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Ryan Adams And The Cardinals

Cold Roses

    Piccadilly staffer Andrew McQueen wrote the following review on this record's release in 2005: The chameleon returns. This time there's no posturing. If you found the 80s underground rock or bleak, broken downer songs a little disorientating, then prepare to be puzzled again. Ryan returns to alt-countryville, but these aren't "Gold"'s singalongs, or "Heartbraker"'s Dylanish rollers. Instead, this double CD meanders beautifully, laid back and unusual, and if anyone springs to mind, this time it's Neil Young. Nothing leaps out but you can feel yourself being drawn in. This isn't a pop record at all. It's too early to tell how great this record is: it's a proper double album with some tricky arrangements, but Ryan's using his gorgeous country voice again and not throwing shapes or trying on hats. The real Ryan Adams has just stood up. Maybe! Watch this space.....

    STAFF COMMENTS

    Andy says: A deep, meandering, country rock double album, with some stunning guitar interplay.

    FORMAT INFORMATION

    2xLP Info: Double US import 180g vinyl in a beautiful embossed gatefold sleeve.

    Ryan Adams & The Cardinals

    Follow The Lights

    As Ryan Adams & The Cardinals begin another long stretch of tour dates, they release a new EP on Lost Highway Records. "Follow The Lights" is a seven song collection that includes both new and old compositions, several of which were recorded live in the studio this summer. The two new songs on the disc, "Follow The Lights" and "My Love For You Is Real" will both be featured prominently in the American ABC primetime drama 'October Road'.

    The wait is over and the internet’s current favourite urban legend is now a reality: Ryan Adams' full album cover of Taylor Swift’s 1989 is now available digitally, with the CD to follow on October 30th. The album will get a Vinyl release later this year on PAX-AM/Columbia. 

    Produced by Adams, the first news of this reinterpretation of 1989 was revealed last month on Instagram with the post "Taylor Swift 1989 full album cover night 1. As played by the Smiths.” Several subsequent posts of song snippets revealed much more range than that—including a take on “Bad Blood” that VANITY FAIR called "a lovely Heartbreaker-era style version” referencing Adams’ classic debut, a string quartet-enhanced version of “Blank Space,” what Adams promised to be the “guaranteed saddest version of 'Welcome to New York' ever - or your tears back,” and more.

    STAFF COMMENTS

    Andy says: This is brilliant! Superb pop songs but taken by Rynads and done in the style of Bruce Springsteen's "Nebraska" re-imagined by The Smiths!? Well that's what Ryan said, anyway! Who else would do such a thing?

    "29" has 9 songs on it and they represent the nine years of his 20s (21, 22, 23 etc etc upto 29) He didn't think 20 counted as he still felt 19. It completes the trio of albums in 2005 with "Cold Roses" and "Jacksonville City Nights" being the other two, you may have heard them, they're also very good.

    FORMAT INFORMATION

    Ltd LP Info: US import audiophile pressing 180 gram vinyl.

    Released on Adam's own PAX-AM label and Columbia Records, this album was recorded at Sunset Sound in LA and produced by Glyn Johns (Beatles, Stones, Who, Clash). Johns son Ethan, produced Adams previous two albums 'Gold' and '29'.

    Features Norah Jones on backing vocals across several tracks.

    STAFF COMMENTS

    Andy says: Back to what he does best: gorgeous country rock. Well, the ballads side, not the wind-in-your-hair rockers. Simple arrangements, beautiful voice, thoughtful words, all tastefully produced, clear as a bell. Come on, get reacquainted with RynAds everyone!

    Darryl says: The best thing he's done since "Heartbreaker".

    Ryan Adams

    Demolition

    These are supposedly demos cut between "Heartbreaker" and "Gold", but there is nothing unfinished, out-take like or second rate about any of this. Whilst namechecking the likes of the Smiths and Radiohead and hailing from the alt.country scene, this is big, beautiful widescreen music most redolent of Springsteen at his best, or even Tom Petty! Whether bruised ballads or sunroof-down rockers, it's so natural sounding, so effortless. Great words, great phrasing it rolls just as it should.

    Ryan Adams

    Demolition

    These are supposedly demos cut between "Heartbreaker" and "Gold", but there is nothing unfinished, out-take like or second rate about any of this. Whilst namechecking the likes of the Smiths and Radiohead and hailing from the alt.country scene, this is big, beautiful widescreen music most redolent of Springsteen at his best, or even Tom Petty! Whether bruised ballads or sunroof-down rockers, it's so natural sounding, so effortless. Great words, great phrasing it rolls just as it should.

    ‘Heartbreaker’ the debut solo studio album by Ryan Adams, which was hailed as a modern classic on its release in September 2000, is re-released as a deluxe edition. The album, which has been remastered by original producer Ethan Johns, comes in a deluxe box set that features the 15 song album in all its glory plus demos and unreleased outtakes from this landmark record by one of rock music’s most prolific and charismatic stars. The package also includes a DVD featuring a film of the legendary New York show at the Mercury Lounge in October 2000 and a glossy booklet of rare and unseen photos and Ryan Adams ephemera with an essay written by producer, friend and collaborator Ethan Johns.

