary composers including Piero Umiliani, David Axelrod, Brian Bennett and co. The album builds on these influences and incorporates modern motifs, contemporary jazz/hip hop drumming styles with a nod to 1990s Mo Wax artists such as DJ Shadow. The theme for the record is future/nostalgia, mixing vintage & modern instruments and production techniques.

Much of ‘Shapes’ was recorded with JB Pilon at Buffalo Studios in Limehouse, London. Due to the COVID restrictions that changed everything in 2020, the remaining parts were recorded in Andy’s flat using a collection of old mixing desk preamps and instruments.

For the heads – ‘Shapes’ features an array of vintage snares, including a 1960's Ludwig Pioneer and a mono, overhead ribbon mic on the drum kit provided extra old school points! The kick drum was re-amped through a huge vintage bass amplifier on a couple of tracks to give it some real character: “My favourite guitar sound achieved on this LP project is a Sontronics Sigma ribbon microphone in front of a WEM Dominator amp, which you can hear on the track 'Odysea'. The bass sound for all the tracks is a 1973 Fender Precision into an old Altec valve preamp, the one used on most Motown recordings."

De La Soul is never far away from the conversation about great music but as of late, they have been back in the headlines more than ever as their music finally got added to digital streaming sites. Buhloone Mindstate is a lesser-known but just as good album as the most famous Three Feet High and Rising and was a critical success at the time. The lead single has samples of Michael Jackson's 'I Can't Help It' and Smokey Robinson's 'Quiet Storm', there is a collab with Biz Markie on 'Stone Age' and MC Shortie No Mas appears on many tracks including the particularly standout 'In The Woods'.

Hand the king of re-edits Late Nite Tuff Guy the keys to an unreleased Silk recording from the ‘70s hey days and you’ve got yourself a recipe for greatness. A’s and Bees line up their second heavyweight 12 inch pressing, with two exhilarating edits from LNTG alongside the first ever release of the original recording. As ever 50% of the profits from this release will be donated towards the British Beekeepers Association.

It's rare to crack the vaults on a recording that’s as good as this, that never saw the light of day. Courtesy of ‘70s Philly International wonders Silk, most famed for their soul sensation ‘I Can't Stop (Turning You On)’ that was sampled by LF System for their 8 week strong number 1 release, ‘Somethin' 'Bout The Way’ has all the elements of a smash hit. As catchy as they come, singalong sensibilities and musicianship of the highest order with vocal harmonies to match, it’s genuinely astonishing that this never got released. Who better to tweak this into an all-out disco stomper, than re-edit royalty Late Nite Tuff Guy. His Disco Dub teases in, loops up and adds extra punch to all the elements that make the original such a standout track, before letting loose those joyous vocals. Big room, full body, DJ friendly business this!

On the B side, the original mix gets it’s first ever release, with LNTG providing a shorter edit of his full throttle re-work to round off the package.

“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.

* Classic roots / dub track with vocals from reggae legend Earl Sixteen known for his work with the likes of Lee Perry, Augustus Pablo, Mikey Dread, Leftfield and Dreadzone.
* Earl first recorded `Zion City’ with Dreadzone in 1995 which was known as `Zion Youth’.
The cuts on this 7” were mixed by Manasseh in 1997, with strong support coming from the late great Jah Shaka.
* Previously unreleased dubplate vocal cut backed with dub-wise excursion.

Miles Away Records are proud to introduce our latest single to land on the label: the cosmic soul gem "Super Star" by Ruth Waters and the State of Mind Show Band.

A Texas native, Ruth "Silky" Waters was best known for her two disco-infused album's "Never Gonna Be The Same" and "Out In The Open"- produced by the late, great John Davis (John Davis Orchestra). It was however some of Ruth's early material that caught our interest when we started the label as far back as 2018. "Super Star", released on the tiny independent KMBA Recordings label in the late 1970s, draws from the wells of modern soul and gospel with a touch of cosmic synthy goodness. An proper ear turner, it was like nothing we'd heard before. Flip it and "Super Star Pt.2" goes deeper into the cosmic essence of the track with extended guitar and synth solos making this a crackin' little 45.

The track has been lovingly remastered by Phil Kinrade at the legendary AIR Studios and the lacquer was cut deep by Jukka at Timmion Records. It's now presented in our custom teal green labels and house bag.

What’s happening in the streets? This right here, a celebrated engineer Yas Inoue and Dj Takaya Nagase come together in the studio and rework the Voltage Brothers rare groove jam “Happening In the Streets” with a cleverly put together edit with filters, effects and sonically tweaking it to perfection. They've created a perfect dance floor masterpiece already championed by Louie Vega, Joe Claussell, Spinna, Mike Dunn, and Rich Medina. This choon has everyone in anticipation for it’s release.

