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Lonnie Liston Smith & The Cosmic Echoes

Expansions / A Chance For Peace

    THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    First time this ground-breaking release has been available on 12" for four decades. 180g

    Lee "Scratch" Perry

    Big Ben Rock (Woodie Taylor Remix)

      THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      https://soundcloud.com/wiaiwya/lee-scratch-perry-big-ben-rock-woodie-taylor-remix/s-oum1j Limited to 700 copies on green vinyl 7” with download code. Lee Scratch Perry releases new single. London indie label wiaiwya is equaly baffled and thrilled to be putting out the new single from LEE SCRATCH PERRY. From the opening chimes of the famous bell (silent now until 2021) to the closing gongs and bongos, this is a rockabilly big beat glam ragga rock headrush, with a nod to Sergio Leone... exactly what you would expect when Woodie Taylor remixes Lee Scratch Perry, fronting Morrissey’s sometime band... "Give me a rock beat, like Meatloaf..." Not a request that you get every day but then it's not every day you're taking orders from the legend that is Lee Scratch Perry! I lived near the Mad Professor's studio in South London and had sold him a few bits of recording equipment. He knew that I had played drums with Morrissey, that I was a reggae fan and asked if I'd be interested in playing on a session. I'd started doing a bit of production and when the track didn't get round to getting finished they agreed I could remix it. This is the fruit of my labours, with contributions from Boz Boorer (Morrissey/ Polecats), Jonny Bridgwood (Morrissey/Marianne Faithful) and Anthony Miller (Data/Friday Club). There's simply not enough Big Ben rocking these days and remember: "If you don't rock you're gonna get a big shock!" Woodie Taylor, 2019. Lee Scratch Perry founded Upsetter Records in 1968.He pioneered Dub, produced Bob Marley, allegedly burnt down a studio, and worked with the Mad Professor, the Clash, Adrian Sherwood and the Beastie Boys. Woodie Taylor has been rockin' on record since the early 80's. He first appeared on 45 as a member of the Daleks, then drummed for psychobilly legends the Meteors. In the '90's he was in Drive (with, the soon-to-be All Saint, Melanie Blatt). He played on Morrissey's Vauxhall & I LP and has provided the rhythmic backbone of cult Indie heroes Comet Gain for two decades. He has produced albums by Love Is All, Comet Gain, Proper Ornaments and Shrag. Boz Boorer has been Morrissey's co-writer, guitarist and musical director for the best part of three decades. He is also a founding member of rockabilly legends, The Polecats. Jonny Bridgwood played bass on three Morrissey albums and double bass on five Kathryn Williams albums. He has worked with Siouxsie Sioux and Adam Ant and toured with Marianne Faithful. Anthony Miller - Played trumpet with the Friday Club and appears on their very collectable 2 Tone single, Window Shopping. Was a member of the 90s Sirkus Records artists Data, along with Woodie Taylor and recording industry supremo Nick Huggett. The record was mastered by Graeme Durham, who has also worked on discs by Grace Jones, Bob Marley, U2, Fourtet, King Tubby and Frankie Goes to Hollywood… Track listing A Big Ben Rock (Woodie Taylor Remix)’ B1 Steady B2 J'ai Tout Lu

      Lou Reed

      Ecstasy

        THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        Heavyweight Double LP reissue of Lou Reed’s 18th and final (non-collaborative) solo rock album “Ecstasy”, released in 2000.

        Lydia Ainsworth

        Phantom Forest

          Lydia Ainsworth’s 3rd album, Phantom Forest, introduces a lush, complex dream world that the singer, composer, and producer created and inhabited largely on her own. She produced all the songs, and wrote and performed everything on the self-released collection outside of a re-imagined cover of Pink Floyd’s “Green is the Color” and 2 other tracks (“The Time,” “Give It Back To You”), which started as instrumentals written by Survive’s Kyle Dixon (who composed the Stranger Things soundtrack with his bandmate Michael Stein), to which Ainsworth wrote melodies and added lyrics. Ainsworth, who’s relocated to Los Angeles from Toronto since 2017’s Darling of the Afterglow, explains that the collection revealed itself to her “as a play taking place in Mother Nature’s vanishing home,” aka Phantom Forest, and that she’s singing from 3 perspectives: herself, Mother Nature, and Greek Chorus.

          For instance, of the album’s opener, “Diamonds Cutting Diamonds,” she explains: “The Greek Chorus sets the scene, narrating and offering direction on how to enter Phantom Forest. It’s my hope that the listener will imagine the narration to be directed to them as well, as they begin the journey of the album.” You’ll get a sense of this from the collection’s edenic cover art and the playful, pastoral video for the album’s first single, “Can You Find Her Place.” Its inspiration came from Ainsworth’s love for Italian Renaissance painter Botticelli’s 15-century masterpiece “Primavera,” an allegorical representation of the burgeoning fertility of the earth in spring. She notes: “The video features the Greek gods of the painting in a choreographed Baroque style dance.”

          Keeping with the personal feel of the collection, her sister Abby Ainsworth directed the clip. In line with the classical and historical depths of Phantom Forest, Ainsworth, who holds a Masters Degree in film scoring composition from NYU and studied composition as an undergrad at McGill, notes that although the album might be considered pop, she approached it as an orchestrator. “Even if I’m dealing purely with synths,” she says, “The songs are like a score, each one an evolving journey. I love to use strings so I’ve included my string arrangements on ‘Tell Me I Exist’ and ‘Can You Find Her Place.’ I recorded live musicians on drums, bass, and guitar on ‘Edge of the Throne,’ ‘The Time,’ and ‘Floating Dream,’ and wove those live elements into my programmed elements.” Phantom Forest is a beautiful, vast collection that mixes the historical and the hands on, with hooks about the apocalypse and people obsessively using face-recognition software to see what paintings their face match with, in search of some kind of connection. It’s a journey that holds up to close listening (and lyric reading) and to dance floors, but that can also exist on a purely emotional plane. In all cases, it asks that you listen, and take some kind of action. 

          Lydia Ainsworth

          Darling Of The Afterglow

          ‘Darling Of The Afterglow’ is Lydia Ainsworth’s sophomore record and follow up to the Juno-nominated and critically acclaimed ‘Right From Real’ (2014).

          The album features a team of local Toronto musicians, woven into Ainsworth’s programming, samples and string arrangements. “I usually have to be out of my element to get that spark of inspiration,” she says of songwriting. The songs on ‘Darling Of The Afterglow’ were all begun away from home, before being brought to fruition in her hometown.

          Mixing yearning pop with other-worldly synthetic sounds, plush classical settings and weird-gothic R&B influences, Lydia Ainsworth’s new album is a richly imagined, richly felt work of future-pop classicism: an album of intimate emotions projected in heightened widescreen. The stunning, 11-track ‘Darling Of The Afterglow’ - from the lush lullaby of ‘Afterglow’, to the immersive ‘Into The Blue’, to the masterful cover of Chris Isaak’s ‘Wicked Game’ - showcases a great leap forward from Right from Real’s already prodigious experi-pop riches.

          Lily Ann

          Going Crazy

            Ciao ragazzi e ragazze! This is Piccadilly's resident Italophile, here to spice up your dancefloor life all over again. As Best Records continue to take us on an official tour of essential Italo reissues, the label raid the (now defunct) Eyes Records archive to treat us to a remastered rerun of the finest boogie bomb to come from Il Bel Paese. The work of signori Carugati and Greico, "Going Crazy" first flipped the dancefloor in 1984, turning the tide on the flow of cheesy BS with sheer bassline power, raw white funk and pure sex appeal. Silly, synthetic and partially robotised, this is club music for the sophisticated dancefloor. Alongside the vocal and instrumental of the original release is a brand new (old) dub, unearthed during tape transfer. Though it doesn't stray too far from the original mix, the brain shredding fx abuse may well make this the mix to pick! Gustare!

            FORMAT INFORMATION

            12" Info: I COPY FOUND!

            Leda Annest

            Portrait Of Leda

            Rare exotica album from 1958 on Columbia's 'Adventures In Sound' label by this monster abstract vocalist Leda Annest! Backed by orchestral and kitsch tiki music composed by Phil Moore, Annest uses her voice as an instrument in a strange and somewhat scary way. If you like Diamanda Galas or Yma Sumak, check this out!

            FORMAT INFORMATION

            LP Info: Original sleeve artwork with hilariously pretentious sleeve notes!

            "As one man findeth shelter under the eaves of his neighbour’s wife, so shall he be plagued by the sparrow. And lo, where fields of wheat once grew lush upon the soil, lies now the infernal desert of the pestilential sparrow." - Lawrence Arabia, 2012

            Introducing the new album from New Zealand singer / songwriter / producer Lawrence Arabia. The Sparrow is Lawrence Arabia's third solo album, the evocative follow up to the critically acclaimed and award-winning Chant Darling. Venturing away from the harmony-laden, classic pop production of Chant Darling, The Sparrow is a more measured and minimalist work, drawing particularly on the influence of the symphonic late-sixties work of Scott Walker and Serge Gainsbourg.

            The songwriter, known to his bosom compadres as James Milne, explains: "I'd been turned off the infinite possibilities of Pro Tools production by the process of making my last album. You can mimic any sound from any part of pop history and stack them up on endless tracks and edit them in endless ways. It's maddening. Instead I became totally enamoured with the mystique and aesthetic limitations of these late-sixties and early-seventies records where there was so much space in the arrangements and you can really luxuriate in the sounds of individual instruments."

            While various ominous words like "mature" and "serious" come to mind, there are still strong traces of the witty pop songwriting that defined the first two Arabia albums. "Travelling Shoes" is a recollection of a young man (not unlike the young James Milne) defining himself against the prevailing culture of his provincial upbringing. "The 03" muses on the same character's possible shameful return to that same setting having gone out into the world to achieve his dreams, and failed...

            The material for The Sparrow was accumulated throughout 2010, while Lawrence and his band The Prime Ministers toured in support of Chant Darling. Images like the "crude moustache, exposed brains" seen on a poster of Zac Efron in the New York subway, the jaded conversation with the Tom Tom on a rainy British motorway, "the last breaths" of a London house party that dragged on just a little too long, were collected throughout the year as context-free scribbles in a diary, waiting for songs to attach themselves to.

            These images found homes during a fairly frenzied period of writing in borrowed lounge rooms and rehearsal spaces at the end of another abject London summer. During the same period, the enigmatic title "The Sparrow" surfaced and became some kind of mysterious guiding image for the aesthetic of the album, the angst of the inexorably approaching thirties, represented in the form of a small, malevolent bird... God knows why.

            In late 2011, with Elroy Finn and Connan Mockasin, Lawrence recorded the basic tracks for these new songs, live, at a large house in Surrey that became known as the Japanese Academy. Strings and horn overdubs were added in a couple of sessions at Auckland's Roundhead Studios. The Sparrow was produced and mixed by Lawrence Arabia.

            Luis Enriquez Bacalov

            L’amica (O.S.T.)

            L'AMICA (1969) is an intriguing Alberto Lattuada film starring Lisa Gastoni  Gabriele Ferzetti, Elsa Martinelli, Ray Lovelock, Jean Sorel and Frank Wolff.  
            This stunning soundtrack highlights the excellent piano technique and the jazz stylings of Bacalov mixed with exotic and erotic atmospheres characterized by extraordinary orchestration, harp, congas and the typical persuasive vocalism of those years (all by the great Nora Orlandi). It’s followed by "Rio, Zona Sul", refined samba-jazz on a massive percussive tapestry. "'Round Nassau” offers an elegant and dreamy atmosphere in Les Baxter’s style adding flute and female wordless vocals. "Swingin' easy in Tanganyika" is another extraordinary jazzy piece, primarily piano and drums with flourishes of resplendent fute. The side is closed by a previously unpublished version of the theme that was not included on the original Fonit Cetra LP.
            The B-side rearranges the themes in a more melancholy and symphonic style without renouncing jazz as in the gem “Episodio in 3/4". The ballad "The Bitter Truth" is sung by Fiorenza Mormile in English.

            Recorded in Nashville, Tennessee at Battletapes with engineer Jeremy Ferguson and producer Tim Kerr, Lee Bains III & The Glory Fires' Youth Detention captures the band in raw form. Each song was cut live to tape, with the four performing in the same room without headphones or baffling.

            The result is thoroughly human, Lynn Bridges' mix retaining the band's live energy and looseness at the expense of a few out of tune strings. The Glory Fires music draws deeply from punk, but also soul, power pop, country, and gospel. Its equal parts careful curation and geographic inheritance. Its the sound of my place, says Bains. I want to know it. I want to argue with it. I dont want to be a band from anywhere that could be doing anything. For me, thats what punk is about -- figuring out who I am and how to be the best version of myself. I cant do that by pretending to be something Im not.

            The songs are deeply rooted in Bains experience of his hometown, Birmingham, AL. Youth Detention depicts a Southern city in the decades surrounding the turn-of-the-millennium: in the throes of white flight, urban disinvestment, racial tension, class struggle, gentrification, gender policing, homophobia, xenophobia, religious fervor, deindustrialization, and economic upheaval. The lyrics could ring true anywhere, though. The South exists in the world and, like the South, the world is increasingly beholden to many of these same tensions and forces. The songs on Youth Detention are meant as small acts of resistance to those systems. Documenting minor moments -- the refusal to sit quietly through a display of bigotry, the act of quieting down and listening to somebody's struggle, sticking up for friends targeted for their difference -- that, hopefully, serve as the beginnings of a more profound awakening.

            Laura Baird

            I Wish I Were A Sparrow

              With a musical timeline dating back to her early childhood, Laura Baird is an exceptionally talented multiinstrumentalist and singer-songwriter, best known for her projects with her sister, Meg, as The Baird Sisters, and guitarist Glenn Jones. Baird’s own sound stems from the Appalachian folk tradition, and she connects to it via family lineage—her great-great uncle I.G. Greer’s folk recordings for the Library of Congress are a large influence. Also woven in are classical composers like Bach and Satie, and modern day musicians such as Opal and Yo La Tengo.

              With this debut solo album, I Wish I Were A Sparrow, Baird plays odes to the traditions from which she learned, combining Appalachian balladry and the roughness of old field recordings, but there is also a dose of dreaminess and solitude that captures sleepy central New Jersey. This is where she departs from tradition, leaving the communal origins of folk music to capture the singular self. The lyrics also present an amalgam of old and new, with half of the songs, including “Dreadful Wind and Rain” and “Pretty Polly,” being passed down from the folk tradition, and the other half, including “Wind Wind “and “Love Song From The Earth To The Moon,” coming from Baird’s own hand. While the most salient part of her previous Baird Sisters project was the melding of familial voices and various instruments, Baird’s solo effort is centered around the combination of her virtuosic banjo playing and prominent but airy vocals. 


              STAFF COMMENTS

              Barry says: It seems now that winter is drawing in, the record labels think we all like to put a blanket on, have the fire blazing and listen to some lovely folk music. Now that I mention it, it sounds lovely, and even moreso if Laura Baird can be the music in question. Not too frantic, but driven and melodic plucking banjoes flicker over pulled strings and Baird's haunting vocals.