    STAFF COMMENTS

    Andy says: Incredible , heroic debut. Possibly his finest hour.

    FORMAT INFORMATION

    4xLtd LP Info: Includes DVD.

    Ryan Adams

    Heartbreaker - Remastered Edition

      Heartbreaker is the debut solo studio album by Ryan Adams, originally released September 5, 2000. The album was recorded over fourteen days at Woodland Studios in Nashville, Tennessee and has since established itself as one of alt-country’s most iconic records.

      STAFF COMMENTS

      Andy says: Most people would say this was Ryan Adams' finest hour. Includes the classic "Come Pick Me Up".

      Ryan Adams

      Love Is Hell - 1& 2

      This single disc, 16 track album is basically the two Xmas 2003 EPs welded together. So if you bought them, you've got the extra out-take tracks, but you may be slightly miffed to hear that this release has one extra song, and lush, new(ish) artwork. The track is a new version of "Anybody Wanna Take Me Home". If you've not heard this stuff then you're lucky, 'cause: A. It's amazing, and B. You'll get the album as it was originally intended. It was meant to be the follow-up to the multi-platinum "Gold", but the record company rejected it, I think because it's so unremittingly downbeat. Only when Ryan gave them the trashy, sexy, alt. 80s jukebox which was "Rock 'n' Roll" did they agree to "Love Is Hell"'s release. The reviews were ecstatic. Some even called it his masterpiece. Every single song is a saddie! And so romantic, poetic, broken and damaged. Think Big Star's third mixed with lonesome Radiohead. Add The Smiths and you've got the mother of all disenchanted, outsider, life sucks, love's a bitch, what's the point (?) records. Of course the point is this: beauty and magic. They're worth going through the pain for!

      Brilliant new 11 track album from US Americana singer / songwriter Ryan Adams on Pax-Am via Columbia Records. This self-produced album is his first since 2011's "Ashes & Fire". Includes the single "Gimme Something Good" (7" vinyl released 15th Sept).


      STAFF COMMENTS

      Andy says: RyNads returns with a belter! A whole, Glyn Johns produced, mellow LP was shelved (hence the long gestation) for this self-made effort. Ryan says it's a truer reflection of where he's at right now.

      FORMAT INFORMATION

      LP Info: Vinyl limited to 2500 copies.

      LP includes MP3 Download Code.

      Mixing the heartfelt angst of a singer/songwriter with the cocky brashness of a garage rocker, Ryan Adams is at once one of the few artists to emerge from the alt-country scene to achieve mainstream commercial success and the one who most strongly refused to be defined by the genre, leaping from one spot to another stylistically while following his increasingly prolific muse.

      On new album Prisoner, Ryan said: "I was reflecting on the different states of desire and what it means to be a prisoner of your own desire… I felt like I had been robbed of... the most valuable thing in a person's life…Time."

      The twelve tracks that make up Prisoner came to Adams over a prolific period stretching back as far as the week his 2014 self-titled album entered the U.S. album chart at a career high of #4. During that run, Adams toured the world, recorded and released both his Live at Carnegie Hall collection and full-album cover of Taylor Swift's 1989, and saw the aforementioned Ryan Adams garner two Grammy nominations - Best Rock Song for "Gimme Something Good" and Best Rock Album.


      STAFF COMMENTS

      Andy says: A "break-up album" but don't run away! Beautifully poetic lyrics and top tunes put this right up there with RynAd's very best work. Smiths meets Boss in a lonesome bedroom on a lonely highway!

      FORMAT INFORMATION

      Coloured LP Info: Limited indies only Red Vinyl edition.

      Mixing the heartfelt angst of a singer/songwriter with the cocky brashness of a garage rocker, Ryan Adams is at once one of the few artists to emerge from the alt-country scene to achieve mainstream commercial success and the one who most strongly refused to be defined by the genre, leaping from one spot to another stylistically while following his increasingly prolific muse.

      On new album Prisoner, Ryan said: "I was reflecting on the different states of desire and what it means to be a prisoner of your own desire… I felt like I had been robbed of... the most valuable thing in a person's life…Time."

      The twelve tracks that make up Prisoner came to Adams over a prolific period stretching back as far as the week his 2014 self-titled album entered the U.S. album chart at a career high of #4. During that run, Adams toured the world, recorded and released both his Live at Carnegie Hall collection and full-album cover of Taylor Swift's 1989, and saw the aforementioned Ryan Adams garner two Grammy nominations - Best Rock Song for "Gimme Something Good" and Best Rock Album.


      STAFF COMMENTS

      Andy says: A "break-up album" but don't run away! Beautifully poetic lyrics and top tunes put this right up there with RynAd's very best work. Smiths meets Boss in a lonesome bedroom on a lonely highway!

      FORMAT INFORMATION

      Coloured LP Info: Limited indies only Red Vinyl edition.

      Incredible second album by the erstwhile Whiskeytown frontman and songwriter. This record catapulted Ryan Adams to the top of the burgeoning Americana scene as he mined The Boss, Dylan, primetime (ahem!) Elton, The Stones, Van The Man and Tom Petty, turning  out a perfect, modern, beautiful version of his own.  There's not one weak song here, it's warm, 70's, flowing, goovy vibes all the way home. Gorgeous stuff. Now rightly regarded as a classic.