Japanese sound engineer Yas Inoue, based in New York began his career in the world renowned Maw Studios in the late 90s and has engineered for producers such as Masters At Work, Patrick Adams, Leroy Burgess, and Randy Muller contributing to the creation of various New York house and disco hits.

Takaya Nagase, a New York based Japanese Dj started as an A&R for Japanese record label Soundmen On Wax. He learned and studied under the great David Mancuso of the Loft Party NYC and later held his own Joy parties along with other Loft members. Having had regular gigs at Club Shelter from 2006 to 2007 and at Club Output from 2017 until the closing in 2019, he built his dj chops and now currently djs at New York City's top venues such as Le Bain, Good Room and Nowadays along with monthly shows on the famed Lot Radio in Brooklyn.

Together they are Domo Domo and with their first project on Vega Records they are on their way to becoming New York household names in the dance music industry. Look out for “Happening In The Streets” coming soon at all digital and streaming outlets with vinyl releases on 12” and 7”. Lookout everyone, this one’s a sure HIT!!!

Following the 2022 release of The Soft Moon's highly praised fifth full-length album Exister, 2023 sees the release of Exister Remixed, a harsh and textured collection of 5 remixes by some of Europe's boldest industrial techno EBM and experimental electronic artists: Phase Fatale, Unhuman, OTHR, Gael and Norbak. Hailed as "The Soft Moon's most expansive statement to date..." (Brooklyn Vegan) and a "meticulously crafted, vividly greyscale industrial post-punk" (The FADER), Exister is a post-punk industrial masterpiece engulfed in a brooding yet thundering atmosphere - and these reworkings offer an even greater layer of intensity. The Soft Moon's 'Exister' tour will continue through spring and summer 2023 across Europe, UK, Asia, and USA.

Exister Remixed is out June 23rd, 2023 on digital and vinyl 12" format. This is a joint-release between Sacred Bones Records and Bite Records (Phase Fatale's imprint).

George Apergis aka EMEX, founder of Modular Expansion, returns after 2 years with a Collection of Classics! George Apergis makes his great return with a retro - italo infused banger techno track “Retrograde”. The release continues with the two first ever tracks of George Apergis, produced back in 2005 but never officially released! “Rave On” the electroclash smash hit and “Sleeping With Headphones”, a techno theme with percussive rhythms, bass synth lines and unique vocals, representing the sound of 00s. The release closes with “Back Forward” a hard kicker track with rave synth lines, percussive rhythms that goes beyond and creates a perfect rave tool.

The continuing growth of Maik Krahl as a melodic improviser, bandleader, and composer is distinctly evident in this new release. In-Between Flow, Krahl’s third outing as leader, is a portrait of a young artist who has gone through many years of dedicated hard work, study, experimentation, and refinement in order to achieve this level of instrumental and artistic progress. Krahl belongs to a new generation of improvisers who have acquired a breadth of technical and theoretical facility, while not losing the spontaneity and rawness of this music we call jazz. As a bandleader, he chooses his colleagues wisely and for this date is joined on a few tracks by the visionary guitarist Kurt Rosenwinkel, whose brilliant playing adds a cherry on top of this already delicious line up.

The title In-Between Flow refers to ever evolving progression of our human condition. As in nature, the human spirit can expand and unfold, maturing to a new state where it may settle for a while until some new impulses inspires another transition. These transitions, sometimes subtle, sometimes abrupt; as well as the times of contentedness and serenity are the inspirations for this music.

The record opens up with an ode to the town Krahl calls home. Cologne 4 AM, begins with a haunting melody by Krahl’s soft yet powerful horn before settling into a perfect vehicle to display his command of melodic and motivic story telling. There is something about the time of 4 AM that seems to permeate literature and music, and this track will add to the canon of artistic references to this magical time where the night meets the morning.

Mr. Rosenwinkel joins the band for Slosetta, which is a great example of Krahl’s ability to craft a tune. As is to be expected, Rosenwinkel weaves through the changes with grace and mastery, obviously enjoying the communication with the rhythm section, who are undeniably inspired by his harmonic, rhythmic and melodic ingenuity.

Jakob Kühnemann, a Bandleader and composer is his own right, has been an in demand bassist on the German and European scene for several years, and his contribution to this record is proof of why that is. Although Krahl takes the lead on Drizzle Counter, in a great display of technical virtuosity, it is Kühneman who stands out on this track. It is not only in his improvisation, but more so in his poly rhythmic pulses dancing up from the deep and the harmonic insinuations in his accompaniment of Krahl’s solo that demonstrate his musical mastery.

Rosenwinkel joins again for No Claim Claim, a composition so balanced that I would not be surprised to hear other artists recording or performing it in the future. After Krahl’s melodically inventive statement, Rosenwinkel shifts the band to the next gear building the intensity towards the out head.

