folk . americana . blues . r&b . rock&roll


Genre pick of the week Cover of Native North America (Vol. 1): Aboriginal Folk, Rock, And Country 1966–1985 by Various Artists.
As featured in the Piccadilly Records End Of Year Review 2014 Top 20 Compilations, this comes with a free Piccadilly End Of Year CD sampler. Click HERE for more info.

Largely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of 'Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985'. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, Light In The Attic’s most ambitious and historically significant project in the label’s 12-year journey.

Native North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. You’ll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup’ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. You’ll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony.

The stories behind the music presented on Native North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator Kevin “Sipreano” Howes in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface.

With cooperation and guidance from the artists, producers, family members, and behind the scenes players, Native North America (Vol. 1) sheds real light on the painful struggles and deep traditions of the greater Indigenous community and the significance of its music. The songs speak of joy and spirituality, but also tell of real tragedy and strife, like that of Algonquin/Mohawk artist Willy Mitchell, whose music career was sparked by a bullet to the head from the gun of a trigger-happy police officer, or those of Inuk singer-songwriter Willie Thrasher, who was robbed of his family and traditional Inuit culture by the residential school system.

Considering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, it’s bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded. Dedicated to legendary Métis singer-songwriter and poet Willie Dunn, featured on the anthology but who sadly passed away during its making, Native North America (Vol. 1) is only the beginning. A companion set featuring a crucial selection of folk, rock, and country from the United States’ Lower 48 and Mexico is currently in production.


3xLP Info: Includes a free EOY 2014 CD sampler. Deluxe 3xLP set includes 60 page book with comprehensive liner notes, artist interviews, unseen archival photos, and lyrics (with translations), housed in a “Tip-On” slip case with three “Tip-On” jackets.

2xCD Info: Includes a free EOY 2014 CD sampler. Deluxe 2xCD set features a hard-cover 120 page book with comprehensive liner notes, artist interviews, unseen archival photos, and lyrics (with translations)

Julee Cruise

Floating Into The Night - 180g Vinyl Edition

    “Floating Into The Night” is the 1989 debut album by vocalist Julee Cruise featuring songs written and produced by composer Angelo Badalamenti and film director David Lynch (who wrote the lyrics). The songs "Falling" and "Rockin' Back Inside My Heart" were both featured in Lynch's cult television series Twin Peaks, while "Into the Night", "The Nightingale" and "The World Spins" also appeared in the show. The instrumental version of “Falling” was the theme song for Twin Peaks while the album as a whole is almost an unofficial soundtrack to the series. The track “Mysteries Of Love” was prominently featured in Lynch’s classic film Blue Velvet. Cruise’s dreamy, light vocals match perfectly with the music and lyrics to make this album sound like it is unattached to any era or time. Reissued on 180 gram vinyl with a double sided insert by Plain Recordings.


    Andy says: A damn fine record!

    "Alice Gerrard has one of those voices that harkens back to the likes of Sara and Maybelle. She is the real deal with the right stuff and hasn't forgotten where country music came from."- Emmylou Harris (June, 2014) .

    The trailblazing folksinger famously collaborated with Hazel Dickens. Their classic recordings for Folkways and Rounder in the '60's and 70's "rank among the most influential recordings in folk music history," (All Music Guide), and laid the groundwork for many artists, especially female bluegrass and folk musicians. 'Follow The Music' features traditional tunes and original songs by Alice, produced by Hiss Golden Messenger's M.C. Taylor, and features members of Hiss Golden Messenger and Megafaun.

    Steve Gunn

    Boerum Palace

      Boerum Palace is Steve Gunn’s second album, originally released in 2009. The album starts off with a headlong rush into the hypnotic “Mr. Franklin”. Gunn’s fluid playing style, especially as portrayed within this track, provides ample space for the development of infectious musical themes. The track ends in a dextrous duel between Gunn’s guitar and guest Marc Orleans’ (of D. Charles Speer & the Helix, Sunburned Hand of the Man) vicious pedal steel.

      The album mixes Gunn’s long-form blues / raga / psych explorations alongside briefer cuts that equally display his songcraft. These tracks, such as “Variation II” and “Jadin’s Dream,” demonstrate that Gunn is equally confident with shorter or longer compositions. Gunn’s voice is joined by an ethereal turn from the Vanishing Voice’s Heidi Diehl on the album’s central and haunting “House of Knowledge.” The track opens with a building central guitar theme.