      STAFF COMMENTS

      Andy says: The perfect mix of ballads and rockers. Classic American, soulful, rock'n'rolling country rocking record!

      FORMAT INFORMATION

      2xLP Info: Limited edition double vinyl release. Includes the extra tracks that appeared on the limited edition version of the CD.

      Ryan Adams

      Ten Songs From Live At Carnegie Hall

      U.S. Alt country/folk/rock musician & singer-songwriter Ryan Adams releases this 10 track live album, taken from the super-limited U.S. released 42 track LP Vinyl box. 

      Ryan Adams' 'Ten Songs from Live at Carnegie Hall' is comprised of live selections from Adams' two night stint at the celebrated New York City venue. The career spanning set includes fan favorite 'New York, New York,' plus new mainstays from Ryan's most recent Grammy nominated eponymous album like 'Gimme Something Good'.

      STAFF COMMENTS

      Andy says: Just Ryan and his guitar. Perfect.

      FORMAT INFORMATION

      CD Info: Standard jewel-cased CD (with 12 page colour booklet).

      It's dedicated to the 1987 masterpiece played by the magic flute of Roberto Aglieri... called by himself... ""La solitudine accompagnata"", with the ORIGINAL 1987 LP + a BONUS LP, containing unreleased material, other versions and unreleased tracks. Archeo Recordings is a reissue record label that regenerates old, lost, obscure (and forgotten) rare gems of Italian music of the 70s and 80s, and not only. All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
      Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time. All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls.

      Richard Walker (or Richard Amp) is the founder of the band AMP, as well as being one of the key players in the early 90s experimental, psychedelic scene in Bristol. "Moi Non Plus" is an intimate, piano-based album written and recorded in various locations over a two year period utilizing found sounds and 'available' pianos. The music is a reaction to environmental conditions and those field recordings, evoking an emotional response to the sense of abstraction created by random sound. The result is a collection of emotive compositions that successfully bridge the divide between the romantic and conceptual, creating a soundtrack to the forgotten or neglected spaces of contemporary life.

      Finland's Harmönia label is one of the standard bearers of the new sound that is coming in from the cold and which they themselves have christened skwee - simple but effective synths and basslines, coated with funk, R&B and soul. This four tracker showcases the work of Rigas Den Andre, who has come up with some electro-hop killers. Teach-yourself-French opener "Dans Le Fenetre" is a moody skwee-noir electroid joint, followed by the booty shaking pay-off blast "Marshall Arts". From the electronica end of the R&B spectrum we have "I Am Crane", which appears a second time, remixed by Spartan Lover.

      T'Ash returns and just like the reports say, he's more focused, more organic, and suddenly in the thick of things once again. There's no indulgence here, just ten really strong songs with a warmer, more live'n'direct feel about them. OK, it's still ballads and anthems (whaddaya want?!) but on "Why Not Nothing?" there's a drive and growl unlike anything he's done before, and the title track is a trippy power-groover, doomy yet uplifting. There's also a gorgeous track which uses a Curtis Mayfield string sample: only Richard Ashcroft could get away with calling a song "Music Is Power", and this one subtley rings the changes, too. I liked T'Ash in his money-to-burn, hazy, multi-tracked, never-never, post-Verve dreamland, but on this album he gets back to the world, back to reality. It's a beautiful thing!

      Roy Ayers

      Virgo Vibes - 180g Vinyl Edition

      Vibraphonist Roy Ayers made his international breakthrough as bandleader of Roy Ayers Ubiquity, a highly influential jazz-funk outfit counted Billy Cobham and Alphonse Mouzon among its members. But even before ‘Ubiquity’, Ayers had already proven his music chops playing with the likes of Herbie Mann, Gary Bartz, Hubert Laws and Herbie Hancock. Hancock joins Ayers under his pseudonym Ronnie Clark on 1967’s 'Virgo Vibes', a jazzy hard-bop album that seems miles away from Ayers distinctive jazz-R&B fusion he would become famous for. However, there’s a typical ‘Ayers vibe’ on 'Virgo Vibes', a relaxed and sunny record that any Jazz collector should own!

      Ricardo Baez

      The Message EP - Inc. Sei A Remix

      The debut EP of DJ Ricardo Baez - including an great SEI A remix!

      Riccardo is one of the hot kids of the new Italian house scene. Only 23 years - he is already one of the main figures in Italy. Touring as a support DJ with Kim Ann Foxman (who is a closed friend and supporter), Azari & II, Munk, Ben Pearce, Gesaffelstein. Ricardo has the potential to become a real rockstar in the electronic bizness. Living the vida loca between night life and bedroom producing. 'The Message EP' is his debut. Inspired by 90s UK garage, Voguing, New York (where he has spent some time), Marshall Jefferson, Kevin Saunderson and soul music. Deep, funky, great. This is Ricardo's start - there is a lot more to follow.


      Roque Baños

      Don’t Breathe: Original Motion Picture Soundtrack’

        Invada Records announce the vinyl release of Roque Baños’ chilling score to the US smash hit ‘Don’t Breathe’, in conjunction with Lakeshore Records.