Constantin Krahmer has been Krahl´s piano player since his debut record, Decidophobia. His patience, ingenuity, and big ears make him a perfect accomplice to Krahl, and his sensitive yet powerful approach and accompaniment on Reconstruction of a Dream as well as his harmonic and melodic inventiveness on Vinaceous Clouds (where he plays Fender Rhodes) make it clear why he is an integral part of this unit.

Ms Ludgate is a funky composition with angular melody that is another feather in the cap of the band leader. Kurt Rosenwinkel is back, and seems more than willing to engage in some rhythmic dialogue with the spectacular young drummer on the date, Fabian Rösch. Throughout this entire record Rösch is subtly but strongly guiding the band, playing his role as a supportive and interactive proponent to the music. We will surely be hearing much more from this young man with such a refined sound and clear rhythmic conception.

Flawless Sunday, a perfect closing statement for this record. The melody is another great example of Krahl’s growth as a composer. The whole rhythm section really shines on Krahmer’s choruses, where the three colleagues push and dare each other rhythmically as well as harmonically before Krahl enters and brings the record to a close with his beautiful rich tone and melodic playing.

It is a great pleasure to hear the growth of a young artist with such dedication and vision. Hearing how Krahl and his band mates navigate through the vicissitudes of this music is an inspiration that can be mirrored in everyday life. A lesson in accepting the ever changing flow from one state to another. Growing, learning, and evolving into a new state, until the process begins anew. In-Between Flow.

"Another Love Song - The Frames are an Irish indie rock band formed in Dublin in 1990. The band is known for their passionate and emotive sound, which blends elements of rock, folk, and traditional Irish music. Over the years, they have released several critically acclaimed albums, including ""Another Love Song,"" which is widely regarded as one of their most influential works.
""Another Love Song"" was released in 1991 and marked a turning point in the band's career. The album featured a raw, stripped-down sound that was a departure from their earlier, more polished work. The songs on the album were deeply personal and introspective, exploring themes of love, loss, and the complexities of human relationships. The album's title track, ""Another Love Song,"" became an instant classic, showcasing the band's signature sound with its driving rhythms and soaring vocals. The song's bittersweet lyrics and haunting melody struck a chord with listeners and quickly became a fan favourite.
In addition to ""Another Love Song,"" the album features several other standout tracks, including ""Say It to Me Now,"" ""The Dancer,"" and ""Downhill."" Each song on the album showcases the band's dynamic musicianship and poetic lyricism, earning the album a reputation as a seminal work in the Irish indie rock scene. Over the years, The Frames have continued to evolve and innovate, releasing several more critically acclaimed albums and earning a dedicated following of fans around the world. With their unique blend of raw emotion and musical artistry, The Frames continue to inspire and captivate audiences with their powerful, soulful music.


Fitzcarraldo - ""Fitzcarraldo"" is the sixth studio album by the Irish rock band The Frames, released in 1995. The album marked a significant departure from the band's earlier work, with a more experimental sound that blended rock, folk, and experimental elements.
The album takes its name from the Werner Herzog film of the same name, which tells the story of a man who attempts to build an opera house in the Amazon jungle. This theme of ambition and perseverance in the face of adversity runs throughout the album, as frontman Glen Hansard explores themes of love, loss, and the human experience. The album opens with the hauntingly beautiful track ""Revelate,"" which sets the tone for the rest of the album with its soaring vocals and intricate guitar work. From there, the album takes the listener on a journey through a diverse range of sounds and emotions, from the upbeat rock of ""What Happens When the Heart Just Stops"" to the melancholic balladry of ""Fitzcarraldo.""
One of the standout tracks on the album is ""Lay Me Down,"" a tender and heartfelt ballad that showcases Hansard's powerful vocals and poetic lyricism. The song has become a fan favourite and is often performed live by the band. Another highlight of the album is the epic nine-minute track ""Fitzcarraldo,"" which features lush instrumentation and intricate guitar work. The song is a tribute to the film of the same name and explores themes of ambition and determination in the face of seemingly insurmountable obstacles.
Overall, ""Fitzcarraldo"" is a powerful and deeply personal album that showcases The Frames at their most ambitious and experimental. With its diverse range of sounds and emotions, the album remains a fan favourite and a landmark in the Irish rock canon.

