MAGIC MIX

ALL GENRES

BACK CATALOGUE - L

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.

          ‘Songs from the Bardo’ begins with a bell ringing out once, twice, three times, as a ritualistic chant emerges from the dense silence. The collaborative composition by avant-garde icon Laurie Anderson, Tibetan multi-instrumentalist Tenzin Choegyal, and composer and activist Jesse Paris Smith is a guided journey through the visionary text of the Tibetan Book of the Dead, unfolding in an 80-minute ebb and flow of sound and words. Songs from the Bardo is a transporting experience, meant to draw the listener into the present moment and provide a framework for inner exploration. Anderson, Choegyal, and Smith fuse modern compositional techniques with the mystique of Tibetan Buddhist philosophy to make these visionary traditions more accessible to a new generation of listeners and to reveal the ancient wisdoms contained within.

          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!

            Louis Armstrong & Oscar Peterson

            Louis Armstrong Meets Oscar Peterson

            Here's a brand new repress of the complete classic "Louis Armstrong Meets Oscar Peterson" (Verve MGV-8322) which presents Satchmo singing and playing standards that were not part of his usual repertoire. He is masterfully backed here by Peterson, Herb Ellis, Ray Brown and Louis Bellson. As a bonus, two tunes from the same session (“Indiana” and an alternate take of “Let’s Fall in Love”) have been added. Produced by by Norman Granz

            FORMAT INFORMATION

            LP Info: Limited edition 180gram premium vinyl pressing.

            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.

            Liam Bailey

            Champion / Please Love Me (Acoustic)

            Big Crown records is proud to present the first 45 from the label's newest signing, Liam Bailey. Liam is an English singer and songwriter from Nottingham with Jamaican roots but a style and sound completely his own. The first 7" is taken from his upcoming album and was produced by long time collaborator, Leon Michels. The pair first worked together 10 years ago on the song, "When Will They Learn" which has since become a club favorite at reggae nights around the globe. Side A, "Champion", is a song that is in a class all by itself and certainly a slight departure for Liam and Leon. Thumping Juno bass and drums fortified with an 808, this reggae tinged banger is designed to bust up woofers and blow out dancefloors. While Liam waxes poetic about a type of girl that is as prodigious as she is pulchritudinous, the rhythm is a hypnotic groove that begs to be played over and over again. Side B, "Please Love Me Again", finds Liam in a place that most people might know him for. A beautiful written song with nothing more than stunning vocals and acoustic guitar. Liam's performance on this one that will move anybody with a pulse.

            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.

                Lito Barrientos Y Su Orquesta

                Very Very Well

                "Very Very Well" was the first album for Discos Fuentes by Salvadorian Rafael "Lito" Barrientos and his tropical orchestra, recorded in 1965. While in Colombia in the mid-1960s, he found great success with his assimilation of styles like cumbia and porro but also included Cuban charanga, Puerto Rican bomba and Mexican corrido in his repertoire, making for a very diverse selection of moods and flavors. 

                FORMAT INFORMATION

                Ltd LP Info: Presented in facsimile artwork and pressed on 180g vinyl.

                Len Barry was born Leonard Borisoff on 12th June, 1942 in Philadelphia. He formed the million-selling doo-wop group the Dovells in the late Fifties and toured with James Brown. He also toured the UK with the Motown Revue which greatly influenced his passion for rhythm & blues during the crossover to soul music. His early solo career at Decca found him composing with the likes of Leon Huff and John Madara resulting in hits “1-2-3”, “Like A Baby” and “I Struck It Rich”. Barry also wrote and recorded “Keem-O-Sabe” a hit for the Electric Indian, an early incarnation of MFSB. Our two featured tracks are both true Northern Soul anthems known and loved for over forty years but by different artists. “I’ll Always Need You” was recorded by Dean Courtney for RCA records and “Love LoveLove” by Bobby Hebb for Philips. Barry’s excellent interpretations appeared on an obscure UK Brunswick LP It’s That time Of Year which also yielded his version of the Joey Heatherton classic “When You Call Me Baby” and “I’m In Love”. The LP, known from only a handful of copies, originally surfaced at The Torch before being passed to DJ Richard Searling who played “I’ll Always Need at Wigan Casino. However, Barry’s incredible version was short lived as Richard drove away from the Casino early one morning leaving the valuable album on the roof of his car never to be seen again!