        Baños, who has previously worked with the film’s director Fede Alvarez on the remake of ‘Evil Dead’, has crafted a truly unforgettable score combining harrowing atmospheric textures with sudden plunges into faster paced, pounding passages: a contrast executed with a unique and modern perspective.

        Baños’ score is reminiscent of works by composers such as Brian Reitzell (‘Hannibal’, ‘30 Days Of Night’) and Gustavo Santaolalla (‘The Last Of Us’), whilst still maintaining his own unique style heard in previous works such as in ‘The Machinist’ and ‘Evil Dead’.

        ‘Don’t Breathe’ received the highest box office results in 2016 on its opening weekend and was rated the biggest film in the US upon its release.

        This release is housed in a gatefold sleeve and comes complete with double sided printed inner which features additional artwork and credits.

        FORMAT INFORMATION

        Coloured LP Info: Orange coloured vinyl.

        Ray Barretto

        Pastime Paradise / Mambotango

        Stone cold classic! Although Barretto's version of Stevie Wonder's "Pastime Paradise" has been included a couple of times on compilations, every single reissue has used the rock-tinted LP version which is not nearly as good as the original 7" cut. Since Athens Of The North like to do things right and went back to the Sony Tape vault and had the 7" version transferred for the first time since the original 45 was cut. This new pressing sounds fantastic, much stronger than the original, which equals a no brainer for me. On the flip AOTN took another of their favourite tracks from the 1981 "La Cuna" LP and reproduced it 7" for the first time. "Mambotango" is a dreamy sountracky Latin disco number DJ Fryer used to spin on warm up duty - very New York.

        Ray Barretto's Latin/soul crossover record of 1968, Acid includes a few tracks of his ebullient, instrumental salsa, but also plays off the boogaloo craze of the past few years with a few Latin soul numbers. The crossovers "A Deeper Shade of Soul," "Soul Drummers," and "Teacher of Love" (all written by Barretto himself) are a lot of fun, but the (relatively) straight-ahead salsa of "El Nuevo Barretto" and the title track easily edge out the competition. It's nowhere near as psychedelic as the title would indicate, but Acid holds up nevertheless as a great document of the late-'60s confluence of Latin, funk, and soul.

        Red hot reissue of conga kingpin and native New Yorker Ray Barretto's 1971 LP, "Indestructible". Originally out on Fania in the midst of a purple period for both Barretto and the imprint, "Indestructible" brings typically precise and powerful percussion, Latin piano, hot horns and sultry vocals from start to finish. Boasting varied tempos and rhythms, the set switches between mambo, tango, salsa and rumba, ensuring your brain's engaged just as much as your hips.

        Robbie Basho

        Live In Forli, Italy 1982

          Basho (1940-86), who died young after a stroke, never got his due in the culture at large, but steel-string guitar enthusiasts have known for decades that he was one of the greats of "American Primitive." Technically adept and compositionally imaginative, fusing the music of many cultures into a mesmerizing solo style, he has been an inspiration for many; his music has generated a surge of interest in recent years. This 1982 concert was part of a four-show Italian tour. It took place at the 18th-century Palazzo Gaddi that housed the local music high school and was mostly used for classical concerts, in an intimate space co-organizer Mario Calvitti (whose memories of the events surrounding this concert make up the bulk of the liner notes) says Basho called "one lovely little room where I could play all night." Only previously released incompletely as a download, this show can now be heard in its full glory.

          Rayland Baxter & Dylan Leblanc

          Luck Mansion Sessions

            On September 19th - 24th 2016 Luck Reunion and Third Man Records took over a mansion in East nashville creating an analogue studio space with the goal of inspiring collaboration. Artists were invited to perform live and record 2 songs as part of a series called the “Luck mansion sessions”. We provided a sandled chef, a house mixologist named “Floyd’, and unlimited tape. this is what happened...

            Dylan LeBlanc joined the Luck family at the 2016 event and even though his set was rained out in the chapel he brought his amazing band over to the barn and played a short set for our storm weathering friends in the barn as they waited for it to pass. You can see glimpses of his ELO cover and more on our social feed. When we were putting this project together we knew with Dylan's masterful musicianship and and songwriting, not to mention friends and band The Pollies, something special would come from it.. and it definitely did. Dylan invited friend and another vocal and musical powerhouse, Rayland Baxter to join him. We had no idea what we were in for. When the two of them sat down in the parlor we knew at 1st strum and stroke of the cello from Courtney Blackwell that something magical was happening. You could hear a pin drop as they took us on a journey through their two songs. Enough said... 

            "Albidaya" in Arabic means "The Beginning", which in the case of Beaini’s, might be the return to the beginnings, or the start of the path. The album is conceptually a revisiting of the traditional and early psychedelic Arabic music, all through distorted paths and instruments, remashed and deconstructed sounds, recreating patterns with diverse instruments to give a different perspective of the sound itself. Includes musicians from Upperground Piero Bittolo Bon and Tommaso Cappellato. Commissioned by Annihaya in Lebanon by Sharif Sehnaoui, Raed Yassin and Hatem Imam - includes artwork by Maria Kassab.