Dance the Devil
Dance the Devil is the fourth studio album by the Irish rock band, The Frames. Released in 1999, it marked a significant departure from the band's earlier sound and was a critical and commercial success.
The album features 10 tracks, including the hit single ""Pavement Tune,"" which received extensive radio play and helped to propel The Frames to greater prominence in the music industry. Dance the Devil showcases the band's versatility and musical prowess, blending elements of rock, folk, and pop to create a unique and compelling sound. The lyrics are introspective and poetic, exploring themes of love, loss, and self-discovery.
Produced by Steve Albini, the album was recorded in just five days, giving it a raw and unpolished feel that perfectly captures the energy and passion of The Frames' live performances.
Dance the Devil remains a beloved album among fans of Irish music and continues to inspire new generations of musicians. Its enduring popularity is a testament to the artistry and vision of The Frames and their commitment to pushing the boundaries of what is possible in rock music.
"

"Another Love Song - The Frames are an Irish indie rock band formed in Dublin in 1990. The band is known for their passionate and emotive sound, which blends elements of rock, folk, and traditional Irish music. Over the years, they have released several critically acclaimed albums, including ""Another Love Song,"" which is widely regarded as one of their most influential works.
""Another Love Song"" was released in 1991 and marked a turning point in the band's career. The album featured a raw, stripped-down sound that was a departure from their earlier, more polished work. The songs on the album were deeply personal and introspective, exploring themes of love, loss, and the complexities of human relationships. The album's title track, ""Another Love Song,"" became an instant classic, showcasing the band's signature sound with its driving rhythms and soaring vocals. The song's bittersweet lyrics and haunting melody struck a chord with listeners and quickly became a fan favourite.
In addition to ""Another Love Song,"" the album features several other standout tracks, including ""Say It to Me Now,"" ""The Dancer,"" and ""Downhill."" Each song on the album showcases the band's dynamic musicianship and poetic lyricism, earning the album a reputation as a seminal work in the Irish indie rock scene. Over the years, The Frames have continued to evolve and innovate, releasing several more critically acclaimed albums and earning a dedicated following of fans around the world. With their unique blend of raw emotion and musical artistry, The Frames continue to inspire and captivate audiences with their powerful, soulful music.


Fitzcarraldo - ""Fitzcarraldo"" is the sixth studio album by the Irish rock band The Frames, released in 1995. The album marked a significant departure from the band's earlier work, with a more experimental sound that blended rock, folk, and experimental elements.
The album takes its name from the Werner Herzog film of the same name, which tells the story of a man who attempts to build an opera house in the Amazon jungle. This theme of ambition and perseverance in the face of adversity runs throughout the album, as frontman Glen Hansard explores themes of love, loss, and the human experience. The album opens with the hauntingly beautiful track ""Revelate,"" which sets the tone for the rest of the album with its soaring vocals and intricate guitar work. From there, the album takes the listener on a journey through a diverse range of sounds and emotions, from the upbeat rock of ""What Happens When the Heart Just Stops"" to the melancholic balladry of ""Fitzcarraldo.""
One of the standout tracks on the album is ""Lay Me Down,"" a tender and heartfelt ballad that showcases Hansard's powerful vocals and poetic lyricism. The song has become a fan favourite and is often performed live by the band. Another highlight of the album is the epic nine-minute track ""Fitzcarraldo,"" which features lush instrumentation and intricate guitar work. The song is a tribute to the film of the same name and explores themes of ambition and determination in the face of seemingly insurmountable obstacles.
Overall, ""Fitzcarraldo"" is a powerful and deeply personal album that showcases The Frames at their most ambitious and experimental. With its diverse range of sounds and emotions, the album remains a fan favourite and a landmark in the Irish rock canon.

Dance the Devil
Dance the Devil is the fourth studio album by the Irish rock band, The Frames. Released in 1999, it marked a significant departure from the band's earlier sound and was a critical and commercial success.
The album features 10 tracks, including the hit single ""Pavement Tune,"" which received extensive radio play and helped to propel The Frames to greater prominence in the music industry. Dance the Devil showcases the band's versatility and musical prowess, blending elements of rock, folk, and pop to create a unique and compelling sound. The lyrics are introspective and poetic, exploring themes of love, loss, and self-discovery.
Produced by Steve Albini, the album was recorded in just five days, giving it a raw and unpolished feel that perfectly captures the energy and passion of The Frames' live performances.
Dance the Devil remains a beloved album among fans of Irish music and continues to inspire new generations of musicians. Its enduring popularity is a testament to the artistry and vision of The Frames and their commitment to pushing the boundaries of what is possible in rock music.
"