      This theme allows Gunn to layer on further guitar explorations. The tone set by these musical themes builds into the duo’s vocal delivery that delivers volumes despite being uttered in gentle tones. Other highlights include “Cryin’ Eyes,” an inspired reworking of J.J. Cale’s “Crying Eyes” featuring backing instrumentation from Marc Orleans, and the richly textured album finale “Mustapha’s Exit.”


      Ltd LP Info: This latest pressing of Boerum Palace is pressed on purple/white colour vinyl. Included is a free download card and insert.

      To be a woman singing your own blues and soul songs in 1960s Texas was a rare thing. To do so while brandishing a left-handed Stratocaster and bashing out hard-edged licks was even rarer. Yet that’s just what Barbara Lynn did, inspired by Guitar Slim, Jimmy Reed, Elvis Presley and Brenda Lee. And it was a hit: her 1962 debut single, “You’ll Lose A Good Thing,” recorded with session musicians including Dr. John, gave her an R&B chart Number One and a Billboard chart Top 10 hit.

      It was a path that Lynn chose at elementary school in 1940s Beaumont, Texas, when she told her mother she wanted to play guitar. “I decided that playing piano was a little bit too common, you know what I mean?” says Lynn in the new liner notes. “You’d always see a lady or a little girl sitting at a piano. I decided I wanted to play something more unexpected, so that’s when I got interested in learning to play the guitar.” Self-taught, first on the ukulele and then on a guitar, Lynn formed her first group, Barbara Lynn and Her Idols, while still at school and soon took the local scene by storm. Hers was a powerful talent in a petite package, a performer who could stand up against the best - even as a teenager.

      Spotted while performing, underage, in Louisiana, she was offered the chance to record her own material, songs that filtered the experience of being a black Texan teen with power, feel, and guts. Ten of the twelve tracks on her debut album were her own compositions. “It took a lot of time,” Lynn remembers of the recording process, “but we got ‘Good Thing,’ we got our hit. I loved it. I loved meeting the new musicians; a lot of the guys who played on that record became friends. And seeing how the engineers worked and how they produced the sounds, all of that was really interesting to me.”

      The success of that single took Lynn out on the road with the likes of Stevie Wonder, Gladys Knight, BB King, Supremes, Chuck Berry, Guitar Slim, and The Temptations. BB King even wrote a letter to Lynn’s mother to tell her what a talented daughter she’d raised. She appeared at the Apollo Theater, she was twice on American Bandstand, and one of her songs, “Oh Baby (We’ve Got A Good Thing Goin’)” was covered by The Rolling Stones.

      The record was conceived as an introduction of Lynn’s prodigious talents, her deeply felt guitar playing, her gutsy soulful singing skills, and her songwriting prowess. It collected her early hit and a raft of new songs, each packed with Lynn’s passion and fire. Yet the introduction to her world - now reissued by Light In The Attic - largely proved to be her swansong. She married in 1970, aged 28, had three children, and semi-retired from the music industry for most of the 70s and 80s. Now touring again, she’s amused to think of her 46 year-old album gaining new fans. “I hear this album, and it seems like… it seems like the old times to me,” she says. "I don’t know, it’s strange to know it’s coming out again. It is going to be a wild, first time thing for me, like going back in time. But I’m excited to see what happens.”

      Joni Mitchell

      Through Yellow Curtains (The Second Fret)

      •This package contains the earliest recordings of Joni Mitchell
      •Includes key material including Both Sides Now, Chelsea Morning and other key songs that appeared on the first four Joni Mitchell studio albums •Also included is a rare live radio performance of the Neil Young song Sugar Mountain
      •Rarely Seen Photographs
      •Liner notes by Broadcaster/Author Jon Kirkman
      •Presented In Cardboard Gatefold Sleeve.

      Joni Mitchell is one of the great singer songwriters of her age. Her career began in the sixties through the folk clubs and coffee houses where she learned to project as an artist and perform the unique songs she wrote. Coming to the attention of many through other artists’ interpretation of her songs such as Tom Rush, Judy Collins and in the UK Fairport Convention, Joni was able to sign to Reprise records and with the release of her debut album Songs To A Seagull in 1968, which was produced by David Crosby, emerged as one of the pioneers of the American singer songwriter movement. Joni Mitchell however was never able to stay in one place and re wrote the book on song composition and performance and soon moved away from the folk roots many saw her as occupying. Through a series of hugely successful albums both artistically and commercially, Joni Mitchell’s career extended through the sixties and up until 2007. Joni Mitchell also toured extensively throughout the seventies and eighties both as solo artist and with bands. More famously she recorded with Tom Scott’s L.A.Express and recorded the live album Aisle of Miles in 1974.