            “Almost entirely recorded in a day, and featuring cello, saxophone and drums in addition to electronics, Albidaya doesn’t attempt to replicate Lebanese folk music. Instead, it articulates a point of contact between various worlds.” Rory Gibb for the Wire

            Debut vinyl EP by Tokyo-based algorave pioneer, Renick Bell, for Lee Gamble's UIQ, Recommended if you're into Autechre, Brood Ma, Richard Devine, Phoenecia etc!

            The angular, abstract funk of Renick Bell’s Empty Lake EP for Lee Gamble’s UIQ is perhaps exactly what you might expect from a pioneer of algoraves - a forward-looking union of live coding and rave music that’s currently taking computer boffins out of the studio/bedroom and placing them in real, physical spaces to hear what happens.

            To date, beyond the live algoraves, Bell’s music has mostly been contained in his chaotic Fractal Beats series on soundcloud and thoroughly unpackaged in academic papers on live coding and pragmatic aesthetic theory. With the Empty Lake EP he offers a refinement of the ideas in Fractal Beats, skilfully teasing out a tangle of post techno pulses, shards of catty ballroom house, hardcore kuduro and filigree footwork patterns twisted into shimmering, convulsive contours and unstable, scattered melodies.

            In an obvious sense, his sound is heavily compatible with the recent Lanark Artefax 12” on UIQ and certainly finds sympathies with Lee Gamble’s most obtuse aspects, but it also feels more feral, overgrown that either of those artists’ work in a way that relishes his software’s capacity for creating wild new junctures of sound that effectively re-program his and our brains in real time while we’re listening.

            From the elasticated, recoiling swang of Trying To Control The Four Winds to the Patten-like melt of The Well and the fluctuating states of Surface Waters Flow Together, there’s a level of detail to these tracks which will become apparent on first listen, and which will continue to baffle your sense of proprioception, meter and tone for long after the moment.

            STAFF COMMENTS

            Barry says: A fractured and surly collection of forward-facing electronic abstractions and glassine synthetic reflections. Machine-gun kicks and bouncing-ball synths blaze around the stereo field, leaving a wake of scorched foundations and gaseous atmospheres. A Triumphant and frenetic outing, packed with pent-up energy and riotous intent.

            Robert Berry

            The Wheel Of Time

            Robert Jordan's epic series of fantasy novels, "The Wheel Of Time" is one of the most successful, longest running and most closely followed of all the works in this genre. Berry has been a member of Asia and this neo-prog creation is an imaginary soundtrack which reflects the drama and action of the books.

            Rory Block

            I'm Every Woman

            Rory Block's new album is a powerful mix of acoustic blues, accapella gospel, big soulful blues ballads and out and out rock songs that show off her sensual vocals and her fine guitar playing skills. With the help of people of the calibre of Kelly Joe Phelps this is a fine reaffirmation of her blues and roots heritage.

            Rhys Bloodjoy

            Broken Window / Scandinavian Girlfriend

              Rhys Bloodjoy has been wowing audiences on the underground since emerging on the Manchester live scene in late 2014. Bloodjoy's one-guitar-sound combines heartfelt vocals, semi-controlled feedback and echo-drenched acoustic guitar loops and beats; a sound which has been described as "Hypnotic...mellow and intense at the same time", while his live performance has been dubbed as one that "quite easily blows most four and five piece epics bands off the stage." 2015 saw him added to the bills of several key northern UK psychedelic festivals (including Manchester's Cosmosis, Leeds Karma III and Astral Elevator's 'Rising') and in addition to playing shows in Sheffield and London, he also ventured overseas for his first tour of the Netherlands, shortly before quietly releasing a 7" single ('Scandinavian Girlfriend / Broken Window') which was enthusiastically mastered by Spacemen 3 legend, Sonic Boom, and eagerly pressed up by Manchester indie label, Sister 9 Recordings.

              With several other record labels now expressing interest and a new management deal on the cards, Bloodjoy kicked off 2016 recording songs for his intended first 12" release. The tracks were then mixed alongside renowned engineer, Tim G, at BigTone Studio in Manchester. Bloodjoy first show of the year saw him invited to play as main support to Singapore Sling and main appearances at the Coastival Festival in Scarborough, followed by a second appearance at Cosmosis in March (on a bill with the likes of the Jesus & Mary Chain and BJM) are all paving the way to european dates to be announced for late Spring and Summer. Includes digital download with bonus track. Credits: Songs written & performed by Rhys Bloodjoy. Mixed at 2fly Studios by Dave Sanderson. Mastered by Sonic Boom at New Atlantis Studio. Artwork by Briony.

              Rafi Bookstaber

              Late Summer

                We’d like to welcome back our old friend Rafi Bookstaber. It’s all good…the immediate thing I felt when I jammed his Late Summer for the first time was wanting to hug life, cosmic love in the underground. “This is a diff kind of human digitata, it’s sweet analog. You dig spring reverb, then maybe flesh it with sum Ra-fi. Pure jam. Extended solos and explorations go from downtown woodland discord and eternal reverie to Relatively Clean Rivers and beat earth poetics. Pretty darlin’ indeed...