              Lou Barlow

              Goodnight Unknown

                In the four years since Lou Barlow's career-redefining, mostly acoustic record "Emoh", he has reunited with Dinosaur Jr. and reissued three of Sebadoh's classic albums. But as the brilliant new "Goodnight Unknown" illustrates, he's hardly living in the past. Borrowing the live band energy of Dinosaur Jr. and the stylistic reach of Sebadoh, Barlow has built on "Emoh"s full production and written a set of immediate, melodic pop songs that Lou describes as, 'a cross between my later work with Folk Implosion and my earlier work with Sebadoh…'. From the surging opening track "Sharing" to the surprisingly soulful performances on "The Right", "Goodnight Unknown" benefits from Barlow's tunefulness and his decision to record the record relatively quickly, with old friends and new. The Melvins' Dale Crover adds inspired drum work throughout, and the albums' urgent sound owes just as much to frequent collaborator Imaad Wasif (Yeah Yeah Yeahs, Alaska!). The record's considerable power also stems from the new talents on board, including producer Andrew Murdock and Lisa Germano.

                Lorna Bennett / The Revolutionaries

                It's My House

                Heavy reggae-disco-dub stylings here from Lorna Bennet & The Revolutionaries who, via Miss You's 2nd tasty reissue this week, provide a nothing short of eeessential 12" release for fans of that Jamaican groove.

                Lorna Bennett (born 7 June 1952 in Newton, Saint Elizabeth Parish, Jamaica) is a reggae singer who twice topped the Jamaican singles chart in the early 1970s, and who is best remembered for her reggae version of "Breakfast in Bed".

                "It's My House" was originally released, with little fanfare, on High Note sometime in the mid 80s. Fetching pricely sums online and feverishly collected by those who know, the vocal version is a heavy roots cut - resplendent with horns and loud bass. Bennet's vocal sits beautifully atop of the groove; sugary but not too sweet, melancholic but not depressive. It's on the flip that the instrumental really comes to life, a ridiculously well produced cut which is so far going unaccredited! It's clear and focused, hinting at the more digital, 16-track studios that became popular in the mid 80s but I have to hold my hands up I don't know anything about this record. What I do know is that I'm nodding my head harder to this instrumental than some of Wackies best efforts.. and that's saying summat! 


                STAFF COMMENTS

                Matt says: Another sterling dub to compliment the recent slew of Wackies / Scientist freak-outs. Unbeknownist to me until now, this is what you need for the warmer months ahead.

                Texan soul singer Leon Bridges releases his debut album 'Coming Home' on Columbia Records. Produced by Austin Jenkins and Josh Block of White Denim, the album features the previously released tracks 'Better Man', 'Coming Home' and 'Lisa Sawyer'. Inspired by 60s soul sounds, and specifically the legendary Sam Cooke, Bridges pays homage to the the classic era of soul. One for fans of Truth & Soul, Daptone, Amy Winehouse, Aloe Blacc etc.

                FORMAT INFORMATION

                LP includes MP3 Download Code.

                Leon Bridges brings us a brand-new album after the success of his debut ‘Coming Home’ in 2015 which hooked fans on his deep soulful vocals and unique style. Released by Columbia Records, this record was produced by Ricky Reed, Niles City Sound & Bridges himself, with the album having more of an R&B feel. Bridges has mastered his own personal style and its ace! Powerful funk-jazz vibes mixed with R&B charm, his smooth vocals are an absolute dream to listen to. This album is sure to be a standout release in 2018 so keep an eye on this one. Beautiful!

                FORMAT INFORMATION

                LP includes MP3 Download Code.

                Classic Rock N' Roll mixed with elements of Chilli Peppers-esque subtle spoken word and neon funk. 'Confusion' fuses rapid trap drums and distorted guitar sweeps topped with repeated hip-hop vocal stylings musing on life and identity. 'Baby Grow' kicks off with a sliding surf-rock guitar and segues into a regionally recognisable British indie vocal (think Jamie-T or Jake Bugg) over Jangly guitar work, danceable and frenetic. 'Ragdoll Mama' is more on the blues-rock end of the spectrum, deep southern sweeps, and scorching fuzzed-out solos, While 'Kundalini Express' plays out like a swooning college indie-rock anthem, heartfelt but driven, with beautifully realised instrumentation before breaking into the imitable vocal breakdown. A varied and well accomplished outing throughout, always changing enough to keep things interesting and fresh. 

                FORMAT INFORMATION

                CD Info: 3D Gatefold CD case, comes with 3D Specs!

                Leroy Burgess is one of the great unsung heroes of soul music. A prolific songwriter, producer and singer who started with the vocal harmony group Black Ivory in the early 1970s, by the late 70's / early 80's he had created his own sound, recording under a multitude of different names: Convertion, Phreek, Aleem, Logg etc, but rarely under his own name. His characteristic highly rhythmic deep underground boogie sound, and soulful delivery has made him highly revered by the UK soul fraternity and across the world. This album, consists of 12 previous unreleased tracks: Some are Leroy's original demos of songs recorded by other artists, like "Fly Girl", "Moment Of My Life" and "Its So Easy – You Can Do It". Others are completely unheard tracks that will be rated amongst the strongest and best of his work.

                Lucien Caine is a singer, songwriter and composer based in Manchester. His songs are dark, lustful, haunting and cinematic and his music is already being compared to artists such as Serge Gainsbourg, John Barry and Elliott Smith. EP1 is the first of four EPs to be released over the next 12 months. It begins with "The Only Man That Matters" mixed by Andy Green who has produced albums for Keane and KT Tunstall. Then the intricate string arrangements and haunting vocals of "Advice From Strangers" a downtempo gem. "Black Widow", track three, is a pounding, noirish elegy of seduction and murder, and the EP closes with the "Those Days Are Gone". 'I wanted to create and develop a sound and a mood... I like it to sound dark and romantic. I want the songs to flirt with the listener, and then deliver!' Lucien Caine

                Lucien Caine is a singer, songwriter and composer based in Manchester. NOW STOP, have no preconceptions do not picture Badly Drawn Boy do not imagine another Stephen Fretwell, get acoustic troubadour out of your head. Lucien Caine is none of the above! His sound is more John Barry than Nick Drake. His songs of love, obsession and excess are more Leonard Cohen than Bob Dylan. The attitude is all Scott Walker and Serge Gainsbourg transported from the sixties to now. In the summer of 2008 a plan was hatched to release four EP's; EP1, EP2, EP3, EP4 in 12 months to showcase Luciens songs. EP2 continues where the first left off. The first track (again mixed by Andy Green producer of Keane, KT Tunstall, to name but a few) is the lushly romantic "The Beat That My Heart Skipped", imagine driving along the winding coastal roads of the French Riviera in a vintage Italian sports car with the top down, this is the soundtrack that would be playing in your head. The second track is the very dark and lustful "Internal Affairs". "Let Us Be The Rumour" is a beautifully crafted and intense lament on a private relationship that becomes public. And finally "She Loves To Lose" a gorgeous seductive and intense duet sang with the Icelandic chanteuse Heidrun Bjornsdottir (formerly of GusGus and Gloss).

                FORMAT INFORMATION

                Ltd CDS Info: Limited to 250 hand numbered and signed copies.

                If you've never heard the music of Lucien Caine till now don't worry. To listen to his next release EP3 as an introduction is a good place to join the story. Lucien Caine (aka Glyn Thomas /formerly Alpinestars ), with the work of John Barry , Serge Gainsbourg, Scott Walker and Leonard Cohen forming the primary influence on his pallet and taking some of the electronic influences from his first band has written some of the most distinct , accomplished and beautiful music being recorded anywhere.


                Not Waving, But Drowning’ follows Loyle’s BRIT (Best Male, Best Newcomer) and Mercury Prize nominated, top 20 debut ‘Yesterday’s Gone’. The bedrock of honest and raw sentimentality that you heard on ‘Yesterday’s Gone’ left an inextinguishable mark on music in general and UK Hip Hop in particular, standing out as an ageless, bulletproof debut.

                ‘Not Waving, But Drowning’, Loyle’s new album, gives yet more evidence - as if it were needed - of his razor-sharp flow and his unique storytelling ability. Yes, he can rap, but he allies that with the sensitivity of a poet, the observational skills of a novelist, and warmth of your best friend. The album opens with ‘Dear Jean’, a letter to his mother in which he’s telling her that he has found the love of his life, “a woman from the skies”, and he’s moving out.



                STAFF COMMENTS

                Millie says: Loyle Carner returns with this stunning second album ‘Not Waving, But Drowning’. Again, he has perfected his sound of poetic hip hop and his distinctive vocals makes him stand from the crowd for miles. Bookmark this one for sure!!!

                FORMAT INFORMATION

                Ltd LP Info: Gatefold, Heavy Weight Black.

                A gradual crescendo of spirit-lifting gospel introduces "Yesterday's Gone", perfectly fitting for the debut longplayer from the young master of 'confessional hip hop'. Indeed as Ben Coyle-Larner spits sombre bars over "The Isle Of Arran"s soulful grooves, the South Londoner touches on family, bereavement and religion, all with the same intricate flow and honest delivery. It's a sound that's at odds with the current slew of mumbling, stumbling, gangtas who dominate the charts and mixtapes, celebrating gold, diamonds and designer footwear as they breeze through meme-references and barely decipherable hooks. Rather, Loyle Carner takes his cues from Mos Def, Talib Kweli and London's own Roots Manuva, delivering conscious rhymes over gentle, jazzy grooves. Intimate, intricate and tough to imitate, Loyle Carner is entirely relatable as he treats us to everyday tales of family, food, romance and regret, laying his growing pains bare across a dozen tracks and a couple of well placed skits. If the recent ATCQ LP's put you in the mood for some proper hip hop, then this is your new jam.

                A gradual crescendo of spirit-lifting gospel introduces "Yesterday's Gone", perfectly fitting for the debut longplayer from the young master of 'confessional hip hop'. Indeed as Ben Coyle-Larner spits sombre bars over "The Isle Of Arran"s soulful grooves, the South Londoner touches on family, bereavement and religion, all with the same intricate flow and honest delivery. It's a sound that's at odds with the current slew of mumbling, stumbling, gangtas who dominate the charts and mixtapes, celebrating gold, diamonds and designer footwear as they breeze through meme-references and barely decipherable hooks. Rather, Loyle Carner takes his cues from Mos Def, Talib Kweli and London's own Roots Manuva, delivering conscious rhymes over gentle, jazzy grooves. Intimate, intricate and tough to imitate, Loyle Carner is entirely relatable as he treats us to everyday tales of family, food, romance and regret, laying his growing pains bare across a dozen tracks and a couple of well placed skits. If the recent ATCQ LP's put you in the mood for some proper hip hop, then this is your new jam.

                Though most of the world may not know the songs of Lynn Castle, she is an artist whose work stretches across seven decades. Light In The Attic Records is very excited to continue its Lee Hazlewood Archive Series with Rose Colored Corner, a collection of intimate recordings Lynn Castle made with Jack Nitzsche in 1966 and her complete recorded output with Lee Hazlewood on LHI Records. For the first time ever Lynn is sharing recordings from her personal archive and telling her story.

                In the 1960s Lynn became the first lady barber in LA just as long hair on men became hip. By day she was styling The Monkees, Boyce and Hart, Del Shannon, Sonny & Cher, the Byrds and countless others…by night she was writing songs. Despite lacking the desire to self promote and a crippling insecurity that made it hard to sing in front of anyone, her songs managed to bend the ears of such industry heavyweights as Phil Spector, Jack Nitzsche and Lee Hazlewood. “It was so hard to get me to sing,” explained Castle. “I had buried it so low, I didn’t think I was good at all. Lee heard my songs and thought I was fabulous. He said, ‘Oh my god, you’re really good! Let’s cut a record.’

                Her sole 1967 45 “The Lady Barber" b/w "Rose Colored Corner,” released on Lee Hazlewood Industries is a slice of psychedelic pop heaven. A full length album was never completed, but her sparse demos with Jack Nitzsche give the listener a peek of what one might have sounded like. If you are familiar with Nitzsche’s mid-60s work with Tim Buckley, Bob Lind, and Buffalo Springfield…you can squint your ears and imagine her songs bejeweled with lush strings, finger cymbals, and delicate harpsichord. Instead, the songs remained unheard until now.

                Just because her songs weren’t recognized at the time doesn’t diminish their magic. This music is meant to be found and heard. Though commercial success may remain elusive, sometimes strange premonitions are realized… “When I was young, making music in the ‘60s, I had this strange thought that one day I would be this old woman, and young people would come find me and tell me that my music meant something to them.” - Lynn Castle


                Lou Clarke and the All-Scars Band

                Lou Clarke spent most of the 70's not of this Earth, a greatly formative time for him and those around him. The intervening period was spent retrospectively constructing a back catalogue of music to rival even the most seasoned of 'straight to charity shop' vinyl ghosts.

                The All-Scars are a collection of well-trodden troubadours from a variety of Mancunian haunts who've generously come together to present these songs in something close to their original form as once might have been heard.

                The 'Greatest Hits' album is a preventative measure precluding necessary high standards for a second work. All of the tracks have been taken from the future back catalogue including the upcoming demand avoidant '4th Album'.

                Informed by New Orleans, built in Manchester, songs to drink dance or drown to.

                STAFF COMMENTS

                Barry says: Encompassing all the best gloomy moments of Nick Cave and the sozzled pub-rock of the Pogues, but drawing in perfectly measured elements of jazz, lounge and classic rock, Clarke et. al. perfectly soundtrack our austere political climate with wry, tipsy tongue-in-cheek commentary and damn good music to boot. Great stuff.

                Leonard Cohen

                Can't Forget: A Souvenir Of The Grand Tour

                  Columbia/Legacy release this new 10 track live album, taken from Leonard Cohen's recent "Old Ideas World Tour". Includes 2 new and original songs & 2 previously unrecorded cover versions.

                  Leonard Cohen

                  Songs Of Leonard Cohen

                  'A breathtaking and perfect debut, "Songs of Leonard Cohen" marked the emergence of one of the most enduring, unique, and brilliant voices in popular music. Led off by the gorgeous "Suzanne," previously a hit for both Judy Collins and Noel Harrison, the album is an exposed nerve, a Fellini-esque parade of losers, victims, and fallen angels. Brittle and unforgiving, tracks like "So Long, Marianne," "Winter Lady," and "Sisters of Mercy" are unflinchingly honest and desolate; the subdued beauty of the songs' spartan backdrop only adds to their force — Cohen takes acoustic folk, for so long a musical expression of empowerment and hope, and bleeds it dry of all its redemptive qualities. A masterpiece of perversity and pain.'

                  FORMAT INFORMATION

                  CD Info: Digitally remastered including two bonus tracks, "Store Room" and "Blessed Is The Memory". Lavishly packaged in a hard cover Digipack.