...And I Mean It is an amalgam of girl group, new wave, blues, pop, and folk-rock by Genya Ravan. To hear her exquisite voice on "Night Owl" soaring above her own backing vocals is intense, imagine Etta James backed by the Sex Pistols doing a rock version of "Earth Angel." Of all Ravan's work, ...And I Mean It is possibly the most concise and picture-perfect statement of what the woman is musically about. A girl group pioneer who worked with Richard Perry prior to his finding the Pointer Sisters groove, there is no doubt Ravan influenced that major producer, and his work did the same for her. "Pedal to the Medal" is high-end treble rock before it came into vogue. This is the other side of Siren, the album Genya produced for Ronnie Spector, with more emphasis on a good-time rocking party. "I'm Wired, Wired, Wired" is a rock & roll anthem for people who burn the candle at both ends, while "I Won't Sleep on the Wet Spot" embodies the unbridled sexuality of this album. The music crunches while Ravan uses her voice, her production skills, and her legacy to create something far removed from her days in Ten Wheel Drive. The horns are replaced by searing guitars and Charlie Giordano's magical piano work. The sound of the keyboard and its erratic splashes really are key to "I Won't Sleep on the Wet Spot," while the guitar and bass battle it out. "Steve...," on the other hand, is Goldie & the Gingerbreads ten years after. This Ravan/Conrad Taylor composition was the 45 from the album, and it has "hit" written all over it. 20th Century just didn't have the right mechanisms in place to get some of the great music they put out on radio, such a pity as Harriet Schock, Randy Edelman, and the fake soundtrack for All This and World War II (a Beatles tribute album) contained songs that should have been big hits. What did hit off this album, on FM radio as an album track, is the brilliant duet by Ian Hunter and Ravan, the subtle and folky "Junkman." Released on Hunter's excellent Once Bitten Twice Shy CD on Legacy in 2000, the song and the performance are timeless. Ravan once said: "I was asleep with the tv on, and was saying to myself...that's my voice...that's my song...that's me! I woke up to find "Junkman" on TV in a film." The song got placed in a cable movie without the producer's knowledge! "Junkman" was a sound not heard on FM radio prior to its release, much like MTV's "unplugged" versions of songs, but it is more unplugged than most of this material -- take the rocked-out version of Motown that is the cover of Marvin Gaye's "Stubborn Kinda Girl," or the Springsteen-style blast that is "It's Me," a tune Springsteen should cover.

...And I Mean It is an amalgam of girl group, new wave, blues, pop, and folk-rock by Genya Ravan. To hear her exquisite voice on "Night Owl" soaring above her own backing vocals is intense, imagine Etta James backed by the Sex Pistols doing a rock version of "Earth Angel." Of all Ravan's work, ...And I Mean It is possibly the most concise and picture-perfect statement of what the woman is musically about. A girl group pioneer who worked with Richard Perry prior to his finding the Pointer Sisters groove, there is no doubt Ravan influenced that major producer, and his work did the same for her. "Pedal to the Medal" is high-end treble rock before it came into vogue. This is the other side of Siren, the album Genya produced for Ronnie Spector, with more emphasis on a good-time rocking party. "I'm Wired, Wired, Wired" is a rock & roll anthem for people who burn the candle at both ends, while "I Won't Sleep on the Wet Spot" embodies the unbridled sexuality of this album. The music crunches while Ravan uses her voice, her production skills, and her legacy to create something far removed from her days in Ten Wheel Drive. The horns are replaced by searing guitars and Charlie Giordano's magical piano work. The sound of the keyboard and its erratic splashes really are key to "I Won't Sleep on the Wet Spot," while the guitar and bass battle it out. "Steve...," on the other hand, is Goldie & the Gingerbreads ten years after. This Ravan/Conrad Taylor composition was the 45 from the album, and it has "hit" written all over it. 20th Century just didn't have the right mechanisms in place to get some of the great music they put out on radio, such a pity as Harriet Schock, Randy Edelman, and the fake soundtrack for All This and World War II (a Beatles tribute album) contained songs that should have been big hits. What did hit off this album, on FM radio as an album track, is the brilliant duet by Ian Hunter and Ravan, the subtle and folky "Junkman." Released on Hunter's excellent Once Bitten Twice Shy CD on Legacy in 2000, the song and the performance are timeless. Ravan once said: "I was asleep with the tv on, and was saying to myself...that's my voice...that's my song...that's me! I woke up to find "Junkman" on TV in a film." The song got placed in a cable movie without the producer's knowledge! "Junkman" was a sound not heard on FM radio prior to its release, much like MTV's "unplugged" versions of songs, but it is more unplugged than most of this material -- take the rocked-out version of Motown that is the cover of Marvin Gaye's "Stubborn Kinda Girl," or the Springsteen-style blast that is "It's Me," a tune Springsteen should cover.

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

The Orchestral performances were arranged and conducted by Michael Kamen the highly regarded and successful composer who had worked with Clapton previously (Lethal Weapon, Edge Of Darkness). The set list included the epic 30 minute ‘Concerto For Guitar’ that Kamen composed especially for Clapton - released now for the first time.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

The Clapton classics performed with the rock band include ‘White Room’, ‘Lay Down Sally’, ‘Wonderful Tonight’, ‘Pretending’ and ‘Layla’. The Orchestral show features a stunning version of ‘ Layla’, plus stand-out highlights of ‘Bell Bottom Blues’, ‘Edge Of Darkness’ and ‘Sunshine of Your Love’. Great covers of ‘Cocaine’, ‘I Shot the Sheriff’ and ‘Knockin’ on Heaven’s Door’ also feature. The 14-song Blues set includes standards such as ‘Sweet Home Chicago, ‘Have You Ever Loved A Woman’, and ‘Key To The Highway’.