                “What a vapor trail of music; very groovy to see folks finally catching up to this head. Dawn of a new vibration out of his occult pedigree in so many spaced out earth objects (Death Chants / Aswara / Von Himmel / Mendocino). Bookstaber also logged golden hours with Time-Lag and that deep scene. The beginning of an ear and golden spirit juice. Mined private press vision with his own Azriel and Humito imprints, shucked handmades—there’s also his groove and howl with the wolfpack in the MV / EE axis. Oxide, preserves and records…Rafi hummed the music of maidens. Iron Maiden this is not, shipbuilding it sails, four sail and many years ago I was there, so was Rafi’s fi. You dig, apache? Find some wampum, blow a journey, be here now for Late Summer eternal…” - Matt “MV” Valentine.

                Roy Brown / Woodrow Adams

                Rockin' All The Time / Something On My Mind

                Roy Brown  serves up killer 60s rockin’ blues shouter "Rockin' All The Time", while Woodrow Adams delivers moody mid-paced blues harp offering "Something On My Mind" on the flip.

                FORMAT INFORMATION

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

                Ronan Browne

                The Wynd You Know

                Rowan Browne is swiftly establishing himself as one of Ireland's foremost uilleann pipers. This album is one of the best pipe albums i've heard in donkeys. It will confirm Ronan Browne's importance as a performer and is one of the best Irish folk albums of the year. He's joined by Kevin Glackin on fiddle and Triona Ni Dhomhnaill on harmonium.

                Ruth Brown

                Rock And Roll - Music On Vinyl Edition

                  Ruth Brown was an American singer-songwriter and actress, sometimes known as the “Queen of R&B”. She was noted for bringing a pop music style to R&B music in a series of hit songs for Atlantic Records in the 50s, such as “So Long”, “Teardrops from My Eyes” and “(Mama) He Treats Your Daughter Mean”. For these contributions, Atlantic became known as “The house that Ruth built” (alluding to the popular nickname for Old Yankee Stadium).

                  In Brown’s first audition, in 1949, she sang “So Long,” which ended up becoming a hit. This was followed by “Teardrops from My Eyes” in 1950. Written by Rudy Toombs, it was the first upbeat major hit for Brown. It was Billboard’s R&B number one for 11 weeks. The hit earned her the nickname “Miss Rhythm” and within a few months Brown became the acknowledged queen of R&B.

                  Ruth Brown Rock & Roll is an album featuring tracks recorded between 1949 and 1956.

                  An unsung monster in the pantheon of exceptional soul-jazz outings from the Prestige catalog, "Fire Eater" finds Bryant grooving hard in a combo that featured Idris Muhammad on drums, Wilbert Longmire on guitar, and both Bill Mason and Leon Spencer Jr. on organ. Included in this stretched-out, funky set of four originals is the title track, “Fire Eater,” which was sampled for “Swing Set” by Jurassic 5 (2000) and appeared on the 1999 collaboration between DJ Shadow and Cut Chemist, "Brainfreeze". While not as instantly recognizable by name as other greats of the tenor saxophone such as John Coltrane and Sonny Rollins, Bryant’s fiery and athletic approach on this set sets him apart from his peers as a force to be reckoned with. In the strident groove and funky underpinnings of "Fire Eater" is the blueprint for generations of future groovers and funkateers. Essential.

                  FORMAT INFORMATION

                  Ltd LP Info: 180-gram vinyl pressed at Quality Record Pressings (QRP). Vinyl housed in an old-school style tip-on jacket

                  Spin magazine described Buckner as “equal parts Bay Area bohemian and dust bowl traditionalist” and named Bloomed one of its best albums of 1994, while Pitchfork wrote, “It’s a traditional outsider-country record in the lineage of Townes Van Zandt. Buckner’s voice is all honey and oak, his guitar style elaborately twanging, his constant subject matter heartache.” Richard Buckner provides some background on the album: Bloomed was originally (erroneously?) released on an unnamable German label in 1994. I was living in San Francisco at the time, having just moved out of a residential hotel and into the 1906 hilltop prefab that adorns the cover. At the time, I was heading a band called The Doubters. We were playing high profile events such as The Covered Wagon Saloon’s Musical Barstools, but weren’t making much headway. We had been turned down consistently every year by SXSW, but I was somehow finagled in as an unannounced guest onto an already unofficial SXSW showcase created by Butch Hancock at his gallery in downtown Austin. There, I met up again with Lloyd Maines, who agreed to produce my first record. Maines and I met in Lubbock, TX, a few months later, where we worked with Lubbock musicians in a small recording studio walled in wooden shingles Sharpied with bible passages from various church groups that also enjoyed working there. It was 112°F the morning I arrived under the suspicious (Californians are merely B-grade yankees) gaze of downtown’s Buddy Holly statue. That first night there, it hailed so hard that heaven’s angry pellets were storming in under my motel door. It only let up for a few moments that first night, allowing me to run across the street to get a butter burger and fries to go. We finished four days later and I flew back to San Francisco, dismembered the band, and embarked on a tour that would last about 20 years (or a few days, if you count what I actually remember). Nothing’s changed. I’m still dodging the sky and busking to strangers.