                  Leonard Cohen

                  Songs Of Leonard Cohen - 180g Legacy Vinyl Edition

                    By the time Leonard Cohen began his recording career in 1967, the iconoclastic Canadian troubadour was already well established as a poet and author. He quickly emerged as one of the era's most original and influential singer-songwriters, building a large and legendary body of work that continues to inspire artists and listeners alike. Much of Cohen's reputation and mystique was established by his early work for Columbia Records, particularly the five albums he recorded between 1967 and 1974. Now, these five classic albums, unavailable on vinyl for two decades, have been lovingly restored to their original LP format. For their new Sundazed editions, all five albums have been meticulously remastered and have been sourced from the original Columbia Records stereo masters in order to preserve the sound of the original albums. In keeping with the exacting standards for which Sundazed has become known, each album is pressed on high-definition vinyl, with complete original cover art.

                    1967's "Songs of Leonard Cohen" is one of the decade's most audacious debut albums, with producer John Simon's artful arrangements animating such haunting Cohen standards as "Suzanne", "Sisters Of Mercy" and "So Long, Marianne".


                    STAFF COMMENTS

                    Darryl says: The word classic springs to mind!!! A haunting masterpiece - "Suzanne", "Sisters Of Mercy", "So Long, Marianne" what more needs to be said - shut the door to the rain, get your PJ's on and croon along..

                    Leonard Cohen

                    Songs Of Love And Hate - 180g Legacy Vinyl Edition

                      By the time Leonard Cohen began his recording career in 1967, the iconoclastic Canadian troubadour was already well established as a poet and author. He quickly emerged as one of the era's most original and influential singer-songwriters, building a large and legendary body of work that continues to inspire artists and listeners alike. Much of Cohen's reputation and mystique was established by his early work for Columbia Records, particularly the five albums he recorded between 1967 and 1974. Now, these five classic albums, unavailable on vinyl for two decades, have been lovingly restored to their original LP format. For their new Sundazed editions, all five albums have been meticulously remastered and have been sourced from the original Columbia Records stereo masters in order to preserve the sound of the original albums. In keeping with the exacting standards for which Sundazed has become known, each album is pressed on high-definition vinyl, with complete original cover art. 

                      With 1971s "Songs Of Love And Hate", Cohen delivered one of his most emotionally intense sets, with such memorable numbers as "Avalanche", "Famous Blue Raincoat" and "Joan Of Arc" ranking with his greatest compositions.

                      It was a strange twist of fate which saw Leonard Cohen die so shortly after the release of his 14th, and ultimately final studio album. Unlike Bowie though, earlier in the year, "You Want it Darker" wasn't composed with his own death in mind. Naturally, mortality gets mentioned, but on which Leonard Cohen album didn't it!?

                      In his second interview to promote the record, Cohen had backtracked on a previous recent statement that he was "ready to die" and when distant muse and lover Marianne passed away earlier this year, Cohen's email to her in her final days had been made public, saying "I think I will follow you very soon". But his backtracking was funny and flippant saying he'd always had a gift for drama and intended to "live forever". Two further records were also suggested. As we now know, this wasn't to be.

                      "You Want It Darker" is definitely more sombre in tone; minimal and stately, he uses a co-writer for the instrumentation, and tastefully takes in soul, doo-wop and ofcourse folk traditions. But lyrically, whilst he mentions putting his "house in order", he's far from singing his own last rites. He does say in the title track that he's "ready Lord", but then treats us to such beautiful poetry and subtly varied sounds that the listener can't help but respond, " fair enough, but not YET!?"

                      An excellent album then, made instantly more dramatic by his sudden demise, but whilst the record comprises "lullabies for suffering" and yes it's soothing (and funny) as ever, he also notes that he "struggled with demons, they were middle class and tame." Acceptance, humour, just as you'd expect. A noble and fitting ending for one of the counter-culture's (remember that!?) true greats.

                      STAFF COMMENTS

                      Andy says: Stunning final album from the master poet.

                      Loren Connors & David Grubbs

                      Arborvitae

                      "Arborvitae" opens and closes with the pairing of David on piano and Loren on an electric guitar played so quietly that at times his pedal-stomping is wondrously distinct. "Blossom Time" and the title track positively float, with Loren alternating between soaring single-note lines and playing the rough, barnacled anchor to David's relentless tide.

                      I Wish I Didn’t Dream, the new album of duets by guitarist Loren Connors and vocalist Suzanne Langille,was cut in just a few hours of studio time. But the pieces started falling into place 15 years earlier on the 10th floor of a nondescript building in the Chelsea section of Manhattan. It was there, at the old location of the Brecht Forum, that Connors got to know writer and WFMU DJ Kurt Gottschalk, who was curating a concert series there. On occasion Tom Abbs (now President of Northern Spy Records) would co-program weekend festivals there, sometimes bringing in MP Landis to do live painting during the performances. Flash forward to the present. Gottschalk was selecting paintings and writing text for a book of Landis’ paintings and the two begin imagining a soundtrack for the book. The obvious choice would be Connors, a painter himself, and Langille, an admirer of Landis’ work. The more they talked about it, the more
                      plausible it seemed. Gottschalk had already produced a Northern Spy release with Connors and Langille (Haunted House, Blue Ghost Blues, NS012, with Andrew Burnes and Neel Murgai) which featured one of Landis’ paintings on the cover. Within a few months a session had been booked in the same studio where Blue Ghost Blues was recorded. The process was simple. Slides from Landis’ WD series of paintings were shown on a screen and Connors and Langille responded. There was no advance preparation other than a folder of verses (her own as well as Keats, Denis McCarthy and some nearly lost to history) Langille brought to the session. The resulting album, their first duo record in 14 years, is as vulnerable as it is beautiful. Langille sings as if she’s speaking cautiously, Connors’ guitar barely whispers, but at any turn either might erupt in screams. Do they not want to yearn for more, or do they fear their nightmares? Their dreams are a haunting mystery.

                      Terrestrial Funk comes through with their first release. A reissue of the ultra rare Miami funk LP, Lang Cook's "She's Hot With 2,000 Watt's". Featuring guitarist Teddy Studstill, Miami soul legend Willie Clarke, and Andrew 'Le Spam' Yeomanson. A deeply passionate musician, Lang poured his heart and soul out through his own vocals, the Fender Rhodes, Roland SH-2000, bass, and guitar. This is a truly scarce piece; the last time one came up at auction was in 2017 and went for over £600! - and don't even think about snapping one up discogs! Stylistically it skirts between the various DIY bedroom boogie flavours a la Jeff Phelps, Uku Kuut & the majority of the PPU back catalogue. Cook's vocals are impassioned and suave, with a snap-back reverb that gives them extra character. He's not afraid to get smoochy in the choruses either. Originally out in 1984, this was the sole release on Evolution Record (it also spawned a tiny 7" single - "Chocolate Stuff" - included here). A truly collectors piece, made available legit and correct and presented with love from Terrestrial Funk. You need.

                      Lucas Croon

                      Schlachthof Aufnamen

                        It's a double drop from Dusseldorf this week as Lucas Croon supplies the twelth release in the totally essential Themes For Great Cities catalogue. No stranger to the label after previous appearances as a member of Stabil Elite and in collaboration with Carsten Dämbkes (of run-out groove/mega mastering fame), Lucas perfectly judges the vibe here, switching between chilly kosmishce, horizontal synth voodoo and hypnotic house abstractions over three  expansive cuts. Opening cut "Urania" holds us in its icy grasp from the get go, massaging temples with structural synth work, while mechanical textures and klingklang percussion keep the blood pumping at a regulation 120bpm. Perfect for your next neo-noir adventure into a greyscale mega-city, this is the soundtrack to high-rise trains, holgraphic adverts and chrome-cast dystopias, eventually bursting through the high-polished glass and falling into an opiated nightmare. A2's "Flötenmelodie" offers a moment's respite from all that futurist gloom, finding Croon slowly tesselating a beautiful collage of pulsating sequences, organic percussion and moonlit synthleads into something almost Balearic...B-side cut "Türkischer Tee" sees a caffinated Croon shift through the gears in peak-time mode, swerving the straightforward 4/4 in favour of a polyrhythmic, afro-beat shuffle, perfectly suited to the jazzy keyboard abstractions at play above. Restless, hypnotic and entirely immersive, the track boasts a heady sound akin to Spirutal Life, Wania or vintage Feedelity though really it exists in its own weird headspace. As infectious as they come despite a whole load of melodic complexity, this should be the secret weapon in any forward thinking DJs bag. 

                        FORMAT INFORMATION

                        12" Info: One copy available

                        Lee F Cullen is predominantly a multi- instrumentalist/ bedroom-based producer who has written in excess of 500 songs. For live work Lee has the help of an ever changing group of musicians collectively named 'The Corvidae Family' who radically alter the songs on stage to keep them breathing and organic. After the break up of his last band, the funk orientated Big Wow he returned to his first love of psychedelia and 'song' orientated material. Drawing inspiration from The Nice, Procol Harum, July, Bill Fay, Barclay James Harvest, Baroque Music, Ray Manzerek, John Carpenter and the D.I.Y ethic of home taping artists – Lee strives to create swirling technicolour music. Working with a P.C. and Reel-to-Reel Tape Machines lee writes, records, and produces songs at an alarming rate, "Wild Honey Arabesques" is the first work of a series of albums. "Wild Honey Arabesques" was written during the fallout of Lee's last band Big Wow. Using instrumentation such as Mellotron, Organ, Harpsichord and Piano as the main voices Lee concedes that he doesn't remember writing any of these songs! Being, as they were, little more than fragments amassed from hours of tapes written while experiencing writers block. The album is about the 'Dispossession Of The Self' and what happens when one is led astray from their own path. This is not nostalgic psychedelia; psychedelia is used here, as it is the chosen medium for artistic expression with clichés subverted to produce introspective psych closer in spirit to singer songwriters like Leonard Cohen and Bill Fay than Tintern Abbey. Actually think Tintern Abbey covering a Bill Fay Song and you're not so far off!

                        “Cinematic feasts of dramatic strings and cascading pianos that will satisfy fans of Nils Frahm and Ólafur Arnalds” The Ransom Note.

                        That certainly seems the case as the crushing emptiness of "Her Dreams" slowly emerges into the sonic space. Old school veterans Richard Dorfmeister and Stefan Obermaier are on hand to remix the track - transforming it into a epically mournful piano piece, galvanized with droning electronics and rumbling sub oscillators. "Screaming Silence" is touched up by Howie B who does a sterling job of organizing all the elements into a dreamy, crisp, high definition soundscape. Drifting synth parts meeting frenetic percussion and detailed low end perfectly, a blissed-out electro-disco missiv for the up-all-weekend dreamers. Check! 


                        Luca D’Alberto follows up last year's "Endless" with "Exile", his second release with 7K! - K7's sub label dedicated to modern classical, ambient and experimental music.

                        Comprising of a series of compositions built around powerful and memorable melodies, incisive crescendos alternated with more expansive passages, sound pyramids in which hidden elements emerge and chase each other; an interweaving dance of violin and piano, rhythms that seem to emerge from nowhere to create intriguing layers. All combined with cinematic atmospheres, delicate and melancholic, powerful and vigorous. Behind a solid classical formation, D’Alberto uses electronics as a means to amplify the expressive power of acoustic instruments such as piano, strings, drums of oriental tradition, gongs, and Tibetan quartz bells. This delicate and sensitive operation was brought about in collaboration with Patrick Christensen aka PC Nackt, a prominent figure of the German music scene, composer and multi-instrumentalist and producer for the likes of Apparat and many others.


                        Richmond, VA-based songwriter Lucy Dacus is the latest addition to the renowned Matador Records roster.
                        Lucy Dacus's No Burden is full of surprises—sharp lyrical observations, playful turns of musical phrase, hooks that'll embed themselves in your frontal lobe for days. But the most surprising thing about this album might be the fact that it's a debut; it has a keen sense of self about it, and it nearly glows from the self-possession held by the woman at its core.

                        The 21-year-old Dacus grew up in Richmond; she was adopted at a young age, an experience that informed her curious, openhearted songwriting. "When my parents were explaining what adoption was—which was very early on in my childhood—they always said that my birthmother thought I was worthwhile even though she couldn't be my mom," she says. "And so from essentially infancy, I was taught that life was innately worthwhile because a bunch of people had worked together to set me up with one.”

                        Dacus started playing around Richmond while in college, opening for local acts and eventually meeting Jacob Blizard, a guitarist who invited her to make a record for a college project of his. No Burden, which originally came out in February on the Richmond label EggHunt Records, opens with the forthright, almost brutally honest "I Don't Wanna Be Funny Anymore," the last song Dacus wrote before the album's day-long recording session at Starstruck Studios in Nashville. Dacus delivers scalpel-sharp observations about resisting pigeonholing over chunky guitars, ticking off ideals of femininity and youth until the track's not-quite-resolution.

                        These themes extend to the lyrics of songs like "Strange Torpedo," a whirling portrait of a friend whose "bunch of bad habits" who, Dacus sings, has "been falling for so long… [and hasn't] hit anything solid yet." "I've been that friend watching a loved one do what they know is bad for them and not understanding why," says Dacus. The song offers a simple message: "I love you, why don't you love you? You're the one in your body so you get to choose what to do with it, but if I were you I'd treat me differently.”

                        The rest of No Burden, which was produced by Collin Pastore, puts Dacus's voice center stage, allowing the glinting poetry of her lyrics to shine even more brightly. "Trust," which Dacus wrote in late 2013, showcases her alone with her guitar, her faint vibrato floating over strummed chords as she sings of self-redemption. And the diptych "Dream State…" and "…Familiar Place," which revolve around Dacus repeating "Without you, I am surely the last of our kind/ Without you, I am surely the last of my kind," capture disappointment and loss in a jaw-dropping way; the music trembles around her while her voice stays steady, anticipating whatever might come next.

                        No Burden is a forthright, disarmingly catchy statement. And while it's a sterling debut, it only hints at the potential possessed by this passionate, thoughtful young woman.

                        Lucy Dacus is done thinking small. Two years after her 2016 debut, No Burden, won her unanimous acclaim as one of rock's most promising new voices, Dacus returns on March 2 with Historian, a remarkably assured 10-track statement of intent. "This is the album I needed to make," says Dacus, who views Historian as her definitive statement as a songwriter and musician. "Everything after this is a bonus."

                        Dacus and her band recorded the album in Nashville last March, re-teaming with No Burden producer Collin Pastore, and mixed it a few months later with A-list studio wizard John Congleton. The sound they created, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard, is far richer and fuller than the debut — an outward flowering of dynamic, living, breathing rock and roll. Dacus' remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers.

                        STAFF COMMENTS

                        Millie says: Dacus' light Americana leanings of the superb No Burden are sidelined slightly for her grander, more expansive new outing, Historian. Though her smouldering guitar work and unmistakable voice are ever present, they are skillfully woven into an intricate and all-encompassing web of orchestration, grandeur and beauty. This is a stunner, and every bit the successful follow-up.