                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 & Saving Coco

                Work It Out / Til I Found You

                For many Disco and House music producers and listeners, Leroy Burgess might be one of the most important figures and inspiration, however being clearly quite unknown to the mass. Born and raised in Harlem, his musical knowledge was picked up informally through his mother (a classically trained soprano) and the infrequent family reunion with his mom's cousin, legendary Philly soul arranger/producer Thom Bell. It resulted in a 50 years musical career, which started in the late 60s within the Black Ivory band, under the shoulder of famous producer Patrick Adams. The list of project and artists he’s contributed to whether as a singer, musician, arranger, writer or producer is then incredible: Inner Life, Dazzle, Logg, Aleem, High Frequency, Change, Universal Robot Band, Rick James, Ben E. King, Eddie Kendricks, Narada Michael Walden are just a few of them. His influence to the Disco and Boogie musical movement is quite unequaled, and in the 90s he became also part of the Garage and House movement, collaborating with acts such as Blaze, Glenn Underground, and Cassius.

                Since 2016 and a special gig at the festival “Nuits Sonores” in Lyon (France), where he was invited by MCDE, Leroy Burgess started touring Europe, backed by a band composed of musicians from the French city. He says himself that it’s part of “the best musicians he had the honor to play with live”.
                In 2018 at the New Morning in Paris, Pascal Rioux from Favorite Recordings, could confirm this feeling, while he also realized knowing most of these musicians, who collaborated to project from the label such as Mr Day or The Dynamics. There was not much more needed to launch the idea of some Leroy Burgess’ new recordings with the band, reviving the 80s analog production golden-age.

                Today Favorite Recordings is thrilled to present Work It Out / Til I Found You, new 2 tracks EP by Leroy Burgess & Saving Coco, produced and composed by The Bernard Brothers and Bruno “Patchworks” Hovart. The Bernard Brothers is a Paris/London based production duo comprised of Elliot and Nevil Bernard. Elliot (aka Seiji Ono) and Nevil (aka Koji Ono) are also involved in running London reissue label, Melodies International. Bruno “Patchworks” Hovart, is a famous French producer, who’s proven over the past 15 years, his place amongst the finest producers of groove music in all genres through various projects such as Voilaaa, Mr President, or Uptown Funk Empire to name just a few.

                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’s poetic and distinctive rap makes him stand out from the crowd by miles, consistently making innovative music. His ability to weave in touching narratives and heartfelt open letters are captured perfectly on ‘Not Waving, But Drowning’, a truly beautiful and awe inspiring listen from start to finish.

                FORMAT INFORMATION

                Ltd LP Info: Includes a free EOY 2019 CD sampler.
                Gatefold sleeve, heavy weight black vinyl.

                CD Info: Includes a free EOY 2019 CD sampler.

                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.

                      Leonard Cohen

                      Thanks For The Dance

                        In a posthumous new album, Leonard Cohen has robbed death of the last word. 'Thanks for the Dance' is not a commemorative collection of B sides and outtakes, but an unexpected harvest of new songs, exciting and vital, a continuation of the master's final work.

                        Seven months after his father passed, Adam Cohen retreated to a converted garage in his backyard down the street from Leonard's house, to work with his father again, to stay in the company of his voice. From their previous collaboration on 'You Want It Darker' there remained bare musical sketches, at times little more than vocals. Leonard had asked his son to bring these works to completion.

                        "In composing and arranging the music for his words, we chose his most characteristic musical signatures, in this way keeping him with us" - Adam Cohen

                        STAFF COMMENTS

                        Andy says: Brand new songs, NOT odds'n'sods and leftovers; this record feature material L.Cohen was working on in the months before his death. Who better to bring them to fruition than his son, Adam.