The limited-edition ‘Definitive 24 Nights’ deluxe box sets include 47 songs and almost 6 hours of music on 6 CDs or 8 LPs and 3 Blu-ray’s.

Robin Saville - one half of the influential duo ISAN - returns to Morr Music with »Lore«, his fourth solo album to date. After 2020’s »Build A Diorama«, the British musician takes his love for field recordings, whirring pads, hovering bells and subtle electronics further, adding extra depth to both his sonic palette and his storytelling, focussing on biological diversity and its implications for human life.

For many years now, ›look and listen‹ has been Robin Saville's motto on his regular environmental explorations. The avid ambler does not just enjoy being out and about in nature; it is an important inspiration for his creative work as well. Sounds, smells, colours and even soil properties add to the experience. Equipped with a microphone and a recording device, Saville documents his strolls, using these recordings as a base for his compositions. »The field recordings on the album were made very locally this time, for obvious reasons,« he says. Welcome to the sonic landscape of the UK's East Anglia.

»Judith Avenue«, the opening track, is a great example of how Saville evolved his perspective on the sounds of nature: »It is a residential street, fading into a scrubby, wild landscape. There, I made a recording of nightingales at dusk. Such romantic birds! The males fly here from Africa a couple of weeks ahead of the females. They find a good territory, and at dusk, when all the other birds are going quiet, they start to sing to tempt the females down from their migratory flight paths. This has happened for thousands of years. However, the patch of ground where I made the recordings is earmarked for development and I don't suppose it'll happen there again. The recordings therefore become part of the history of that place, the lore.«

Recording the sounds of nature and enriching them with electronic sorcery, Saville is not only a documenting preservationist; he also translates these recordings into meaningful musical miniatures. Building on the soundscapes that marked his previous LP »Build A Diorama«, »Lore« is dominated by both open-hearted melancholy and more upbeat rhythms. But even when the music sounds quirky and loose, there is always deeper meaning. The album is characterised by an ever present melancholy about the threatening loss of living spaces, and a celebration of their beauty. This simultaneity turns the tracks into existential meditations about our human habitat. Saville enriches our lives musically by addressing the very issues we often ignore. At the same time, he becomes an agent of hope and change. Moving between light and dark, »Lore« is a musical allegory of where we stand today.

»The album is a document of places and times and while it is certainly a celebration of those things, it is also a record of things we are losing. That's how interaction with nature feels to me nowadays: something precious and amazing, but with an underlying sadness about the destructive relationship that humanity seems inevitably to have with the world around it.«

Let's not lose any more things.

In August 2020, following some typical delays at the plant, Fourth Dimension Records released the limited edition 2LP (and now sold out) set of Kleistwahr's This World Is Not My Home and Over Your Heads Forever albums, originally released by the same label in 2014 and 2016 respectively. Packaged together in a single sleeve with printed inners reproducing all the artwork found on the original CDs, the 2LP was always designed to represent the first volume in a series of them. This next volume gathers everything on the next two albums, Down But Defiant Yet and Acceptance is Not Respect, both also initially released on CD in, respectively, 2017 and 2018, and presented in the exact same way. 2017's long sold out at source album, Down But Defiant Yet, collects four lengthy cuts which catch Gary Mundy (also known for Ramleh, Breathless and Broken Flag Records) furrowing his distinct and recognisable take on a kinda contemporary psychedelia with dystopian leanings. Each piece nods towards the fug generated by certain ‘krautrock’ groups whilst retaining threads of those uncompromising power-noise surges he built his reputation on, this is music guaranteed to take you to new spaces before forcing you to nervously look over your shoulder. 2018's Acceptance is Not Respect collects two lengthy pieces themselves broken down into seven parts often tempered to the point restraint assumes new, often disturbed (and disturbing) psychedelic or even filmic, properties, this music arrives like a spitting and foaming scream into the insanity of the void and the myriad challenges and questions it inexorably keeps hurling at us. Whereas Ramleh captures the sound of at least two people dealing as best they know how with the constantly rising rivers of shit around us, Kleistwahr is akin to one man having scaled a great height poking out of an infinite chasm and wondering why he bothered. This is uneasy listening sometimes renderedvirtually elegiac by dint of a prowess rarely found in such realms. Of this, Gary himself quite prophetically, in light of how events have shaped the world since said, “I was trying to make the music more spiritual sounding this time as the album is about belief. The first half is about personal and political belief and the second half about religious belief. I was wondering about whether in the 21st Century, you can seriously get anyone to completely change their beliefs and [am] asking is there anything you believe that you would be willing to die for, and the difference between the way that most beliefs have been accepted/tolerated and [are] supposedly respected in recent times in [the UK]. Now our society is starting to break down, it becomes clear that that acceptance tends not to actually be the same thing as respect at all.”