                        Lana Del Rey

                        Lust For Life

                          Global superstar Lana Del Rey releases her 4th album ‘Lust For Life’ which features collaborations with A$AP Rocky, Playboi Carti, Sean Ono Lennon, The Weeknd and Stevie Nicks.



                          "Born To Die" the album is a collection of tracks about which Lana says "The songs I've written are an homage to true love and a tribute to living life on the wild side." Album tracks include "Million Dollar Man", "Off To The Races", "Blue Jeans" and "Carmen".

                          FORMAT INFORMATION

                          2xLP Info: Limited vinyl edition.

                          The album was recorded between Los Angeles and New York.

                          This is the 3rd studio album from Lana Del Rey, her last record ‘Ultraviolence’ when to #1 in 74 countries and she has worldwide album sales in excess of 9 million. Following the global first play and interview on Zane Lowe's Beats1 show, Annie Mac had 'High By The Beach' as her Hottest Record on Radio 1which included two spins of the track back to back and an interview with Lana. 

                          FORMAT INFORMATION

                          LP Info: Black vinyl edition.

                          Brand new album from platinum, Grammy nominated recording artist Lana Del Rey! The album features the hit songs 'West Coast' and 'Shades of Cool' along with typically Del Rey-ish songs: 'Fucked My Way To The Top' and 'Pretty When You Cry'. She's not veered to far away from the script of her first album: 50s noir meets Blue Velvet atmospherics meets modern day pop nouse, and if you're a fan then you won't be disappointed.

                          STAFF COMMENTS

                          Andy says: Wow! Incredibly, this record is much stronger than Lana's smash debut!? There's no "Video Games", obviously but you don't need it when every track is deeper, darker, grander and sadder than before. A brilliant surprise.

                          Emotional Rescue returns with the third album in a series based around the music of Luis Delgado and Javier Bergia. After a collecton of Javier's best music and the reissue of their Ishinohana collaboration, the reissue specialists present Delgado's solo debut, "Vathek". The second release on his El Cometa De Madrid label after Ishinohana, the LP is an avant-garde step forward from that collaboration, their work in Finas Africae and also, his previous Mecanica Popular project. In a sense, Delgado is the link that brings many of the country's music of that period together. As a multi-instrumentalist he played his first concert at 14 before becoming an in-house engineer for RCA, a position which led to Mecanica Popular with fellow engineer Eugenio MuNoz (Randomize) and the following projects.
                          The colder electronics of that project belie Delgado's Andulusian Folk/Rock and Ethnic Fusion compulsion, as came to prominence with Luis Paniagua in their Babia releases and via the later success of Finas Africae. In "Vathek", Delgado pushes beyond these projects to utilise the studio and explore his interest in Eastern music. Subtitled "Procesos Electronicos Para Instrumentos Acusticos," the premise was that even with all the machines, the knowledge to use them is not realised and therefore, the goal was to go deeper within these processes to create an new encompassing sound.
                          The ten pieces should, therefore, be seen in this exploration, yielding a deepness not associated with this golden period of Spanish music. A truly experimental album that is meditative and mesmorising; a mastery of instrument, studio and thought.
                          As with Javier Bergia's 'Eclipse' and Ishinohana before it, Vathek comes with wonderful hand-illustrated artwork by Finn Campbell-Notman, from his studio in the Andulusian foothills.

                          Lizzy Mercier Descloux

                          One For The Soul - Light In The Attic Edition

                          * Remastered from the original tapes
                          * Essay by “Punk Professor” Vivien Goldman, interviewing key players
                          * LP Includes download card for full album + 2 bonus tracks
                          * CD includes full album plus 2 bonus tracks

                          By the time poet, singer-songwriter, and artist Lizzy Mercier Descloux recorded 1984's 'Zulu Rock', she'd marked herself out as both a globe trotter with more passport stamps than Tintin and a musical innovator whose loose, arty spirit could be applied to styles as varied as no wave, Bavarian oompa and Soweto jive. She'd also established a tight-knit threesome with muse/former lover Michel Esteban and producer/on-off lover Adam Kidron, who all reunited to follow 'Zulu Rock' a surprise hit in her native France - with something that, once again, represented a complete about-turn.

                          The location, this time, was Rio De Janeiro, a suitably exotic location to follow their sojourn in Soweto given that Brazil had recently emerged from twenty years of dictatorship. But unlike 'Zulu Rock''s broad appropriation of the local sound, One For The Soul borrows very liberally from Brazilian culture. The aim, says Kidron, was to "reimagine the blues", but Lizzy’s musical essence was in flux. “A Word Is A Wah" meshes reggae with her beloved accordion, “Women Don't Like Me” is wild, new wave pop, and she even wanders into soul territory, with whispery lounge versions of Al Green's “Simply Beautiful”. Most notable is the album's foray into jazz, and the fact that Chet Baker, the master jazz trumpeter, blew his last on “Fog Horn Blues” and the sensuous “Off Off Pleasure”.

                          Rio was to be the last great hurrah of Lizzy and Michel’s global recording adventures, and although work proceeded apace, the experience was often quite tense. "The sessions were tough work,” says Kidron, in the new liner notes by Vivien Goldman accompanying this deluxe reissue. “Lizzy never quite got singing, no matter how much she drank, and no matter how hard she tried. Chet was very much at the drug-ravaged end of his life and had very little stamina or dexterity left… but there is a deep, sad, lyrical tone to his performances on the album.”

                          So fraught were the sessions, it's a miracle that such a cohesive, sparky record emerged. The record-buying public did not agree, and as the album crashed and burned, so did the relationship between its three heroes. Lizzy was, for the first time, about to take on the world alone – and there was but one album left in her. 


                          Lizzy Mercier Descloux

                          Suspense - Light In The Attic Edition

                          * Remastered from the original tapes
                          * Essay by “Punk Professor” Vivien Goldman, interviewing key players
                          * LP Includes download card for full album + 6 bonus tracks
                          * CD includes full album plus 6 bonus tracks

                          By the time bohemian singer/poet/artist Lizzy Mercier Descloux recorded her fifth album, 1988's 'Suspense', she'd enjoyed a recording career that was as far from the clichés of music lore as is possible, flitting between genres, continents and collaborators, enjoying great success and equally great failure and even stealing the final breaths of master trumpeter Chet Baker for 1986's One For The Soul. When she came to make 'Suspense' she was, for the first time, working without her longtime muse, partner and manager Michel Esteban, with whom she'd first moved from their native France to New York, where it all began.

                          The pressure was on to repeat the success of “Mais Où Sont Passées Les Gazelles”, a smash hit in France, and Descloux's label were keen to make a conventional artist of her, pairing her with John Brand, an in-vogue producer with a style geared to a big, shiny 1980s chart sound - an approach Lizzy had never experienced before, nor intended to.

                          In Vivien Goldman's new liner notes, Esteban notes that Suspense sounds "less Lizzy than the other records, less open," but in splitting herself into two – English and Francophone – the album has two personalities too; oddly, it shines a light on the real Descloux that her cultural experiments never did.

                          Though the initial aim was to make a folky, acoustic album, the pop sound suited the singer, and “A Room In New York” is as fine and sparky as AOR gets. But when early single “Gueule D’Amour/Cry of Love” stiffed, EMI lost confidence and buried the LP. Bound by her contract to the label, Descloux moved away from music and focused on painting. She eventually settled in Corsica, the French island, where she died, aged 48, of cancer. Descloux's musical career ended, therefore, with the aptly titled Suspense. It was only a matter of time before this furiously creative artist's work was re-evaluated, and with these deluxe reissues, that time is now.


                          Lizzy Mercier Descloux

                          Zulu Rock - Light In The Attic Edition

                          * Remastered from the original tapes
                          * Essay by “Punk Professor” Vivien Goldman, interviewing key players
                          * LP Includes download card for full album + 5 bonus tracks
                          * CD includes full album plus 5 bonus tracks

                          In the course of three albums, Lizzy Mercier Descloux, the rogue poet, artist, and singer-songwriter, travelled on a musical voyage from Manhattan (1979 debut 'Press Color') to The Bahamas (1981 follow-up 'Mambo Nassau') and apartheid South Africa (1984's 'Zulu Rock') - a controversial cultural boycott in protest of the nation's racially divided society.

                          One place Descloux had never visited was the pop charts, but that changed when “Mais Où Sont Passées Les Gazelles? (Where Have The Gazelles Gone?)” - a reworking of a South African Shangaan disco hit - went all the way to the top spot in her native France, giving her a platform and a profile in the land she'd fled many years before. Recorded at Satbel Studios in Johannesburg, the album followed what her mentor Michel Esteban describes as "an extraordinary adventure" through eastern Africa following the footsteps of 19th century poet Rimbaud through Sudan, Ethiopia, the East Coast.

                          A socially conscious person, Descloux wanted to use her music to draw some attention to the situation in South Africa, even obliquely, but there were musical motivations too - she was tapping into a hot and little-heard dance music in the aforementioned Shangaan disco, Soweto jive and mbaqanga, the style Malcolm McLaren had mined for his mash-up hit "Duck Rock" a year before.

                          The music of South Africa seduced, subsumed, and molded Lizzy, who sounds surer and more swinging than ever before throughout 'Zulu Rock', but credit must also go to British producer Adam Kidron, then best known for his work with Scritti Politti, who joined Esteban and Descloux for the entire African journey. Lizzy and Adam’s was a battle of wills from the start, but his insistence on getting Lizzy to sing in a more conventional, tuneful way resulted in an emotional, ambitious, creative power struggle that delivered arguably her best vocals yet.

                          In Vivien Goldman's new liner notes for this reissue, Kidron says: “My first impression of Lizzy was that she couldn’t sing but that she had that crazy Madonna, Neneh Cherry, Nina Hagen attitude thing going on and a magical way with words — a marketer’s gift for getting to the essence of a feeling or idea.” And for once, on this album, the marketing did itself. 


                          For the past four decades, a growing cult of soul music collectors have sought two obscure LPs and a handful of extremely rare 45s released on the vanity record label LAD Productions, Inc. between the late seventies and the mid eighties by the mysterious South Side Chicago singer/song writer Larry Dixon.
                          Larry's raw songs capture the transition from R&B to boogie-down as disco was rapidly becoming extinct.
                          They also perfectly illustrate Larry’s ability to overcome his environment and discrimination, transcended by his determination to write and produce music. With the support of his faithful musicians, Larry's success was only hindered by lack of airplay and promotion, but his talent shines through.
                          This is the story of Larry Dixon, his label LAD Productions, Inc., and his friends and family throughout four decades of music in Chicago’s toughest neighborhoods.
                          Jerome Derradji is proud to reactivate Past Due Records - the boogie funk division of Still Music to release this fantastic archive – what many consider to be the Holy Grail - of Chicago Funk, Boogie and Soul.

                          STAFF COMMENTS

                          Millie says: Funky jazzy heartbreak song 'I Thought I Was The Only One' is a charming yet slow song from Larry Dixon, which contrasts with side B which is filled with cheery beats which you can't help but dance to compulsively, this seven inch provides you with the best of both worlds.

                          For the past four decades, a growing cult of soul music collectors have sought two obscure LPs and a handful of extremely rare 45s released on the vanity record label LAD Productions, Inc. between the late seventies and the mid eighties by the mysterious South Side Chicago singer/song writer Larry Dixon. Larry's raw songs capture the transition from R&B to boogie-down as disco was rapidly becoming extinct. They also perfectly illustrate Larry’s ability to overcome his environment and discrimination, transcended by his determination to write and produce music. With the support of his faithful musicians, Larry's success was only hindered by lack of airplay and promotion, but his talent shines through. This is the story of Larry Dixon, his label LAD Productions, Inc., and his friends and family throughout four decades of music in Chicago’s toughest neighborhoods. Jerome Derradji is proud to reactivate Past Due Records - the boogie funk division of Still Music to release this fantastic archive – what many consider to be the Holy Grail - of Chicago Funk, Boogie and Soul. Each format includes a unique booklet with the story of Larry Dixon and his friends, written by Jacob Arnold, along with numerous pictures and documents previously never published. Artwork is by Al Kent from Million Dollar Disco.

                          FORMAT INFORMATION

                          7" Box Set Info: Limited edition - 500 copies only.

                          Lamont Dozier

                          You Made Me A Believer / Starting Over

                          Following his role establishing the Motown sound as part of Holland/Dozier/Holland, Lamont went solo and these two tracks come from his 1981 album “Working On You”. Originally released by Columbia in the smooth, lush sounding style of the day, complete with Lamont’s signature vocal, neither of the two tracks here were released as single despite finding huge favour with modern soul audiences. “You Made Me A Believer” is one of his most enduring soul night floorfillers. Expansion also released the full “Working On You” album on remastered CD.

                          Karl Lukas Pettersson has searched through his vaults of DAT tapes to create a personal album of lost projects, ideas and forgotten gems. The album includes a remastered version of Professor Laphroaigh originally included on his Dr Lindh – Sounds Interesting EP for SCSI-AV

                          Limited to 300 copies

                          Delfonic stumbled upon the tracks that make up this release during a none-descript warehouse party around 2013. After founding out they were actually made in 2008, Oye Black hunted down the artist, Martin Georgi and signed two tracks off the original EP, and backed them up with a DJ friendly edit by Delfonic.

                          The first track is a mid tempo, low-NRG MPC house jam - well constructed drums, an eyes down pad pattern and a catchy female vocal hook. It could easily be a lost Sound Signature jam, or, finds new alliances with Bastien Carrara and Eddie Danielle. The second unnamed track keeps the vibe flowing as organs, strings and picked guitar lines are gleefully chopped up and rearranged across the MPC's 16 pads. 


                          Little Willie Egans

                          You Must Be Foolin' / Treat Me Right

                          "You Must Be Foolin'" is a belting rocker with infectious sax, big vocals and jumpin' rhythm - Egans’ finest moment.. "Treat Me Right" is a little less lively, but still rocks it.


                          FORMAT INFORMATION

                          7" Info: Limited dinked reissue with replica US label artwork. 500 copies only.

                          Lars Eidinger is an artist, born and raised in Berlin, working mostly as an actor at the Schaubühne theatre in Berlin. He is especially known for his interpretations of the characters Hamlet and Richard III in the eponymous plays of William Shakespeare in productions directed by Thomas Ostermeier. He also appeared in several German movie productions such as "Everyone Else" by Maren Ade, "Home For The Weekend" by Hans-Christian Schmid and "Blooms Of Yesterday" by Chris Kraus alongside international films such as "Goltzius And The Pelican Company" by Peter Greenaway, "Mathilda" by Alexey Uchitel and "Clouds Of Sils Maria" by Olivier Assayas plus German and international TV series like "Tatort", "Polizeiruf 110", BBC’s "SS-GB" and the Netflix series "Sense8" by the Wachowski Sisters. In 1998, during the time he was studying acting he released a 10" called "I’ll Break Ya Legg" under his name on !K7’s sub label Studio 54, produced on a PC in the basement of his parents house on a 4 MB sound card - the whole record is 100% sample based. The resulting sound is Lo-Fi, giving the whole tonal aesthetic a very rough and dark feel with a very melancholic and morbid atmosphere.