                        FORMAT INFORMATION

                        Deluxe LP Info: 1x 180gsm heavy weight black 12" vinyl.
                        12" Gatefold sleeve, 4/0, 370gsm Fedrigoni sirio ultra black, high embossing on front and back, gold hotfoil on front and back, back printed 2 hits of white.
                        1 12" Inner sleeve, 4/0185gsm Fedrigoni sirio ultra back, pms gold.

                        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.

                        Lloyd Cole

                        Guesswork

                          “Guesswork”, as the title suggests, is a record about the uncertainty of the world as one enters their third act. In terms of song count, it is Lloyd Cole's shortest, however, it is the longest in terms of minutes but the shortest in terms of word count. This is symbolistic for the authorial confidence that comes with the passing of time.

                          Going beyond Cole's latest “songs” album, the critically acclaimed “Standards” in 2013, “Guesswork's” musical style is mostly comprised of electronic sounds. Once Lloyd Cole had formulated a sonic picture of the record he wanted to make, the arrival of each new song gradually brought that picture into focus. His distinguishable voice and sophisticated lyricism invite the listener into the mindset of someone who has reached old age and is coming to terms with this.

                          As Cole puts it: “Because really what have we got to lose?”. At times, the experience of listening to Guesswork is akin to sitting in a sleek, state-of-the-art departure lounge, unsure of quite where you're waiting to go.

                          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.

                          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

                          2019

                            Recorded in here-and-there studio spurts over the last two years, ‘2019’ is made up of originals and cover songs tied to specific holidays, each of which has dropped/will drop around their respective date: Valentine’s Day, Mother’s Day (and Taurus season!), Independence Day, Springsteen’s Birthday (not an official holiday, though Chris Christie often took that day off, aaparently), Halloween, Christmas and New Year.

                            Lucy Dacus uses her gift as a songwriter to help understand and cope with the world around her, including making sense of national holidays, often more geared towards social media boasts and manufactured consumerism than authentic celebration. “What is going on,” she asks herself on these days, retreating from the heightened expectations of holidays to figure out what to make of them and to find her own meaning. “I’ve collected some songs from trying to answer that question,” she says, and “this EP seems like the right place to put them next to each other. These songs are self-contained, not indicative of a new direction, just a willingness to do something different and sometimes even out of character.”

                            STAFF COMMENTS

                            Millie says: Lucy Dacus’ warm vocals are a welcoming bliss in this miserable November weather. Her ability to cover classics such as ‘In The Air Tonight’ and give it an entirely different tone is breath-taking, while her own song writing in ‘Fools Gold’ are stunningly original and moving.

                            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.

                            FORMAT INFORMATION

                            Coloured LP Info: Indies exclusive clear vinyl.

                            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.



                              Lana Del Rey

                              Norman Fucking Rockwell!

                                The highly anticipated album was mainly produced and co-written with Jack Antonoff and will include ‘Venice Bitch,’ ‘Mariners Apartment Complex,’ ‘hope is a dangerous thing for a woman like me to have - but I have it,’ and the current release, a cover of Sublime’s ‘Doin’ Time’.

                                STAFF COMMENTS

                                Barry says: After hearing the beautiful acoustic balladry of 'Mariners Apartment Complex', it would be easy to assume that though Del Rey's songwriting has bloomed into a complex and beautiful marriage of tender folk and indie her influences have remained similar until you hear her lovely take on 90's skate-ska slackers Sublime's 'Doin' Time'.

                                FORMAT INFORMATION

                                2xLP Info: Standard black vinyl edition.

                                "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.

                                What's left to say about this sublime slice of disco soul that hasn't been said  before?
                                Lamont Dozier was part of the legendary Motown songwriting team Holland/Dozier/Holland who wrote (amongst many MANY others) 'Heatwave'; 'Where Did Our Love Go'; 'Baby Love' and 'Nowhere To Run'.
                                'Back To My Roots' came out in 1977 and features one of, if not THE, greatest piano intros of all time. Covered by Odyssey, Richie Havens and FPI project, it's probably one of my all time favourite records, it's impossible to hear it and keep still.
                                So, if by some chance you've spent the last forty years as a prisoner in a Vietnamese pow camp and never heard this (original) version all I can say is I envy you (not the Vietnamese pow camp, obviously) I'd love to be hearing this record for the first time.
                                Oh and no biggie, some guy called Danny Krivit has done a remix on the B side...