                  FORMAT INFORMATION

                  2xCD Info: Includes a bonus CD containing 11 bonus tracks of radio sessions, live performances, and original recordings of songs that appeared on future releases.

                  Richard Buckner

                  Impasse

                  A husky-voiced country / folk singer-songwriter, his guitar is based in rootsy country traditions, but his lyrics are far too personal and ambitious for Nashville. "Impasse" is his first new record of original material for over four years, and was recorded entirely at his home studio in Canada, with Richard playing virtually every note on the record. The album strikes the perfect balance between his acoustic introspective side and his driving electric side. For fans of Smog and Damien Jurado.

                  In the time since Our Blood was released and after a few long tours, Richard Buckner attempted to work on writing short stories but found himself drawn back into the music room. The evidence of his time in the writer’s chair is clear in the dense, lovely prose of Surrounded. The album’s liner notes include text-embedded lyrics, a technique Buckner employed on his earlier albums Since and Impasse, but this marks the first time he used the songs’ extended story to construct the album’s overall view and track sequence. Throwing out the “tricks and trades” of his previous efforts, Buckner hunkered down at home and chose a few unfamiliar pieces of gear—a Suzuki QChord electronic autoharp and an Electro-Harmonix POG2 pedal—to create basic tracks and open up more sonic possibilities.

                  “The best outcomes happen sometimes when I’m unfamiliar with the tool that I’m using (imagine MacGyver wearing a dog cone).” The now-infamous process of recording and re-recording Our Blood left him a bit gun-shy, so this time, Buckner decided to get each song out of his house as soon as it was finished to avoid the contamination of over-thinking. After hearing an interview with famed producer Tucker Martine, Buckner found a destination for his songs: “Tucker understood the urgency in me to tie the whole thing up before I fell into the same trap that I’d had finishing Our Blood and was generous enough to move other commitments around to fit Surrounded in. When I had finally finished Our Blood, I felt like I’d just survived a stroll through a mine field. With Surrounded, it was more of a sensation that I’d successfully organized a messy desk.”

                  An impossible to find album, reissued for the first time ever on vinyl. 1979's Sei Note in Logica is Italian experimental composer Roberto Cacciapaglia's second LP, a minimalist album that features one continual composition "for four voices, computer, and orchestral ensemble," in the same vein as Fred Rzewski, Steve Reich, and Terry Riley. Unlike anything else coming out of Italy at the time, Cacciapaglia (who worked for Italy's national Department of Phonology) was also quite advanced in his use of computer-based technology. A major influence on the likes of Jim O'Rourke and others of his ilk. Presented on 180-gram vinyl with a bonus CD containing an acoustic version of the entire album. 

                  FORMAT INFORMATION

                  LP Info: Including bonus CD

                  Rory Campbell & Rory Stitt

                  Nusa

                  Two of Celtic music's young guns, Malcolm Stitt and Rory Campbell have released a groundbreaking album. In many ways "Nusa" encapsulates what is happening in Scottish music today. Featuring traditional and original tunes it also adds DJ scratching that brings a new dimensions to tracks featuring pipes, whistles, guitar, bouzouki and drums and percussion.

                  Rob Chapman

                  Psychedelia And Other Colours (Hardback Edition)

                    In the summer of 1965 the informal parties that Ken Kesey was holding at his house in Palo Alto California were about to evolve into what became known as the Acid Tests. These spontaneous anarchic gatherings spread their tentacles far and wide until an entire generation seemed to be under their spell. Fifty years on from the Merry Pranksters multimedia mayhem, acclaimed author Rob Chapman explores in crystalline detail the history, precedents and cultural impact of LSD, from the earliest experiments in painting with light and immersive environments to the thriving avant-garde scene that existed in San Francisco long before the Grateful Dead and the Fillmore Auditorium. In the UK, he documents an entirely different history, and one that has never been told before. It has its roots in fairy tales and fairgrounds, the music hall and the dead of Flanders fields, in the Festival of Britain and that peculiarly British strand of surrealism that culminated in the Magical Mystery Tour.

                    Sitars and Sergeant Pepper, surfadelica and the Soft Machine, light shows and love-ins - the mind-expanding effects of acid were to redefine popular culture as we know it. It's a story that you think you know, but no one has laid out the narrative quite like this before. Chapman documents psychedelia's utopian reverberations - and the dark side of its moon - in a shimmering day-glo portrait where the sublime, the sinister and the just plain silly co-exist in imperfect harmony.

                    Includes a foreward by Andrew Weatherall.


                    FORMAT INFORMATION

                    Hardback Book Info: Hardback edition. 656 pages, 16.5 x 4.1 x 24.1 cm.

                    Ray Charles

                    Hide 'Nor Hair / Unchain My Heart / Hit The Road Jack

                    Ray Charles needs no introduction to R&B and Northern Soul fans with his slue of collectable 45s including “What I’d Say”, “Compared To What”, “Go On Home”, “The Train”, “Something Inside Me”, I Don’t Need No Doctor” etc etc. But in recent times it is his earlier catalogue that has grabbed the dancefloor action and here we celebrate 60 years of the “genius” with a 3-track mini EP featuring Ray’s original version of the Earl Grant classic “Hide ‘Nor Hair” plus the iconic “Unchain My Heart” and “Hit The Road Jack”.