                          The freshest label in Western Africa, Lagos' Odion Livingstone launches with a powerhouse debut, a killer reissue of the sought after Nigerian disco LP rarity "Friday Night" by Livy Ekemezie. A fusion of African sounds and American disco swagger, this bass driven platter is frankly irrepressible, infecting any and all who hear it with an unstoppable urge to shake their shit. "Get It Down" and "Holiday Actions" sizzle and sparkle into a peaktime explosion of red hot disco-funk, sending the mirrorball spinning round the room at a dizzying pace. Ballad "I Wan' My Bab' Back" retains the psychedelic shimmer of the dancefloor cuts while offering a welcome breather before the smooth and soulful groove of "Friday Night" eases us into the dance all over again. Punchy and uptempo, "Classic Lover" should prompt all sorts of clav-led contortions while "Night Party" is a short sharp shock of Afro-boogie brilliance. The set closes with the primo-disco brilliance of "Delectation", a recently edited cut which sounds far better in its original incarnation. Recorded at Goddy Oku's Godiac studio, and pressed onto blue vinyl by none other than William Onyeabor, this legendary LP bears the fingerprints of Nigeria's funkiest forefathers.
                          As the demand for Nigerian disco originals has grown DJs like Motor City Ensemble have become firm favourites of "Friday Night", so there's no better time for a first ever reissue of the LP the LP to land. Faithful to the original issue, this remastered, blue vinyl pressing features full original artwork along with new interviews with Livy Ekemezie and contributing musician Jules Elong by Odion Livingstone’s Temi Kogbe.

                          STAFF COMMENTS

                          Patrick says: Pure dancefloor fiyah found within! Odion Livingstone deliver the first official reissue of this Afro-disco holy grail with the greatest respect to the original pressing. Still on blue vinyl, still insanely groovy, but not out of the price range anymore!

                          Lizzy Farrall

                          All I Said Was Never Heard

                            British singer / songwriter Lizzy Farrall releases her debut mini album, ‘All I Said Was Never Heard’, which will drop just in time for her scheduled UK tour supporting Seaway.

                            Lyrically the release is about situations she went through in her teenage years and forms a diary of that time.

                            For fans of Julien Baker, Now Now, Dashboard Confessional, Neck Deep, This Wild Life.

                            At the corner of Living Legend St. and OG Ave. you will find Lee Fields’ house. A home that was built with blood, sweat, and tears, and stands on the unshakable foundation of his god given talent. Lee has been singing for 50 plus years and is undeniably, yet amazingly, at the top of his game. Those who have paid attention know that Lee is part of the class that is directly responsible for the revival of old school funk and soul. He has inspired many of today’s younger artists who are doing their best to carry the torch. As long as the road has been, and heavy as the crown may be, Fields is proving yet again that he’s “still got it”. His latest offering is sure to be a warmly received instant classic.

                            It Rains Love is the 2nd album by Lee Fields & The Expressions on Brooklyn’s Big Crown Records and gives us yet another masterclass in soul. Teaming up again with frequent collaborator and producer Leon Michels and his devoted band, The Expressions, they have managed again to take a classic approach and update it. Traditional soul sensibilities are mixed with a hip-hop tinged, sample ready sound that is as much an homage to the old as to the new. Some of the songs sound like they could belong to any of the last 4 decades without it feeling like a throwback, while others are 60’s soul through and through. Lyrically, Lee runs the gamut from gushing admonishments of love to politically charged calls to action, from proclamations of God’s existence to love letters written to his wife. This record marks the fifth studio album from Lee Fields & the Expressions and we are very proud to add it to the already impeccable catalog they have created together. Another strong offering by a man many people consider to be a national treasure, the professor of love himself, Mr Lee Fields. It’s all love baby! 

                            STAFF COMMENTS

                            Millie says: Lee Field’s is on top form and dominating the soul genre with his distinctive and bold vocals. It Rains Love is a monumental album which sets him apart as a pure talent, taking all things soul and putting his own stamp on it.

                            FORMAT INFORMATION

                            Coloured LP Info: Limited translucent red vinyl.

                            2xDeluxe CD Info: Limited Edition 2CD Version Contains Bonus Disc With Instrumental Album.

                            Lee Fields & The Expressions

                            It Rains Love / Will I Get Off Easy

                            Big Crown Records drop the debut single from the forthcoming Lee Fields & The Expressions album, “It Rains Love”. The new soul poster boy is back with another instant classic sure to wrap the world up in love and soul. The A side, “It Rains Love”, is the amuse-bouche in the listening experience for Lee’s 5th studio album backed by The Expressions. With a rhythm track that sounds like it could belong to any of the last 4 decades, Lee floats on top with his raw yet honeyed vocals and imparts simple but thoughtful wisdom the way only Lee can. The B side, “Will I Get Off Easy”, is a mid tempo ballad that stays true to the music that has made Lee a household name in the soul community. Hard-hitting drums, pretty chords, sweet group backgrounds, and Lee’s tough as nails vocals create a perfect storm that will satisfy any soul junkie looking for a fix. The full length is produced entirely by Leon Michels and due out in April of 2019.

                            Lee Fields & The Expressions

                            Special Night Instrumentals

                            The instrumental version of the instant classic "Special Night" by Lee Fields & The Expressions. There are a few terms that get thrown around loosely, two of which are legend and retro-soul. One of these fits Lee Fields hand and glove, one of these doesn’t fit at all. Very few people in music have both earned the status of legendary and continue to solidify it. 50 years in the game and only getting better, gaining more fans, and evolving his sound on each album, Lee is in fact a Living Legend. This brings us to the misuse of the term "retro-soul" when talking about Mr. Fields. You don’t have to look far to find a younger generation emulating the essence and styles of an era the’ve only experienced through music and movies. It seems unfair to tag Lee with a term that implies imitation when he is part of the generation that actually defined the genre. Plain and simple, this is not that. "Special Night" is a masterclass in soul music past and present. “I feel that every human being’s purpose is to do what their inner voice says to do,” says Lee Fields. “And my inner voice, my driving force, wants me to put out music and keeping making better records.” Special Night is also the first record in the Expressions catalogue in which every song was written jointly by Lee Fields and The Expressions.

                            “When I record, I make every song like I actually mean it. I mean every word I say. On Special Night I’m talking to my lady — literally, expressing the way I feel.” says Lee Fields. “You can tell if a song is real or not, and every moment I’m recording, those moments are real, this is a record about what people do in real life”. For one example, he cites the song “Work to Do,” which tells the story of “a guy going to counseling, drinking too much, apologizing to the old lady and trying to keep family together, doing the manly thing.” On “Make This World”, Lee makes a nod back to his early funk roots with a cautionary tale about the health of the planet. The world was designed to last indefinitely,” says Fields. “We’re the only living species on Earth who can alter that process. I’m hoping that song has a chain reaction, helps somebody put into action whatever contribution they can to change what the world is going through.” As always, sticking to the formula but pushing the boundaries “Never Be Another You” from the first note doesn’t sound like something you would hear on a Lee record, that is until he starts singing anyhow. A low tempo ballad with a head nodding drum track, sparse piano lines, and all the space Lee needs to lay down what is sure to be one of the flyest love songs of 2017.

                            Lee Fields & The Expressions

                            Wake Up / You're What's Needed In My Life

                            Following up on the massive success of Lee Fields recently released full length "It Rains Love" we drop another 45 for the DJs and collectors. This time showing off two different sides of Lee & The Expressions range. The A side "Wake Up" is Lee's heavy duty, drum driven, anthemic tune for the times. Fields calls out the highly over-used and abused term of the current presidency "fake news." Over a hard as nails sound bed courtesy of The Expressions he goes on asking people to wake up and not let this propaganda sway them from knowing what is right and wrong.

                            The B side "You're What's Needed In My Life" is a gushing testament to the beauty of love. Solidifying his title as the Professor of Love it's almost like he's writing your girl's valentine for you. Going beyond how happy the woman he is singing to makes him and telling of how she makes everyone she meets happier. This two-sider is about as classic as possible, a heavy duty funk banger on the A side, and nothing but love on the ballad B side. Another classic and timeless offering from the one and only Lee Fields. 

                            Lars Finberg

                            Moonlight Over Bakersfield

                              “Deep breath: It’s been nearly 20 years of high marks for Mr. Lars Aldric Finberg, shocking as that calculation may be to make. Whether a basher in A-Frames and Thee Oh Sees, secret weapon of Wounded Lion, architect of Puberty and administrator of The Intelligence, his whirlwind presence has been a reliable one; that of an artist whom people look for and look toward. With outlets as varied (be they casual or all-consuming) as this, what, oh what, then prompted the emergence of a solo offering? In truth, In The Red’s outta-nowhere green-lighting of the concept sent Finberg’s brain bubbling toward Moonlight Over Bakersfield, a statement of entirely his own concoction…

                              A truly swirling step from a guy who’s always movin’ diagonally. “Followers of Finberg’s recording history will immediately detect a plume of confidence around this album, an air that each successive offering has inched toward but now, at long last, has taken full bloom. It’s legitimately wonderful to witness Finberg ordering off the top shelf across every aspect of the album, recognizing this as a collection of experiments and bangers deserving of such treatment. This assuredness carries over thematically, as he tackles both personal and political obsessions with equal honesty and sophistication.

                              “The favors called in for this occasion bolster the offering as a whole. Frequent collaborators now stew with notable heavies from La Luz and Melvins / Big Business, creating Finberg’s Whole New Sound. The great Mikal Cronin even guests on sax, offering sophisticated bleat as needed. Ty Segall serves as Finberg’s main ally though, both at the controls and in performance. Previous valiant attempts aside, Moonlight Over Bakersfield marks Segall’s first truly great achievement as producer / engineer, as if a partnership with Finberg would result in anything less.” —Mitch Cardwell

                              Luboš Fišer

                              Valerie And Her Week Of Wonders (Sleeve A)

                              It has been exactly ten years since Finders Keepers Records first liberated Luboš Fišer’s immaculate soundtrack music for 'Valerie And Her Week Of Wonders' ("Valerie A Týden Divu") from the vaults of the Barrandov Studio in Prague. As the inaugural release of an ongoing discography of previously unreleased scores from the hugely creative ‘Film Miracle’ that occurred during and after the Czech New Wave (CNW), this score will always retain a special place in the heart of the label as well as listeners who consistently request an updated repress of this significant vinyl milestone.

                              Having grown in status from an obscure and misunderstood socialist-era art house oddity, via the hands of risqué foreign fluff merchants, to finally find its rightful audience as a bona fide surrealist cinematic masterpiece of world class standards, this 1970 film adaptation of Vítezslav Nezval’s 1935 avant-garde novella (a film that literally cross-pollinated Max Ernst’s ‘A Week Of Kindness’ and Lewis Caroll’s ‘Alice In Wonderland’) has garnered widespread critical acclaim. Inspiring ongoing generations of visual artists, musicians, writers and filmmakers - all of whom regard this truly individualistic and inimitable surrealist film poem to be an indelible influence - Valerie continues to impregnate their daily artistic referential fabric.

                              Commonly considered to be the swansong of the CNW, following a huge paranoia fuelled government film cull in 1969, owing to the fact it is the last government approved feature film of the post-Prague Spring era to combine the efforts of controversial filmmakers from the FAMU (Filmová A Televizní Fakulta Akademie Múzických Umení) film school, ‘Valerie And Her Week Of Wonders’ would also be the first of an exciting and essential new fertile strain of Czech made cinema fantastique. Successfully condensing the final drops of CNW lifeblood through a series of presumed apolitical scary/fairy tales, directors like Jaromil Jireš and Juraj Herz used surrealism, traditionalism and fantasy to rejuvenate the creative energy of apathetic filmmakers evading government scrutiny via creatively coded artistic allegories.

                              By strategically choosing to adapt a pre-war surrealist melodrama written by a communist convert author called Vítezslav Nezval and based in a non-specific traditional era, the previously censored filmmaker Jaromil Jireš was able to craft what many consider his finest filmic hour and what would later become his most universally received achievement. Enlisting the individual talent of some of the CNW’s most formidable stalwarts, in what might have been their most creatively challenging roles, Jireš managed to unintentionally establish a new genre format that was both stylistically and sonically tuned to the trends of the impending decade thus future-proofing his career and providing a woozy gateway drug to an otherwise time-locked lost movement.

                              Beautifully remastered from the original studio tapes with updated liner notes. Housed in two sleeve designs (Sleeve A / Sleeve B) based on the original theatrical posters.


                              Luboš Fišer

                              Valerie And Her Week Of Wonders (Sleeve B)

                              It has been exactly ten years since Finders Keepers Records first liberated Luboš Fišer’s immaculate soundtrack music for 'Valerie And Her Week Of Wonders' ("Valerie A Týden Divu") from the vaults of the Barrandov Studio in Prague. As the inaugural release of an ongoing discography of previously unreleased scores from the hugely creative ‘Film Miracle’ that occurred during and after the Czech New Wave (CNW), this score will always retain a special place in the heart of the label as well as listeners who consistently request an updated repress of this significant vinyl milestone.

                              Having grown in status from an obscure and misunderstood socialist-era art house oddity, via the hands of risqué foreign fluff merchants, to finally find its rightful audience as a bona fide surrealist cinematic masterpiece of world class standards, this 1970 film adaptation of Vítezslav Nezval’s 1935 avant-garde novella (a film that literally cross-pollinated Max Ernst’s ‘A Week Of Kindness’ and Lewis Caroll’s ‘Alice In Wonderland’) has garnered widespread critical acclaim. Inspiring ongoing generations of visual artists, musicians, writers and filmmakers - all of whom regard this truly individualistic and inimitable surrealist film poem to be an indelible influence - Valerie continues to impregnate their daily artistic referential fabric.

                              Commonly considered to be the swansong of the CNW, following a huge paranoia fuelled government film cull in 1969, owing to the fact it is the last government approved feature film of the post-Prague Spring era to combine the efforts of controversial filmmakers from the FAMU (Filmová A Televizní Fakulta Akademie Múzických Umení) film school, ‘Valerie And Her Week Of Wonders’ would also be the first of an exciting and essential new fertile strain of Czech made cinema fantastique. Successfully condensing the final drops of CNW lifeblood through a series of presumed apolitical scary/fairy tales, directors like Jaromil Jireš and Juraj Herz used surrealism, traditionalism and fantasy to rejuvenate the creative energy of apathetic filmmakers evading government scrutiny via creatively coded artistic allegories.

                              By strategically choosing to adapt a pre-war surrealist melodrama written by a communist convert author called Vítezslav Nezval and based in a non-specific traditional era, the previously censored filmmaker Jaromil Jireš was able to craft what many consider his finest filmic hour and what would later become his most universally received achievement. Enlisting the individual talent of some of the CNW’s most formidable stalwarts, in what might have been their most creatively challenging roles, Jireš managed to unintentionally establish a new genre format that was both stylistically and sonically tuned to the trends of the impending decade thus future-proofing his career and providing a woozy gateway drug to an otherwise time-locked lost movement.