      Latterly she performed with a band made up of the cream of the jazz movement including Jaco Pastorius and guitarist pat Metheny, Don Alias and Lyle Mays. Key albums from the late sixties and seventies were Ladies of The Canyon, Blue, Court and Spark, The Hissing of Summer Lawns and Hejira and at the end of the seventies a collaboration with Charles Mingus on the Mingus album which was to be the last recorded work Charles Mingus undertook before his death in early 1979. On through the eighties and signing to a new label Geffen, maintaining the link with David Geffen whose Asylum label was her home for most of the seventies she continued to make critically acclaimed albums such as Wild Things Run Fast and Dog eat Dog. Her final studio album to date Shine was released in 2007.
      The performances contained on this release are probably among the earliest documented performances from Joni Mitchell which were captured at the celebrated Second Fret Club in Philadelphia. Joni Mitchell performed at the club a number of times between 1966 and 1968 and these performances were recorded for later transmission on a local radio station. They were once more broadcast in part during the eighties as part of a Joni Mitchell radio documentary.

      The first disc comes from a performance in 1966 and includes many songs that would eventually appear on future Joni Mitchell albums and also songs that had been covered by other people such as The Circle Game and Both Sides Now The second disc is made up of performances again at the Second Fret Club with the first seven tracks coming from an engagement in March 1967. The next five tracks are from a further engagement some nine months later in December 1967 and like the first disc these two performances feature songs that would appear on later Joni Mitchell albums and songs that had been covered by others such as Chelsea Morning. The final track comes from a radio broadcast in late 1967 and features Joni performing a cover of the Neil Young song Sugar Mountain. Whilst the quality of this performance sonically is not up to the standard of the previous tracks we felt it important to include due to its rarity.

      The Phrogs

      Baby I'm Gone

      Southend-on-Sea band, The Phrogs were a regular fixture as the live band in Mod and 60s clubs in the mid to late 90s. 
      Crocodile Records now release this neat little slice of rhythm'n'blues from the band, recorded back in 2001 at the legendary Toe Rag Studios.

      Piccadilly Records

      End Of Year Review 2014

        Back in the day, confronted from October onwards by a raft of Christmas-related albums from the major labels, and barely a squeak of a release from the independents, we decided to compile our own top 50 albums of the year, and promote that over the festive season instead.

        Nearly two decades on, and with the arrival of the World Wide Web, Piccadilly Records Top 100 has become one of THE essential end of year charts to check out. Our End Of Year Review booklets have also become increasingly sought-after, and now come packed with our Top 100 albums, Top 20 compilations, Top 20 reissues/collections, staff charts and reviews of our favourite albums all wrapped in lush artwork (perfect bound this year!) by Piccadilly pal Mark Brown ( The perfect read for any music lover over Crimbo.

        This booklet is free instore or just 1 pence (plus p+p) via the website. Or if you prefer, you can view it online here as a PDF (be warned though it's a large PDF file so it's probably not worth trying to download this on your phone!)

        Enjoy the read!

        Please note: If you're ordering this on its own you will be charged our standard rate of postage and packing for sending a CD/7".

        Della Reese

        A Clock That's Got No Hands / Come On-A My House

        Della Reese was born Delloreese Patricia Early in Detroit, Michigan in 1931. She was discovered singing gospel, by Mahalia Jackson and had a successful career throughout the fifties singing gospel, jazz and pop standards, finally scoring a Top 20 hit in 1957 with “And That Reninds Me” for Jubilee Records. She signed to RCA in 1959 and topped the R&B charts with “Don’t You Know?” which became her signature song. In the sixties she hosted her own chat show, Della, also the name of her Grammy nominated 1960 album. Here Outta Sight feature her 1964 RCA cut “A Clock That’s Got No Hands” that had remained an obscurity until popularised on the northern soul scene by DJ Dave Rimmer. Combining 60s soul and 60s pop, this is an absolute cert for the dancefloor. With its cheeky fruit-themed vocal and 'Come On-A My House' is sure to please the popcorn crowd with its tropical pop sounds.