                                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.

                                A muscular tribute to the analogue innovation and body music of the 1980s. Incorporating myriad hints of new wave, soft industrial and proto-acid, Luca Duran once again demonstrates his ability to take the sounds that have influenced his work and spin their heritage into a sincere, playful and most importantly, fresh release. A worthy follow up on his recent Clone Royal Oak release on his own Akoya Circles imprint! The record opens with the punchy 'Body Mechanics', a purely physical jam loaded with vampish synths and pounding drums, offset with a loved-up vocal sample. 'Romancia Negativa' was recorded while in Bogota in late 2018, and is informed by the experimentation and abandon of DIY songwriting and band culture, while maintaining it's foot on the dancefloor. Luca Duran's razor-sharp nous for a groove is immediately reestablished on the flip with the patient, acidic 'Life Wires', a deceptively complex analogue jam that bubbles with analogue energy and left field details. The EP concludes with 'Circunavalar', an ethereal blend of Luca Duran's sublime oscillations that leads listeners and dancers gently to a conclusion to a spacious heaven of meditative bass weight. Artwork by Ausias Perez

                                Liz Durrett

                                Outside Our Gates

                                  Produced and arranged by indie rock icon Eric Bachmann (Archers Of Loaf, Crooked Fingers, Azure Ray), "Outside Our Gates" represents a sonic leap forward for Liz Durrett. With Bachmann on board, Durrett's once spare, acoustic downbeats have been supplanted by a more textured and diverse orchestra of sounds. A virtual cacophony of instruments are here, including (but not limited to) tiny nylon-string guitars, backwards electric feedback loops, pizzicato violins, plucky cellos, upright bass, wurlitzers, accordions, grand space pianos and marching drums. Bachmann's score somehow harmonizes these elements seamlessly to provide the perfect setting for Durrett's near dream-state writings and softly unsettling voice. Additional performances by Vic Chesnutt, Brian Causey (Man Or Astro-man?), Amanda Kapousouz (Tin Cup Phrophette) and members of Ham1.

                                  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.

                                  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.

                                    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 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.

                                      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

                                      Now That I've Found You

                                        1 sided limited single - the B side is etched with lyrics.

                                        Housed in a white card sleeve.

                                        FORMAT INFORMATION

                                        Ltd 7" Info: 1 x 7 black vinyl 40g – Audio on the A side.
                                        B side is etched with lyrics.

                                        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

                                          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?”


                                            STAFF COMMENTS

                                            Barry says: He's back! Liam's newest album sees him co-writing with a duo of talented musician pals, and retains all the charm and momentum of his previous outing, but with more OOMPH. Why not indeed.

                                            FORMAT INFORMATION

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

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

                                            Lee Gamble

                                            Exhaust EP

                                            "Flush Real Pharynx" is the title of sound designer / artist / composer and DJ Lee Gamble’s new three-part album for Hyperdub. The triptych loosely explores three stages of the 'Semioblitz' - the aggressive onslaught of visual and sonic stimuli of contemporary cities and virtual spaces. From "In A Paraventral Scale" (the first part of the triptych released at the start of 2019) the coil springs out into the straight-up choked semioblitz of part 2 - "Exhaust’". Gone are the serpentine dopplers and seductive supercar engines. "Exhaust"’s neon-charms coalesce into an MDMA rush of Boston Dynamics dog barks, hypnotic voices and imploding motion sculptures. From the backfiring splinters of "CREAM" through disorientating photo shutter snare patterns of "Shard", "Exhaust"'s sultry voices take you for a 300mph ride down the psychedelic high street stitching together clashing strands of club soundscapes on its way. "Exhaust" engages in a world well and truly with us right now - explosive, chaotic, unpredictable, contradictory, intoxicating, hyper-colourful, blown-apart and disturbingly engaging in its surreality. It’s Gamble’s ‘Gully Automated Music Concrète’, sounding out from a high rise overlooking the Ballardian motion-sculpture of a collapsing motorway system. 