                              Beautifully remastered from the original studio tapes with updated liner notes. Housed in two sleeve designs (Sleeve A / Sleeve B) based on the original theatrical posters.


                              Sometimes the best course of action is to find your path and stay focused, which is the approach that shaped Lyla Foy’s debut album, ‘Mirrors The Sky’. Everything changed for the 25-year-old London songwriter one day in early 2012, when she cancelled her evening plans to work on music at home. After years of collaborations, she decided to go it alone, and that night produced the gorgeously stripped-down ‘No Secrets’, which she eventually shared with the world under the moniker WALL. “When I first started writing for the project, I wanted everything to be really focused on the melodies, but also really simple and minimal,” says Foy. “Just using a lot of bass, and simple drum patterns. I wanted to try something new, and that one song felt like the beginning of something.”

                              The reaction to ‘No Secrets’ confirmed Foy’s suspicion that she’d stumbled onto something pretty special. The track led to an appearance on British web-series Black Cab Sessions, and the Black Cab folks formed a label to release WALL’s debut single, ‘Magazine’. The English accolades poured in via glowing reviews and radio spins - BBC Radio’s Steve Lamacq went so far as to call ‘Magazine’ his favourite song of the year - and by the end of 2012 Pitchfork was giving her props for her haunting cover of Karen Dalton’s ‘Something on Your Mind’, and spotlighting the title track from 2013’s ‘Shoestring’ EP.

                              Foy has now decided to come out from behind her WALL and adorn ‘Mirrors The Sky’ with her given name. She’s still in the same musical mindset that produced ‘No Secrets’ and she still plays with the guys - Oli Deakin (bass, keyboards), Andy Goodall (drums), and Dan Bell (guitar, keyboards) - who helped bring WALL’s songs to the stage.

                              For a project that began as a single song in a London bedroom, Lyla Foy’s hypnotically hushed songs have come quite a long way over the past two years, figuratively and literally, as her worldwide deal with Sub Pop will find her spending quality time supporting ‘Mirrors The Sky’ around the globe.

                              STAFF COMMENTS

                              Ryan says: Beautiful dreamy folk/pop from Lyla Foy previously known as 'WALL'. For fans of Daughter.

                              After the phenomenal reaction to his solo track ‘Wall of Glass’ and the emotional scenes that accompanied his first solo shows, Liam Gallagher brings us his eagerly anticipated debut album ‘As You Were’.

                              “I didn’t want to be reinventing anything or going off on a space jazz odyssey,” says Liam. “It’s the Lennon ‘Cold Turkey’ vibe, The Stones, the classics. But done my way, now.”

                              The album’s cover features an iconic new portrait of Liam which was taken by the influential photographer, fashion designer and creative director Hedi Slimane.

                              FORMAT INFORMATION

                              LP includes MP3 Download Code.

                              Liam Gallagher

                              Shockwave

                                Liam is back, following his debut solo album "As You Were", which stormed to the top of the charts, selling over 100,000 copies week one, to become one of the best selling albums of that year.

                                "Shockwave" is the brand new single from Liam's forthcoming album.

                                STAFF COMMENTS

                                Martin says: Everything you'd want from a Liam Gallagher single. Swash-buckling, glam-stomping, life-affirming fun!

                                Liam Gallagher

                                Wall Of Glass

                                  Unlike boxing, rock and roll is not renowned for great comebacks. A few missteps and then it’s usually farewell, have a good life, who are you again? Occasionally, though, a true heavy musical champ loses a bout only to re-emerge even stronger later. David Bowie, for example, went through a long fallow period before his renaissance. Paul Weller had a rocky few years before finding his feet as a solo artist. Now we can add a third era-defining voice to that list of champions who returned to reclaim their belt: Liam Gallagher.

                                  After Beady Eye officially split in 2014, Liam found himself “out of the bubble” of being in an organised rock group with all the appropriate management apparatus for the first time in twenty years. He fell hard. Suddenly just a regular geezer (“just a regular absolute legend” he clarifies), he had to consider what he was going to do. For a while, he toyed with the idea of moving to Majorca and living “Sexy Beast-style” around the pool in the sun. He had a few holidays. He went for lots of jogs. He had a few pints. And he got divorced. And when all that was done he took a long look at himself in the mirror and remembered who he is and what he does. He’s Liam Gallagher, son of Peggy Gallagher, of Burnage, Manchester, the best singer and frontman of his generation. So he decided to start singing some songs again. Majorca could wait.

                                  Playing around in his own idiosyncratic style on a guitar at home in London, he surprised himself by writing a song. “I am definitely not a professional at it,” he says, modestly. “It’s proper Frankenstein tackle. But I suppose everyone has their ways. Even Paul McCartney didn’t just sit down and write Hey Jude straight away.”

                                  The song that he wrote was a heavy dollop of soul-rock called Bold and strong enough to get him signed to Warner Bros. There was something there alright. Eventually, he had a whole batch of songs written which he demoed with a multi-instrumentalist called Dan McDougall in London before he started to meet producers and co-writers. “Warner Bros said to me, ‘Are you up for a bit of co-writing? I was, like, ‘never done that before. Why not?’” He flew out to LA, met a few, but really hit it off with Greg Kurstin. “Greg Kurstin played me a few ideas, we had a chat, swapped some ideas, sorted it out and before you know we had some more songs. I’m as surprised as anyone that it worked, but the songs we did are top.”

                                  These songs include Liam’s incredible first single as a solo artist, Wall Of Glass. If you had to make an equation of all the elements that made the early Oasis singles so apocalyptically good - i.e, huge waves of guitar hooks + melody you can’t shake for…ever + thunderous rhythm + LIAM GALLAGHER’S VOICE delivering an unbelievably catchy chorus - then Wall Of Glass fits in the lineage perfectly. It’s hard to recall a time he’s sung better - it’s like hearing him for the first time again, the same yearning menace that claimed a million hearts by the end of Supersonic’s first chorus. His voice is definitely on point.

                                  “Yeah, well,” he almost agrees. “I’m a good singer, man! Nine out of ten times I nail it. In a studio, without a doubt. Never done a shit vocal there.”


                                  FORMAT INFORMATION

                                  Ltd 7" Info: Limited repress!

                                  Liam Gallagher

                                  Why Me? Why Not.

                                    This month has seen Liam Gallagher make a typically full-throttle return. Super intimate sold-out show at Hackney Round Chapel? Biblical. Premiere and release of the long-awaited ‘As It Was’ documentary? Completed. Featured on the cover of Q, who described him as “rock’s finest frontman”? Naturally.

                                    Liam wrote lead single ‘Shockwave’ with two of the key collaborators behind the all-conquering ‘As You Were’ album: Andrew Wyatt, who won the Academy Award for Best Original Song as co-writer of ‘Shallow’ from the film ‘A Star Is Born’, and the multiple Grammy-winner Greg Kurstin who also produced the track. It was recorded in Los Angeles.

                                    Liam Gallagher’s debut solo album ‘As You Were’ was a critical and commercial smash. It debuted at #1, out-selling the rest of the Top 10 in the process, and was soon certified Platinum. Liam was back where he belonged, selling out huge outdoor shows and earning major awards from Q, NME and GQ.

                                    More details regarding ‘Why Me? Why Not.’ will be revealed imminently. “It’s a better record than As You Were,” promises Liam. “Which is saying something, as that was epic, wasn’t it?”


                                    FORMAT INFORMATION

                                    Coloured LP Info: Indies exclusive bottle green coloured vinyl housed in a gatefold sleeve.

                                    LP Info: 140 gram black vinyl housed in a gatefold sleeve.

                                    Deluxe CD Info: Deluxe CD with 3 bonus tracks (14 in total).

                                    Lisa Germano

                                    In The Maybe World

                                    A gifted lyricist and powerful singer, Germano is also a talented multi-instrumentalist, playing the violin, piano, and guitar with equal aplomb. This new album features some of her best work to date. For fans of PJ Harvey, Marianne Faithful, Cat Power and Bjork, she's had previous albums on 4AD. Other projects over the years included OP8, a collaboration with Giant Sand and Calexico.

                                    Laura Gibson

                                    Goners

                                      It is her best record, and also her strangest.

                                      Goners, the fifth album from acclaimed singer-songwriter and multi-instrumentalist Laura Gibson, found its name in the first line she wrote in the bleak beginning of 2017:

                                      If we’re already goners, why wait any longer, for something to crack open

                                      That line became a lyric in the title track. It also became a sort of mantra. “I’d known for a long time that I wanted to make a record about grief. In some ways, every song I’ve ever written has something to do with grief. This time around, I felt compelled to stare into the abyss. Goners seemed an apt title because it speaks of both the future and the past. The word is used for two types of people: those who lose themselves in the ones they love, and those whose deaths are imminent.”

                                      It is Gibson’s best record, and also her strangest. There are hauntings and transformation, odd birds and harbingers. Women become wolves, men metamorphose into machines, ghost-children wave in the rearview mirror, a scar becomes a vessel for memory. Her lyrics are populated with sharp objects: a needle, a thistle, a sickle, a scythe, claws and animal teeth. “I wanted the songs to feel like fables, to unfold with dream logic.”

                                      Much of Goners explores the loss of her father as a teenager, and her wrestling with the decision of whether or not to become a parent herself. “My days are charged. Potential future grief forces me to reckon with past grief. These were two points on a map of grief. I wanted to explore the territory between them.”

                                      Gibson co-produced the songs with engineer and friend John Askew, with whom she’d also collaborated on her 2016 album, Empire Builder, in his Portland, OR, studio. They began as simple demos, but Gibson kept returning to the studio to tinker, until she realized these demos had become a record. She ditched her guitar on half the songs and instead played piano and Wurlitzer. “There was a lot of experimentation, stacking vocals and using tape loops to transform sounds. We were landing on arrangements that seemed impossible to recreate and so we kept moving forward.”

                                      She enlisted a number of long time collaborators, including guitarist/synth extraordinaire Dave Depper (Death Cab for Cutie), drummer and found-sound percussionist Dan Hunt (Neko Case), and stand-up bassist Nate Query (the Decemberists); then built horn and woodwind arrangements with Kelly Pratt (St. Vincent and David Byrne, Father John Misty) and imaginative string parts with Kyleen King (Stephen Malkmus, Case/Lang/Veirs).

                                      It marks the first record Gibson made after completing a MFA in writing, and her language has never felt more alive, her storytelling sharper, her imagination looser. “I wanted to aim for wildness in my lyrics, not perfection. Trauma and grief are far messier than the stories we make of them. Despite this, we will forever keep telling our stories to each other.”

                                      Lizzy Goodman

                                      Meet Me In The Bathroom

                                        New York, 2001. 9/11 plunges the US into a state of war and political volatility—and heralds the rebirth of the city’s rock scene. As the old-guard music industry crumbles, a group of iconoclastic bands suddenly become the voice of a generation desperately in need of an anthem.

                                        In this fascinating and vibrant oral history, acclaimed journalist Lizzy Goodman charts New York’s explosive musical transformation in the early 2000s. Drawing on over 200 original interviews, Goodman follows the meteoric rise of the artists that revolutionised the cultural landscape and made Brooklyn the hipster capital of cool—including The Strokes, The Yeah Yeah Yeahs, LCD Soundsystem, Interpol, and Vampire Weekend.

                                        Joining the ranks of classics like Please Kill Me, Our Band Could Be Your Life, and Can’t Stop Won’t Stop, Meet Me in the Bathroom is the definitive account of an iconic era in rock-and-roll.

                                        Laura Jane Grace & The Devouring Mothers

                                        Bought To Rot

                                          14 tracks spanning Laura Jane Grace's fractured relationship with her adopted hometown of Chicago, true friendship, complicated romance, and reconciling everything in the end, Bought to Rot stands as the most musically diverse collection of songs Grace has written to date.

                                          Inspired in large part by Tom Petty's Full Moon Fever, the first album Grace ever owned, Bought to Rot finds her at the same age Petty was when he created his solo debut masterpiece. In light of his recent passing, Grace was motivated to pay homage to one of her lifelong heroes.

                                          Laura Jane Grace & the Devouring Mothers are Laura Jane Grace, Atom Willard, and Marc Jacob Hudson. Grace is a musician, author, and activist best known as the founder, lead singer, songwriter, and guitarist of the punk rock band Against Me!. Willard, also of Against Me!, is a drummer who has played in iconic punk bands such as Rocket from the Crypt, Social Distortion, and The Offspring. Devouring Mothers bassist Hudson is a recordist and mixer at Rancho Recordo, a recording studio and creative space in the woods of Michigan, and the sound engineer for Against Me

                                          The follow up to Manchester songbird Liz Green’s rapturously received debut ‘O, Devotion!’ (2011).

                                          Recorded at London’s legendary Toe Rag Studio with producer Liam Watson, Liz’s sophomore album displays a wonderful array of sounds and styles, from the ‘drone-blues’ of ‘Battle’ to the sea shantyinfluenced title track.

                                          In a departure from its predecessor, ‘Haul Away!’ sees Liz bringing the piano to the forefront, influenced by such artists as Thelonius Monk and Nina Simone.

                                          Artwork designed and conceived by Liz herself, including the iconic cover image.

                                          Includes self-styled single and ‘wonky circus tune’ ‘Where The River Don’t Flow’, a jaunty dance of life and death.

                                          FORMAT INFORMATION

                                          CD Info: Initial orders come with a limited edition postcard pack - while stocks last!

                                          Liz Green

                                          Rybka / Where The River Don't Flow

                                          Double A-side single pressed on white 7” vinyl and limited to 385 copies for the UK.

                                          First single to be taken from ‘Haul Away!’, the follow up to Liz Green’s rapturously received debut ‘O, Devotion!’ (2011).

                                          Recorded at London’s legendary Toe Rag Studio with producer Liam Watson.

                                          Artwork designed by Liz herself.

                                          ‘Rybka’ translates as ‘little fish’ in Polish, and that’s precisely what the song is about, says Liz: “the little fish getting lost in the big pond. A boy who tries to do right but always seems to end up on the wrong side of the glass.”

                                          STAFF COMMENTS

                                          Laura says: Two wonderful tracks from Liz Green, ahead of her new album. Title track Rybka's swaying, clarinet led rhythm provides the perfect accompaniment to her distinctive, dramatic voice. Lovely stuff.

                                          Linda Guilala

                                          Estado Natural

                                            Spanish shoegaze trio Linda Guilala's new single is the third instalment in the Sonic Cathedral Singles Club.

                                            ‘Estado Natural’ (which translates as ‘natural state’) is the follow-up to last year’s ‘Mucho Mejor’ and is an indie-pop classic in the making, all driving rhythms and synths swooping and fizzing like Stereolab in a Soda Stream. The flipside, 'Espacio De Tiempo' (‘space of time'), is a much more Lush and laid-back affair.

                                            STAFF COMMENTS

                                            Mine says: Pulsing beats, swoony vocals and shimmering synths... say hi to your new favourite shoegaze anthem!

                                            FORMAT INFORMATION

                                            Ltd 7" Info: Limited edition of 350 on red vinyl.