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

The Orchestral performances were arranged and conducted by Michael Kamen the highly regarded and successful composer who had worked with Clapton previously (Lethal Weapon, Edge Of Darkness). The set list included the epic 30 minute ‘Concerto For Guitar’ that Kamen composed especially for Clapton - released now for the first time.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

Orchestral show features a stunning version of ‘ Layla’, plus stand-out highlights of ‘Bell Bottom Blues’, ‘Edge Of Darkness’ and ‘Sunshine of Your Love’. Great covers of ‘Cocaine’, ‘I Shot the Sheriff’ and ‘Knockin’ on Heaven’s Door’ also feature.

Angel Deradoorian and Kate NV are Decisive Pink - Ticket To Fame is their highly anticipated debut. After teasing the single 'Haffmilch Holiday' the duo amassed a rapturous response, with The Guardian calling it "a space-age-dancefloor swoon that brings to mind Kate Bush's Waking the Witch" and the New York Times highlighting the single as "substantive and thoroughly hypnotic". On their first LP they do not disappoint, calling on Kate NV's experimental pop leanings and Angel Deradoorian's taste for atmosphere and otherworldliness, Decisive Pink have created a playful and abstract album designed for escape and enchantment. Electronic pop at it's finest, the debut points to the fact that life is a puzzle, but you can still get a lot from living it. 'Destiny' is a smart take on the nature of belief, built on a question-and-answer format, where Angel plays a role as the seer, and Kate the enquirer. The poppy beat is reminiscent of Talking Heads' 'The Great Curve', from Remain in Light. There again, it could be a sinister take on Will Powers' 'Kissing with Confidence'. The synth squeaks, squelches and toots sound like the timid affirmation of the initiate. Ticket to Fame is also unashamedly romantic in atmosphere and tone. Romance is to be found in the simple pleasures, such as listening to a blackbird on the instrumental 'Rodeo', where warm synths, a melancholic guitar pattern and hissing rhythm combine with some vocal snippets to form a soothing contemplation. Then there is 'Ode to Boy'; a perfect pop track. The walking into the room of "more than just an ordinary boy" (doubtless "drunk with fire") allows a set of initially different, and shortened synth patterns to build to a glorious affirmation of the power of love. "Perfect pop music" Marc Riley, BBC6 Music And guess what? The vinyl comes in pink!

First ever commercial releases of New Orleans’ legend Alvin Batiste’s Spiritual Jazz albums created with the college band he instructed and led in Baton Rouge - Goes To Africa With Love and Live at The 1971 American College Jazz Festival Originally given away as souvenirs at Southern University, these albums contains deep Batiste originals and are some of the most sought after albums of Americas 70s jazz underground.

Each album contains extensive booklet detailing Batiste’s life and his time spent honing and recording this remarkable band of young students. Goes To Africa With Love was mixed from the original multi-track tapes and is now presented as a 2xLP with never-before-released instrumentals.

That one of the great Spiritual Jazz albums of the era could be found in duplicate New Orleans thrift store in the 1980s goes a long way in illustrating the lack of acclaim this special and overlooked album maintained, even in a city where the Batiste name is musical royalty. The Southern University albums Alvin Batiste offered the world were novelies, not worthy of serious consideration, a moment captured, but not necessarily worthy of being collected or preserved by anyone not immediately involved in its creation. That changes now.

With the release of the two Southern University albums, Now-Again continues a conversation begun with the late Kashmere Stage Band director Conrad O. Johnson and the issue of his high school students’ music as Texas Thunder Soul, and the continued belief that beautiful music created by youth - even under the most adverse circumstances - can always inspire us.

In February 2017, Midnight Oil announced The Great Circle World Tour from the Sydney Harbour. The tour was the band’s first in over 15 years, commenced in Sydney, travelled to 16 countries, completed 76 performances in six months and concluded at The Domain in November 2017. The performance of their final show at the Domain was recorded and now available on 3 LPs. They performed both their gigantic solo hits, such as “Beds Are Burning” and “Blue Sky Mine”, as fan favourites like “Read About It” and “Only the Strong”. It’s a fantastic live experience full of energy and with much attention to their often political subjects. Armistice Day: Live At The Domain, Sydney showcases Midnight Oil at their absolute finest.

This release is available as a limited edition of 2000 individually numbered copies on transparent red vinyl and the package includes an extensive 12-page booklet.

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.

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.