                                            STAFF COMMENTS

                                            Matt says: If the sound of internal sonic systems being driven to the point of collapse, combined with a post-rave sensibility is your thing, then you can do far worse than Lee Gamble. The long-serving artist is on point on his latest audio mission.

                                            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.

                                            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.


                                              Larry Gus

                                              Kerkis (Judas-Tree)

                                              Larry Gus releases a single alongside his ‘Subservient’ album. The single features ‘Kerkis (Judas-Tree)’ and ‘Foreign Steps’ from the same recording sessions as Subservient. The 7” precedes an upcoming audio play, written by Efthimis and scored by Larry, to be produced with the Onassis Stegi (AKA Cultural Center). The audio play will be released on DFA in 2020.

                                              The record graciously explores the nuance that can be found within delineated lines: pop and folk music, rooted in Greek tradition; internal anxieties and empathy expressed outward; the tightrope struggle of living in the present and wallowing in the past.

                                              Larry Gus (real name Panagiotis Melidis) returns to DFA with ‘Subservient’, his fourth release for the label. ‘Subservient’ sees more pop-oriented than his previous albums, a lush combination of “crisis funk pop and trad Mediterranean grooves.” Lyrics sung in Greek and English address Larry’s overwhelming struggles with being a father, husband, artist, and human in 2019. In the artist’s own words, this album is about “trying to understand empathy and act with it on everyday life,” as well as “the imperative of empathy above everything else.”

                                              ‘Subservient’ is sample-free, a first for Larry, who plays every instrument himself: a drum kit, an SM57 microphone, a guitar, a bass, a TE OP-1 synthesizer and a Roland JV-1010 synth module. This is fourth-world power pop, as if Alex Chilton was produced by Eno and Hassell. The thoughtful, upbeat arrangements and gentle vocals are spacious and warm, and tend to offset whatever darker tone the lyrics might imply. Larry confronts more acute tensions, such as being a father in Greece during the crisis, and the parallels of a child’s sicknesses and adult ailments, as well as larger, more existential pressures - the grasp of nostalgia, the weight and meaning of making decisions, and the desire to move from hermeticism towards sociability.

                                              The record graciously explores the nuance that can be found within delineated lines: pop and folk music, rooted in Greek tradition; internal anxieties and empathy expressed outward; the tightrope struggle of living in the present and wallowing in the past. Larry will also be releasing a 7” single alongside the album, which features ‘Kerkis (Judas-Tree)’ and ‘Foreign Steps’ from the same recording sessions as Subservient. The single precedes an upcoming audio play, written by Efthimis and scored by Larry, to be produced with the Onassis Stegi (AKA Cultural Center). The audio play will be released on DFA in 2020.

                                              STAFF COMMENTS

                                              Sil says: Another cracker from DFA. A perfect amalgamation of electronics and pop sensibilities. Deserves your attention.

                                              FORMAT INFORMATION

                                              LP includes MP3 Download Code.

                                              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’.

                                                Lee Hazlewood

                                                400 Miles From L.A. 1955-56

                                                  Phoenix, Arizona 1955…a twenty-five year old disc jockey and fledgling songwriter, Lee Hazlewood, is trying to break into the music industry. He takes Greyhound bus trips to Los Angeles to pitch songs, only to be rejected each time. Undeterred, Lee starts a record label called Viv Records. Running the label out of his house, Lee finds the artists, writes the songs, produces the sessions, arranges the pressings of the records and handles distribution. Recently discovered tapes in the Viv Records archive yielded an unbelievable find, the earliest known recordings of Hazlewood singing his songs…Lee’s first demo! The mysterious and bountiful tapes featured Lee singing early unheard compositions and a complete first draft of his Trouble Is A Lonesome Town song cycle that would become his first official solo album in 1963.

                                                  Light in the Attic Records is proud to continue it’s Lee Hazlewood archival series with 400 Miles From L.A. 1955-56, a collection of previously unknown intimate recordings, never intended for release. Lee sings, plays guitar and even presses the record button on the tape machine. These are rural sketches and small town dreams, captured in an innocent time before the path ahead was clear.