                                            Perennial Piccadilly favourites Born Free find the time to turn out one last tonker before the end of 2k17, serving up a searing 3 track EP from Rotterdam-techno explorer Louis Guilliaume. Presumably armed with a phat sherm stick and a battered MPC, Louis gets deep and deranged on the hunt for electronic funk. "Freezse" employs its homonymic technique to fire off a burst of strobe lit stabs over the top of a restless techno perc track, opening the EP with a steely glare across the post-peak dancefloor. From there, "Close Encounter" drops into a totally off-the-wall outpouring of overlapping rhythms, clattering drums and spaced out sci-fi FX, filling our ears with disorienting drug noise before an intergalactic lead line traps us in its tractor beam. Finally "Time Trap" offers heat treated percussion, industrial aesthetics and a mindwarping sequences, closing a killer EP which makes your brain buzz and your tummy bump.

                                            STAFF COMMENTS

                                            Matt says: Some wacked-out shit for y'all here.... Think White Hotel at 6.30am when the gremlins come out to play....

                                            Panagiotis Melidis started writing music as Larry Gus (λάρυγγας [larigas], Greek for larynx) in 2006, after his previous band, the bass and drums duo Ginger, parted ways. Initially his music combined sample-based constructions and psychedelic pop melodies, merged into an infinitely dense amount of layers and polyrhythms. He soon became known for his energetic and chaotic improvised live performances that involve intricate layering of vocals, drums, and electronics… along with lively stage banter.

                                            On his new DFA album, "I Need New Eyes" (a title inspired by a Marcel Proust misquotation), moving slowly out of his sample-based roots and using clearer songwriting structures as his starting point, he stares intensively into his obsessions, anxieties and inadequacies, namely failure, humiliation, subservience, submission, and comparisons with other musicians’ careers, always through the prism of a provincial outsider.


                                            Luke Haines goes electronic, with an album was recorded using entirely analogue synthesizers.

                                            A concept album set in the future where Great Britain has retreated to a vast and secret network of abandoned nuclear bunkers and prays to a piece of silverware, referred to as the 'New Pagan Sun'.

                                            “Rock And Roll Animals” is a psychedelic story for grown-ups (and children). Jimmy Pursey is a frisky fox; Nick Lowe – a solid badger and Gene Vincent – a cat who's seen a bit more of life than most of us. Three furry freaks. Three Rock n Roll animals. The fable of our four-pawed shamen is narrated by the good folk of Magic Town.

                                            This is a story of righteous rock n roll and how our three rock n roll animal friends, when not frolicking in the undergrowth, do battle with their most unrighteous nemesis – a fuck ugly bird (from Tyneside) made of steel and wire called The Angel Of The North.

                                            Luke Haines

                                            Christie Malry's Own Double-Entry OST

                                            Film soundtrack from former Auteurs frontman Luke Haines. The soundtrack reflects the thoughts and actions of a lone terrorist who was inspired by a monk / accountant from Renaissance Italy to take revenge against those who crossed him - starting by scratching the paint off expensive cars and climaxing with the death of thousands of people.....

                                            Lisa Hannigan & S T A R G A Z E

                                            Live In Dublin

                                              Irish singer songwriter Lisa Hannigan presents a live album with the contemporary-classical orchestra, s t a r g a z e.  The collaboration - which sees Hannigan’s sparse, ethereal folk transformed into something cinematic and transfixing - was taken to select festivals across Europe and most recently graced the stages of London’s Barbican and Dublin’s National Concert Hall. 

                                              Thankfully for those yet to experience the mesmeric live show, their recent performance at the National Concert Hall in October last year is set for release in the shape of ‘Live In Dublin’, a discography-spanning 14-track live album which also includes new track, ‘Bookmark’.

                                              "Pimps… whores… pushers… dopers… gangsters… and bottom of the human chain shit-heels. Now you’re probably thinking I'm writing about major record companies and their unscrupulous executives… and lawyers. You could be right… but this time… YOU'RE WRONG! I'm describing the characters in my album "13"…some I knew… some I invented … some are true… some are false… some i liked… some i didn't. But they all had a story to tell and I told it…none of 'em seem to care… and I don't either… have fun…" - Lee Hazlewood

                                              "13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass heavy funk, deep blues and soul paired with Hazlewood's subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood’s greatest lines ever “One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.” - Larry Marks

                                              By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks.

                                              In what became the final days of LHI, staff producer Larry Marks’ sonic fingerprints were on nearly everything; songwriting, producing, arranging, and singing. His most profound contribution was steering the creative direction of the label towards soul and R&B, arranging the downright funky LHI singles by Barbara Randolph and Jon Christian. Larry’s concept was to take Hazlewood’s strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry’s record. The tapes were taken to Sweden, Larry’s voice was wiped and Hazlewood’s was dubbed….13 was born.


                                              Lee Hazlewood

                                              Cruisin' For Surf Bunnies

                                                Deep in the LHI tape archive hid a mysterious tape marked “Woodchucks.” The tape held a "lost” instrumental surf album recorded by Lee Hazlewood in the early 1960s. Some of the songs have been recorded by The Astronauts, Jack Nitzsche, Dick Dale and His Del-Tones, Takeshi Terauchi, The Ventures, John Paul Jones (Led Zeppelin), The Trashmen, The Challengers and The Surfaris. Lee’s original recordings have never been released. Bask in the reverb drenched twang of Lee Hazlewood’s original versions for the first time ever!

                                                Light in the Attic Records is proud to continue it’s Lee Hazlewood archive series with this very special release. Not a reissue, but rather a brand new, never before released time capsule from the surf era. Lee Hazlewood’s Woodchucks Crusin’ for Surf Bunnies is the perfect soundtrack for sun-baked skin and salty waves, hot rods and summer love. It’s the soundtrack to the American dream in the early 1960s and it comes from California. Though Lee and Suzi Jane Hokom hadn’t met yet, they were both living that dream…Suzi with her group The Surf Bunnies and Lee on his brief surf music tangent with albums like Al Casey’s Surfin’ Hootenanny, Hal Blaine and the Young Cougars and The Glaciers From Sea to Ski.

                                                “He was trying to do too much at that period of time. He was just throwing stuff around, but this sounds like a complete project. If there was an airplay record in there, he probably could’ve had a band go out and be the Woodchucks or whatever he wanted to call them. It’s a good surf album. I really loved it. He was a master…there’s no question about it. He invented sounds that no one was doing.” – Shackleford and “Lonely Surfer,” Marty Cooper.


                                                FORMAT INFORMATION

                                                Ltd LP Info: LP pressed at RTI and housed in a deluxe Stoughton tip-on jacket.

                                                Lee Hazlewood

                                                Forty

                                                  * Album remastered from pristine LHI master tapes
                                                  * Includes session outtake “For Once in My Life” and previously unreleased backing track “Send Out Love”
                                                  * Liner notes by Hunter Lea including an interview with Shel Talmy
                                                  * Archival photos
                                                  * LP housed in a deluxe gatefold Stoughton tip-on jacket

                                                  “I asked him if he wanted to use any of his songs, and he said, “No.” We had a long chat before we did any of this. He said, ‘No, I want you to do it and I want to just be a singer.’ So I said okay.” -Shel Talmy

                                                  Originally titled Will The Real Lee Hazlewood Please Stand Up?, Forty was a different kind of Hazlewood album, one in which Lee just focused on being a performer. In 1969 on the eve of his fortieth birthday, Lee flew to England and enlisted Shel Talmy (The Kinks, The Who, Chad & Jeremy, Bert Jansch) to produce an album and hand pick the songs. Shel picked some incredible songs for Lee to sing and even wrote him a song that should’ve been a hit, “Bye Babe.” Recorded at famed IBC recording studio with cream of the crop British session musicians and arrangers, no expense was spared.

                                                  Nicky Hopkins piano/organ work on “The Bed” and “The Night Before” evoke his then recent work with the Rolling Stones on Beggar’s Banquet and Let It Bleed. Arranger David Whitaker’s (Serge Gainsbourg, Vashti Bunyan, Air, “Bittersweet Symphony”) wizardry creates a lush, sophisticated orchestral sound.

                                                  “He was one of the more unique arrangers I’ve ever run into. I think “It Was A Very Good Year” is one of the best arrangements of that song ever.” - Shel Talmy

                                                  Forty begins with the boozy suite “It Was A Very Good Year”, a swingin’ shapeshifter that could’ve been a James Bond theme. The album traverses many styles from melancholy baroque orchestral pop(“What’s More I Don’t Need Her” “Bye Babe” & “The Night Before”) to country funk (“The Bed” & “Let’s Burn Down the Cornfield.”)

                                                  Light in the Attic Records is proud to continue its Lee Hazlewood Archival series with an expanded reissue of Forty. Every track Shel and Lee recorded for Forty are included here for the first time, including the outtake “For Once in My Life” and the previously unreleased backing track “Send Out Love.”

                                                  In exchange for piles of money from major labels, Lee and LHI made promises to produce an amount of recorded material that wasn’t humanly possible for one man and a small label. The logistics didn’t matter to Lee; once the check was cashed, he would do his damnedest to deliver the herculean output. Forty was one of those records, but what a beautiful way to meet a quota.

                                                  Lee liked his work with Shel so much that tracks from Forty were included on subsequent Hazlewood albums Cowboy in Sweden (1970) and Movin’ On (1977).


                                                  Lee Hazlewood

                                                  Requiem For An Almost Lady

                                                    * Album remastered from pristine LHI master tapes
                                                    * Includes outtake “I’ve Just Learned to Run” and previously unreleased demo “Little Bird”
                                                    * Liner notes by Hunter Lea including an interview with Suzi Jane Hokom
                                                    * LP housed in a deluxe gatefold Stoughton tip-on jacket

                                                    This is a group of songs about one lady... her name is not important... she knows who she was...What is important is once she loved me very much...These songs are a truthful attempt to show the effect the loss of this love had on me... They are not all sad songs full of self pity and remorse... but more a mixture of good and hard time, old and new thought, lost and found feeling, and near and far places... There was no pleasure (as there usually is) in writing this album... there was only the dull “thud” of realization that something you once took for granted is gone... and those “blue eyes” will never again look through this “old grey curtain”...The lady is dead now and I’m still alive... doing the same things with others I once did with her... and maybe that’s what being alive is all about it... if it isn’t... “to hell with it”.
                                                    - Lee Hazlewood

                                                    “He was a storyteller, that’s his music... the storytelling. That’s the thing I fell in love with him for. This final story that we see, the Requiem story, is kind of looking back at a career, I think. Not just a relationship—it’s his story. I think it’s authentic and the most revealing, really, because other things are cloaked, cloaked in romanticism, in a way. When you think of ‘Sand’ and ‘Jose,’ ‘My Autumn’s Done Come’ and ‘Some Velvet Morning’... those are stories, they’re stories you make up... they’re fiction. This is a little closer to home, I think.” -Suzi Jane Hokom.

                                                    Light in the Attic Records is proud to continue its Lee Hazlewood Archival Series with LHI Records final release. 1971’s Requiem for An Almost Lady is a personal statement and one of the heaviest break-up albums of all time. There are no lilting strings, sweeping choirs, or dancing trumpets. The arrangements are stripped down to the raw nerve; Lee’s emotions are the orchestra here. The listener eavesdrops on a sonic journal of heartbreak. After losing his lady, his record label, and his country, Lee etches his woes to wax.


                                                    Lee Hazlewood

                                                    Its Cause And Cure

                                                      The mid-to-late '60s were strange days for Lee Hazlewood. Having struck gold as songwriter and vocal foil for Nancy Sinatra, he signed up to MGM as an artist in his own right, and between 1966 and 1968, produced three ambitious solo albums that were eclectic, idiosyncratic, and most of all, unpredictable.

                                                      It was a happy time for Lee; his music was hot on the charts, he was fully immersed in his collaboration with his muse, Suzi Jane Hokom.

                                                      The second of his MGM trilogy - 1967's peculiarly named Lee Hazlewoodism: Its Cause And Cure - took on countrified French ye-ye (“The Girls In Paris”), a tale of a young bullfighter built on Spanish guitar and choral cowboys (“Jose”), a string-drenched song about the passing of time (“The Old Man And His Guitar”), and a western epic about a Native American tribe (“The Nights”). And that was just the first four tracks. Elsewhere, the honky tonk madness of “Suzi Jane Is Back In Town,” the Byrds-like jangle of “In Our Time” and–in the bonus tracks–an instrumental named “Batman” confirm this to be one of Hazlewood's most far-ranging, far-out LPs ever.

                                                      It’s the result of two main factors: ambition–to top Phil Spector, primarily–and cash, which paid for orchestras, plush studios, and the inestimable talents of arranger Billy Strange. “I think the big sound of those records came out of the Spector thing,” says Hokom, in the new liner notes. “If you can have a big sound and you have money to burn… it was a flamboyancy.”

                                                      Released before the Nancy & Lee LP–a bona fide hit for Reprise Records–Hazlewoodism was a tougher nut to crack, a record that confused by combining po-faced delivery with unabashed comical touches. By 1967, Hazlewood had founded the LHI imprint, and was busy building his own empire–one we've been lovingly archiving for the past few years. We now present this missing link in the story, plus predecessor, The Very Special World Of Lee Hazlewood and follow-up, Something Special. Welcome to Hazlewood's magnificent–and mad–MGM years.

                                                      Lee Hazlewood

                                                      Something Special

                                                        The three years spent on MGM Records between 1966 and 1968 were golden ones for Lee Hazlewood. He spent them working with his muse, Suzi Jane Hokom, writing a still-unreleased book, The Quiet Revenge of Elmo Furback, competing with Phil Spector from their respective studios, and coming up with the formula for the "boy/girl” songs for which he'd become famous. In fact, the unflattering portrait on the cover of Something Special did little to hint at how hip this late-flowering talent (he was in his late 30s when “These Boots Are Made For Walkin’” made him a star songwriter) had become.

                                                        The common strand on the MGM trilogy is one of the unexpected happening. They were an ill fit for a major label–experimental, difficult to pigeonhole, and unpredictable. Those descriptors apply nowhere more aptly than Something Special. Where 1966's The Very Special World Of Lee Hazlewood and 1967's Lee Hazlewoodism: Its Cause And Cure had employed an arranger, Billy Strange, and a full orchestra, Something Special stripped things back and brought in a flavor of jazz and blues, complete with gravelly-voiced scatting courtesy of collaborator Don Randi. This sat alongside tracks like “Little War” and “Hands,” the kind of late night, acoustic balladeering Hazlewood would later seize for his career-highlight LP, Requiem For An Almost Lady. The sound was that of a stripped-down nightclub jazz/blues/folk combo, fully rejecting the psychedelic music going on all over the world.

                                                        The album made clear that forging a career as a serious star was not at the top of Hazlewood's agenda, and at the third opportunity, he'd let the listener in on the joke. Tellingly, Hokom recalls Hazlewood saying the MGM albums were his “expensive demos. I’m sure that MGM thought that they would be successful.” Little chance of that with Something Special–it was originally released only in Germany. The same year, Hazlewood founded the LHI imprint, and began building his own empire, one we've been lovingly archiving for the past few years. We now present this missing link in the story, three albums that generated some of Hazlewood's best–and most varied–work.