        Caribbean Audio Odyssey is a reflection of Stag-O-Lee’s love for early Jamaican music. When one traces back the roots of SKA to the early sound systems and Mento it needs not genius to discover Calypso! Here’s 10 little jewels from the 50s - recorded in Jamaica, Trinidad, Tobago and Bermuda. If you don’t enjoy ‘em, consult a doctor!

        “Calypso, the infectious rhythms and melodies of the Caribbean area originated in Trinidad. It is really the musical expression of the Afro-West-Indian population. There are various explanations for the origin of the word “Calypso”, but it is most likely that it stems from the African word “Kaiso”, which means BRAVO. The lyrics (in a dialectic English) and the melody are usually made up at the spur of the moment. The words very often have a double meaning. The topic is sex, but frequently deals with current events of social and political happenings. The rhythms are enticing and therefore popular for dancing.” (Linernotes)

        Calypso in the Caribbean includes a range of genres, including: the Benna genre of Antiguan and Barbudan music; Mento, a style of Jamaican folk music that greatly influenced ska and reggae; Ska, the precursor to rocksteady and reggae; Spouge, a style of Barbadian popular music; Cadence-lypso, which mixed calypso with the cadence rampa of Haiti and Dominican traditional music; and soca music, a style of Kaiso/calypso, with influences from Cadencelypso, Soul, Funk and Indian musical instruments.

        Various Artists

        Music From Planet Earth Volume 2

          Each 10" comes with a signed & numbered 24 x 24 cm screenprint of the front cover drawn by well-known artist Marcel Bontempi! It's a perennial starting point for conspiracy theories. Alien intervention solves everything. Things from other planets are a sustainable reason to many unanswerable questions and, across the music industry in the late '50s and early '60s, in the wake of a slew of space-based exploitation movies, a series of 45s and suitably unearthly concept albums emerged to capitalize on this burgeoning, bizarre and mysterious idea.

          Various Artists

          The Travelling Archive - Folk Music From Bengal: Field Recordings From Bangladesh, India And The Bengali Diaspora

            - Sublime Frequencies presents a wide variety of folk music of the Bengali people including Baul music.
            - Field recordings from Bengal Province, India and the lowlands of Bangladesh.
            - Recorded and researched by Moushumi Bhowmik and Sukanta Majumdar.
            - Limited edition LP comes in a tip-on jacket with a two-sided insert with liner notes and photos.

            The Travelling Archive is a journey through the folk music of Bengal. It is run by Calcutta-based Bengali singer, writer and researcher, Moushumi Bhowmik, and sound recordist and sound designer, Sukanta Majumdar.

            They have been making field recordings of songs and stories across Bangladesh and eastern India, even the Bengali diaspora in East London, since 2003; documenting and disseminating their research through archives, presentation-performances, art works, and their own independent record label and web site.

            Moushumi and Sukanta get out there, travel all over, become friends and live with the musicians, record them in their homes and villages, on their rivers, in their tea shops and work fields. Bengal, which includes Calcutta, India, Dhaka, Bangladesh, and more than 250 million people, is an amazingly diverse yet unique region, home to some of the largest cities in the world and plenty of uncategorizable and diverse folk music, including those wandering minstrels, the Bauls.

            The music and instrumentation presented on this LP features solo voice and chorus vocals, harmonium, dotara (four-string fretless lute), ektara (traditional one-string drone instrument), dugi (small kettle drum), bamboo flute, violin, and even an empty popcorn tub played like a drum.

            This is a diverse and magnificent sampling of what remains a massive archive of folk music from this region and Sublime Frequencies hopes to continue to release additional volumes in the future.

            Produced for Sublime Frequencies by Robert Millis, this limited edition LP comes in a tip-on heavy jacket with insert containing liner notes and photos.

            RT @MrPaulRobinson: I'll tell you who's looking forward to Black Friday
            Thu 27th - 10:29
            RT @renster_jen: ONE OF THE LPs of the year back in stock at @PiccadillyRecs #garthbe
            Thu 27th - 10:19
            RT @p_w_s86: Went to do some Christmas shopping but bought three records from @PiccadillyRecs instead. This year I'm giving the gift of fu…
            Thu 27th - 10:18
            RT @StevenJLindsay: My spends @PiccadillyRecs has an effect “@NME: UK vinyl sales top 1m for first time since the '90s
            Thu 27th - 10:18
            E-newsletter —
            Sign up
            Back to top