World-renowned saxophonist Chris Potter releases a brand new recording of music live from the legendary New York venue: the Village Vanguard. Capturing moments from Chris’ annual residency (recorded 2022), the new album features an all-star band comprising Craig Taborn, Scott Colley and Marcus Gilmore. Reimagined folk tunes (Nozani Na, Olha Maria), powerful spirituals (Got the Keys to the Kingdom) and uncommon jazz standards (Blood Count, Klactoveedsedstene) make the final cut from the multi-night residency. Expect high energy, intensity, technical brilliance, effervescent joy and a snapshot of one of the world’s greatest saxophonists in his element.

Superb 45 featuring two Hammond-led instrumentals. The A-side is taken from The Guy HamperTrio's second long player due out on Hangman Records. The B-side is exclusive to this release. 'Man in the Mouth of a Cave' - I have painted St. Cuthbert's Cave, Northumberland on many occasions and decided that it was imperative that I write a great jazz /beat theme all about it. (Important info: After Viking raids monks from Lindisfarne wandered the north-east carrying the body of St. Cuthbert. Legend has it that they took refuge in 'St. Cuthbert's Cave.') I wrote the song with my friend Jamie Taylor in mind to have his way with it, which he does to thunderous applause - I should imagine. '107 Sleepless' is a tune I wrote in the early 1980s when me and Mick Hampshire would stay up the entire weekend writing songs for our group The Milkshakes. (We lived at 107 Rochester Street, Chatham.) About 3am Sunday morning we would be flagging and sitting there senseless. I would play this jazz riff over and over for some unknown reason. Meanwhile it should make a nice theme tune to some yet to be written HBO series and make me a millionaire - I should imagine. GUY HAMPER - APRIL 2023

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.

After a year of scheming and crafting, building and destroying, Maisie Peters is ready to share what she’s been conjuring up – her brand new album ‘The Good Witch’, arriving via Gingerbread Man Records/Asylum on June 16th.

Recently heralded by vulnerable lead single, ‘Body Better’, Maisie’s second studio album ‘The Good Witch’, is the official follow-up to her No. 2 BRIT Breakthrough certified debut, ‘You Signed Up For This’, and in many ways the older, wise and scorned counterpart.

Exhibiting a newfound confidence, sharper storytelling and greater artistic ambition, Maisie created ‘The Good Witch’ across London, Suffolk, Stockholm, Bergen and LA, alongside the likes of, Oscar Görres (Taylor Swift, Troye Sivan), Two Inch Punch (Sam Smith, Jessie Ware), Matias Tellez (girl in red), Brad Ellis (Jorja Smith, Little Mix), Joe Rubel (Ed Sheeran, Tom Grennan) and Elvira Anderfjärd (Tove Lo, Katy Perry).

Craft Recordings kündigt die Veröffentlichung von Go West! The Contemporary Records Albums an, eine neue 3-LP, die Sonny Rollins’ Schaffen für Lester Koenigs angesehenes Jazz-Label in Los Angeles erkundet.

Neu geschnitten von den analogen Originalbändern durch den GRAMMY®-gekrönten Tontechniker (und ehemaligen Contemporary Records Studio-Mitarbeiter) Bernie Grundman.

Bernie Grundman (ehemaliger Studioangestellter bei Contemporary Records) aus den analogen Originalbändern herausgeschnitten, präsentiert das 20-Track-Set zwei klassische Alben aus dem Katalog des legendären Saxophonisten: Way Out West (aufgenommen im März 1957) und Sonny Rollins and the Contemporary Leaders (Oktober 1958). Sechs alternative Aufnahmen, die aus beiden Alben stammen, bieten zusätzlichen Kontext. Ursprünglich 1986 auf dem lange vergriffenen Kompilationsalbum Contemporary Alternate Takes
veröffentlicht, ermöglichen diese Tracks den Zuhörern zu hören, wie Rollins und seine Mitmusiker ikonische Aufnahmen wie ”Way Out West” und ”Come, Gone” entwickeln.

Die 3-LP-Edition (gepresst auf 180-Gramm-Vinyl) erscheint am 23. Juni

Following weeks of anticipation after an already banner year for the Hot Spitta, Curren$y gifts fans with his third release of 2022, The Drive In Theatre Part 2, the next installment in the cult fan favorite series. The 21 track album features appearances from Rob49, Fendi P, Dash, URA, Blü, I’sis, Premo Rice, and Jade Angelle, and sees production from Kino Beats, Trauma Tone, Harry Fraud, Cookin Soul, and more. In traditional form, Curren$y skates over smooth, jazz-infused beats and delivers a perfect album to put on and let play out while relaxing or working. If it wasn’t already clear, it’s safe to say that Curren$y is one of the greatest to ever do it. How many more timeless classics do you need?