                                                        Light In The Attic’s Lee Hazlewood Archive Series continues with an expanded reissue of Lee Hazlewood’s debut album. Re-mastered from the original tapes, this is the first time Trouble Is a Lonesome Town has been available in its original mono mix since the 1960s. Presented as a double LP and expanded CD with 15 bonus tracks and an eight page booklet, this is an essential purchase for Hazlewood fans or anyone curious about about the man before the mustache.

                                                        Originally released in 1963, Trouble… finds the bohemian cowboy sketching out a vivid picture of a backwater place named Trouble, where trouble with a small ‘t’ is never far away. “Trouble is little and it’s lonesome,” he says, on the title track, “you won’t find it on any map, but you can take three steps in any direction and you’re there.” Lee says plenty on the album. The first voice you hear is Hazlewood’s spoken-word narration. It’s a format the singer-songwriter would revisit frequently, introducing his stirring songs with a touch fireside storytelling in the rich, Texan drawl he’d tried hard to lose during years he was struggling to make it as an aspiring radio DJ.

                                                        Each mini, pre-song poem seems to impart unexpected wisdom. Indeed, if the record sounds remarkably wise and mature for a debut album, Hazlewood was, of course, no spring chicken on making this debut. 34 years old at the time of the album’s release, he was already a seasoned producer, writer and publisher with dozens of hits under his belt and a few singles under his own name and more under the pseudonym ‘Mark Robinson’ – all of which are included here in this reissue.

                                                        A pet producer of Duane Eddy’s, Hazlewood could turn his hand to any musical style (bonus ‘Mark Robinson’ track ‘Pretty Jane’ is unreconstructed rock ‘n’ roll), but with Trouble…, it felt like the singer had touched on something that was uniquely him.

                                                        In 2000, however, the late singer revealed that he hadn’t planned on making what’s best described as a musical storybook. “That was a demo. I didn’t know it was a concept album. I wrote a complete story of a make-believe town,” he said. The town nearly lived outside of the album too – in August 1968 there was serious talk of a television show based on the album. Lee wrote a script for a proposed weekly half- hour series called,Trouble Is a Lonesome that, sadly, never made it to air.

                                                        The cover sees Lee by the railroad tracks in Avondale, west of Phoenix. Smoking a cigarette and holding a guitar case, Hazlewood’s myth was laid out here. The newly minted performer’s long journey had taken him from Texas to Los Angeles via service in the armed forces and radio stations in small-town America. By 1963 he’d made it as far as the Hollywood Hills, but in many ways, his story was only just beginning. Light In The Attic will be revealing the rest of it throughout 2013 and 2014.

                                                        We’ll leave the final words to album supervisor Jack Tracy. His 1963 liner notes still true nearly 50 years later. “I happen to think that Trouble is as significant a chunk of Americana as has been written in many years,” he wrote. “But don’t let that get in your way. It was written to be enjoyed and to entertain. It will surely do that.”

                                                        Larry Heard

                                                        25 Years From Alpha EP

                                                          Woah, Blackmarket follow their splendid Todd Osborne twelve with another classic in the making by Larry Heard. This EP features three tracks that prove again the man's genius and unparalleled talent in squeezing true emotions and funk out of his machines that lift you into a state of euphoria. The A-side holds a long, midtempo 80s electro-funk groove with beautiful richly textures synth melodies. Flip over for a slightly rawer fingers style workout with highly emotive strings and a perfect end of the night tune with a gorgeous piano solo showing Heard's strong roots in jazz. Music from a different stratosphere - a record to treasure!

                                                          STAFF COMMENTS

                                                          Sil says: What a great surprise when I found that this was coming to the shop. One of my favourite tracks ever '25 Years From Alpha' is a perfect mix of beauty and sadness. A delicate melody and a contagious bassline are the driving elements in this hypnotic deep house tune. It oozes passion and melody. It sounds Detroit but is also looking forward. The TR-909 is ominous through the 15 minutes. It is just so well done that you will not notice that quarter of an hour gone. This is an absolute diamond and will leave the shop rather fast.

                                                          FORMAT INFORMATION

                                                          12" Info: One copy available

                                                          Not that anyone's keeping score, but as Band alumni records go, Levon is pulling way ahead of the pack with his second keeper in as many tries in the 00s. "Electric Dirt" again finds Levon steeped in tradition in his connection to the land and those who live by it and at the same time goes deeper and fuller in painting a musical canvas by incorporating some gospel, blues and soul with a wide range of original compositions and eclectic cover songs. 'Our objective here was to take the honesty, innocence and purity of the "Dirt Farmer" record which represents a true element of what Levon is all about but also expand on that and explore deeper the goldmine of Levon's musical artistry' states Campbell. "Electric Dirt" starts off with a rousing rendition of The Grateful Dead's "Tennessee Jed" moving on to a beautiful stripped down version of Happy Traum's "Golden Bird". "Growin' Trade", written by Levon Helm & Larry Campbell tells a deeply heartfelt story of a farmer's struggle to preserve his livelihood and the rousing horn arrangements by Allen Toussaint and the Levon Helm band on "Kingfish", written by Randy Newman, brings the swagger of New Orleans to the forefront.

                                                          Lauryn Hill

                                                          The Miseducation Of...

                                                          "Though the Fugees had been wildly successful, and Lauryn Hill had been widely recognized as a key to their popularity, few were prepared for her stunning debut. The social heart of the group and its most talented performer, she tailored 'The Miseducation of Lauryn Hill' not as a crossover record but as a collection of overtly personal and political statements; nevertheless, it rocketed to the top of the album charts and made her a superstar.

                                                          She found a hit single with "Doo Wop (That Thing)," an intelligent dissection of the sex game that saw it from both angles. "Superstar" took to task musicians with more emphasis on the bottom line than making great music, while her collaborations with a pair of sympathetic R&B superstars (D'Angelo and Mary J. Blige) also paid major dividends. And if her performing talents, vocal range, and songwriting smarts weren't enough, Hill also produced much of the record, ranging from stun-gun hip-hop to smoother R&B with little trouble." - All Music

                                                          The acoustic MTV Unplugged No. 2.0 double album from Lauryn Hill came nearly 4 years after the first solo album and gives an insight in her deeper thoughts and emotions about her life, artist, the judicial system (in “Mystery Of Iniquity”) and spiritual side. Lengthy intros, conversations and deeply personal songs like “Conquering Lion” accompanied with her acoustic guitar, with the audience add to the intimate performance in her typical raspy voice.


                                                          The album debuted at number three on the Billboard 200 and her song “Mystery Of Iniquity” was nominated for a Grammy Award for Best Female Rap Solo Performance and used as an interpolation by Kanye West for his single “All Falls Down”. Great acoustic songs like “Adam Lives In Theory”, “Oh Jerulasem” and “I Gotta Find Peace Of Mind” complete the album.


                                                          MTV Unplugged No 2.0 was her last album and pressed in limited quantities. This reissue comes just in time for its 15th year anniversary in 2017.

                                                          STAFF COMMENTS

                                                          Barry says: Lauryn Hill of The Fugees and solo fame presents a heartfelt and intimate acoustic performance for MTV unplugged. Hushed guitar and Hill's imitable vocal delivery segue into charged and determined soul anthems.

                                                          FORMAT INFORMATION

                                                          2xLP Info: 180 GRAM AUDIOPHILE VINYL
                                                          4 PAGE INSERTFEATURING “MYSTERY OF INIQUITY”,
                                                          “OH JERUSALEM” AND “THE CONQUERING LION

                                                          Luke Hirst

                                                          Rock'n'Roll Begins At Home

                                                          Luke Hirst is a 17 year old songwriter hailing from his hometown of Bradford. Influenced by the likes of Elliot Smith , Alfie & Muse, Lukes aim is simple, write great songs and take them onto the live circuit. "Rock'n'Roll Begins At Home" is Luke's first release after his debut single "Changing Lanes" was released on Heliotone Records in December 2004. US Indie Magazine 'Losing Today' reviewed the single and had this to say 'I couldn't honestly recommend a better way to spend quarter of an hour of my life other than in the company of this EP... A star in the making, don't rule against it.' And this EP is equally as good. Three beautifully crafted, dramatic pop songs.

                                                          Leroy Hutson

                                                          Anthology 1972-1984

                                                            Acid Jazz pull a blinder here, delivering the definitive Leroy Hutson compilation – ‘Anthology 1972-1984’. A legend to soul fans, his catalogue has been increasingly sought after by collectors and producers since the last time it was widely available nearly 20 years ago. College friends and early collaborator with Donny Hathaway then hand-picked as Curtis Mayfield’s replacement in The Impressions, his solo career resulted in 7 albums for Mayfield’s Curtom label. They are considered some of the greatest of the era and the very best music from them is collected here. Licensed from Mr Hutson himself, this represents his first approved Anthology, and comes in a beautiful package with an essay by soul expert and Mojo award-winning writer Tony Rounce and memorabilia and photos from Mr. Hutson’s own personal archive. The first single lifted to preview the album – the previously unreleased ‘Positive Forces’ has been championed at 6Music by Gilles Peterson who described it as one of the most important discoveries of the past ten years.

                                                            Deluxe reissue of Leroy Hutson’s 1976 album ‘Feel The Spirit’ featuring for the only time the Free Spirit Symphony. Released in the same year as the famous ‘Hutson II’, ‘Feel The Spirit’ includes popular tracks such as ‘Never Know What You Can Do (Give It A Try)’ and ‘Lover’s Holiday’. Feel The Spirit is filled with energetic funky sounds, Hutson is the funk king and this reissue delivers all those amazing tracks we know and love.

                                                            Hutson, long revered on the soul scene for his production, songwriting and perfromace skills, was Curtis Mayfield’s heir apparent. First chosen by the great man to replace him in the Impressions, and then groomed for an extensive solo career on Curtis' own label, Curtom, Hutson was the real deal. The Hutson catalogue has not been available on any format for nearly two decades, so it's excellent news that Acid Jazz have begun a full scale reissue series in partnership with Leroy himself.

                                                            Here we have a deluxe reissue of his classic third LP "Hutson", a high point of mid 70s soul, produced at Mayfield's Curtom Studios. Boasting Leroy’s signature tunes, ‘All Because of You’, ‘Lucky Fellow’ and ‘Cool Out’ as well as four other magnificent tracks in its original form, this deluxe reissue also treats us to a trio of alternate versions, making it an essential for any soul completist.

                                                            FORMAT INFORMATION

                                                            CD Info: The CD comes with three bonus tracks, the LP comes with a full colour inner sleeve complete with in depth sleeve notes by award winning soul expert Tony Rounce.

                                                            Hutson, long revered on the soul scene for his production, songwriting and performace skills, was Curtis Mayfield’s heir apparent. First chosen by the great man to replace him in the Impressions, and then groomed for an extensive solo career on Curtis' own label, Curtom, Hutson was the real deal. The Hutson catalogue has not been available on any format for nearly two decades, so it's excellent news that Acid Jazz have begun a full scale reissue series in partnership with Leroy himself.
                                                            Here we have a deluxe reissue of ‘Hutson II’. Often seen as a partner to the early ‘Hutson’, this is a highly sort after album and a high point of 1970s Chicago soul. Recorded at Curtom Studios, it features the all time classics ‘I Think I’m Falling In Love’, ‘Love The Feeling’ and ‘Don’t It Make You Feel Good’.

                                                            FORMAT INFORMATION

                                                            CD Info: The CD comes with three bonus tracks including the 2017 discovery ‘Positive Forces’ whilst the album comes with a full colour inner sleeve complete with in-depth notes by award winning soul expert Tony Rounce.

                                                            "Ices" is a celebration of flight, levity, and the conviction that you can leave earth. You take wing in an airplane, you go to real places when you dream, you have out-of-body experiences, you get high, you lose yourself in someone else.

                                                            When we started work on these songs, I was beginning a gradual move to California, constantly traveling back and forth from New York. I was experimenting. I was falling in love. Our studio in the Hudson Valley was full of electronics and computers and the sounds of future ships sailing through the vastness of space, and I sometimes forgot where I was. The first songs we wrote were called "flying 1", then "flying 2", and so on, which eventually evolved into songs on the album. Flight became a metaphor for the ignition of the imagination. The process created a lightness in me, a freedom and positive energy that I¹d never before felt or explored.

                                                            This recording session became a two year music and spiritual retreat with my psychic twin brother, Eliot. A private journey during which we abandoned old habits and familiar sounds. We got really geeky and experimented in our studio. We obsessed over sympathetic magic, "Ancient Aliens", and the NBA. We allowed everything we loved to find its way in: Persian percussion, hip-hop beats, lo-fi, hi-fi, Pakistani pop, Link Wray, Jason Pierce, gospel, dub. We developed new systems; we worked with synthesis, software, and samples; we became producers. The Hudson Valley was home base, but I wanted to keep flying. I wrote songs in California, recorded vocals in Atlanta, and worked with Clams Casino in Brooklyn.

                                                            For the first time, Lia Ices felt like an inclusive project with its own identity, not just a name.

                                                            "Ices" as a whole is devoted to these certainties. While we have evolved, we are still animals. We respond to planets, patterns, and cycles. We require the sounds of our origins. We live in the future but stay bound to the primitive and primordial. We will always want tribe, we will always want rhythm, we will always need music to guide us into our deepest sense of what it means to be human. So we hear sounds from all over the planet in this album. We devour so much music, and with this album we allowed ourselves to claim bits from all of it.

                                                            Laura Ingalls & Dr Love

                                                            Les Editions Poutines Vol.1

                                                            Dr Love is a veteran and key tastemaker / vinyl junkie on the Montreal scene while Laura Ingalls is a wandering French person of no specific sex who has recently landed in the French Canadian city and they both bonded over their love of anything disco and....poutine (the main local dish which consists of potato, cheese, gravy and maybe sometimes added meat!). While one is a highly obsessed record digger who can't producer, the other comes up short on most foraging trips but is more than capable behind the dials (we'll let you work out who's who...). "Oh Mon Amour" kicks us off here, an edit of a track by Idris Cheba and apparently a big spin at Le Palace in Paris during the early 80s (when it was released). "Weekend Mouillé" is an odd, jazz-disco thing from the mid 70's, the producer Art Polhemus is actually more a rock producer and this track sticks out like a sore thumb in his discography. Next up, "Ecoute Mon Coeur", written by Peter Godwin, is a Belgium track disguised as Italo and comes complete with all the big synths and big drums as you'd expect - even with added English vox! Finally, "Soul Ma Coco" is a cover of Manu Dibango's "Soul Makossa" (obviously). This version kept the melody and changed the lyrics slightly. Bayete is a South African band but the album was only released in Canada and Belgium. All in all, four tracks that are wonderfully obscure but highly enjoyable - exactly what you need from an edit! Top stuff.


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