                                                  These songs rewrite Lee’s recorded history, adding a new first chapter to his saga. For Hazlewood addicts, hearing these early tracks and the embryonic version of Trouble Is A Lonesome Town is akin to finding an early draft of the Old Testament.

                                                  “That’s beauty of Lee’s songwriting. It lives on. People will hear it for the first time, even though it’s fifty years old or whatever, if it’s good enough and strong enough, they’ll accept and like it as much as if it was just created. That’s the wonderful legacy that Lee has. It’s wonderful to look back and make all this early work available. To put “Boots” and all those other LHI songs into perspective. That it all started somewhere and this is where.” – Arizona Music Historian and record producer, John Dixon.


                                                  FORMAT INFORMATION

                                                  2xLtd LP Info: 2xLP pressed at RTI & 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

                                                    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.

                                                      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.

                                                        Loleatta Holloway (born in Chicago,1946) was an American R&B-Disco singer known for her massive hit songs such as “Hit and Run”, “Love Sensation” and “Relight My Fire”, all of which have been sampled extensively worldwide. Billboard magazine ranked her as the 95th most successful dance artist of all-time.

                                                        Holloway first began her career singing gospel music, then in the early 70s, she met her future producer, manager (and husband) Floyd Smith which kick-started her impressive recording career. Shortly after Holloway signed with the Atlanta-based soul music label ‘Aware’ where she recorded two albums: Loleatta (1973) and Cry to Me (1975).

                                                        Later, in the mid 70s she signed with top Philadelphia arranger and producer Norman Harris’ Gold Mind/Salsoul Records, where she recorded many more top charting hit singles and launched her career as a disco act. From then on (and until this day) Holloway’s songs (which became DJ favorites) were heavily remixed and sampled on a multitude of tracks from renowned acts such as Black Box, Whitney Houston, Bobby Byrd, Raekwon, Flo Rida, Pitbull, Ice Cube…and MANY others.

                                                        Loleatta Holloway passed away at the age of 64 on March 21, 2011 leading to a wave of tributes and condolences from across the globe (Holloway also had a huge following in Europe and Japan).

                                                        Her debut album (Loleatta from 1973), which we are presenting you here today, is a total classic … it is here that Holloway developed her throaty, full-bodied vocal style and dramatic presentation we all came to enjoy and admire. The album features the hit singles "Mother of Shame" & "Our Love". Also included is a beautiful rendition of the Syl Johnson track “We Did it”.

                                                        Fast & slow-paced grooves, blazing horns accompanying the driving rhythm section, female backing vocalists soaring in unison, chiming guitars … and of course Loleatta’s explosively powerful and joyful vocals make this a fantastic (and dance-floor friendly) album. Holloway really brings the tracks & arrangements (penned by a number of hugely talented songwriters) to life using a combination of emotion, passion and power. 


                                                        FORMAT INFORMATION

                                                        Deluxe LP Info: Deluxe 180g vinyl edition.
                                                        Black Vinyl Edition Limited to 500 copies, comes with obi strip.

                                                        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.


                                                          next 100

                                                          Latest Pre-Sales

                                                          99 NEW ITEMS

                                                          Thanks for stopping by Jayne and thank you for the kind words. https://t.co/59aJeGxNlL https://t.co/X5I278utak
                                                          Thu 5th - 3:27
                                                          More copies of this fabulously outragous CD have just landed... Georgia 'One Mind' https://t.co/JoCrrZHvkR https://t.co/gfvhNKWS91
                                                          Thu 5th - 1:35
                                                          IT'S IN STOCK NOW!!! THE PICCADILLY RECORDS COMPILATION 2019 Order here: https://t.co/f0L4tT5hxh The perfect Xma… https://t.co/rRBHPK71Op
                                                          Thu 5th - 8:44
                                                          Two coloured vinyl albums from two fantastic artists here which were both released this year. Girl Ray @G1RLRAYhttps://t.co/0kQ4FNVa6W
                                                          Wed 4th - 4:39
                                                          E-newsletter —
                                                          Sign up
                                                          Back to top