                    Ray Charles

                    Modern Sounds In Country & Western Music

                    Ray Charles really broke the mould with this Grammy winning record. For Charles this music represented the culmination of a lifelong love affair he shared for country & western music. It vastly expanded his pop demographic and made countless new country converts by giving these songs a soul-steeped urban dimension. He made these songs his own with his bluesy, gospel inflections and enlisted top jazz arrangers to handle the band and strings. Original LP with one bonus track.

                    WRWTFWW Records is delighted to announce the release of the complete soundtrack of cult French animated TV series Les Shadoks (1968-1974) by Robert Cohen-Solal, available for the first time ever in its entirety. Right in time to celebrate the 50th anniversary of Jacques Rouxel and René Borg’s legendary television cartoon, this collector’s item comes in two versions: a limited edition 12" + 7" vinyl album housed in a high glossy gatefold and with an exclusive Shadok drawing by Robert Cohen-Solal, and a digipack CD. Both versions are cut and mastered from the original reels under the supervision of the artist, and contain liner notes in French and English.

                    Electro-acoustic pioneer and eminent member of the illustrious GRM (Groupe de recherches musicales, the French equivalent of the BBC Radiophonic Workshop), Robert Cohen-Solal has explored music and sound alongside luminaries such as Bernard Parmegiani, Pierre Henry, Luc Ferrari, and Iannis Xenakis, and is responsible for numerous projects in the field of applied music, soundtracks (documentaries, shorts etc.), and experimental recordings. His work on Les Shadoks is simply extraordinary - a fascinating and bizarre collage of wacky electro pop (à la Jean-Jacques Perrey), drones, musique concrète, classical, and dadaist sound experiments seamlessly mixing into a cohesive and cinematic listening experience. The ideal soundtrack for what will remain one of the weirdest animated TV series ever created!

                    A true literary, cultural and philosophical phenomenon in France, Les Shadoks caused a sensation while airing between 1968 and 1974. Its unique combination of Alfred Jarry-style surrealism, off-centered British humor, and US comic strip inspiration, all brought to life by illustrated bird-like creatures (reminiscent of Paul Klee’s La machine à gazouiller), left a lasting mark, making the term Shadok an often-used satirical expression to describe policies and attitudes considered to be absurd.


                    STAFF COMMENTS

                    Patrick says: Les Shadocks are a new one to me, but a cursory listen and glance over the sales notes suggests a definite Clangers vibe, mais en Francais. That's right, an interplanetary animation soundtrack from the home of musique concrete - totally bonkers in the most charming way.

                    FORMAT INFORMATION

                    Deluxe LP Info: Collector’s VINYL Edition ( LP+ 7"): High glossy gatefold sleeve, French + English liner notes / poster inlay with Shadok drawing by Robert Cohen-Solal, hype sticker.

                    CD Info: French + English liner notes poster inlay folded to digipack format, hype sticker.

                    Legendary guitarist Ry Cooder has been performing for over 40 years as a solo artist, soundtrack composer and session musician. He has collaborated with some of the world’s elite including Eric Clapton, Van Morrison, Neil Young and The Rolling Stones, where he guested on their classic albums ‘Let It Bleed’ and ‘Sticky Fingers.’ Ry Cooder’s distinctive score to the 1984 Cannes Film Festival winner ‘Paris Texas’ is very suggestive of the film’s imagery and the desert itself. The title track is Ry Cooder’s most recognisable/popular song that sets the tone for a soundtrack filled with evocative and ringing acoustic guitar.

                    STAFF COMMENTS

                    Darryl says: A hugely evocative and beautiful soundtrack from the legendary Ry Cooder. Stark and meditative acoustic slide guitars - you can almost taste the desert heat.

                    Ry Cooder

                    Paris, Texas - Limited Clear Vinyl Edition

                      Seldom has any artist captured that ineffable “high, lonesome sound” quite as beautifully as Ry Cooder did on his landmark soundtrack to Wim Wenders’ 1984 film Paris, Texas.

                      Not quite blues, not quite bluegrass, not quite ambient, Cooder’s haunting, evocative score mirrors the existential journey of Harry Dean Stanton’s Travis Henderson as he wanders through the empty Texas prairie landscape in pursuit of his irretrievable past. With the able help of multi-instrumentalists David Lindley and Jim Dickinson, Cooder crafts a soundscape (much of it based on Blind Willie Johnson’s “Dark Was the Night, Cold Was the Ground”) that is profoundly sad yet leavened with bits of humor and whimsy.

                      Rick Cox

                      Maria Falling Away

                      Rick Cox layers guitar lines and atomospherics into an atmospheric collage of sound, adds telling contributions from Jon Hassell (trumpet)and Thomas Newman (piano)and the result is a moody, introspective ambient work suffused with an icy perfection that is like walking through snow or through forests of stalagmites.

                      Robert Coyne With Jaki Liebezeit

                      The Obscure Department

                      In the follow-up to his acclaimed debut “Woodland Conspiracy“, the guitarist and singer-songwriter Robert Coyne now releases his second album on the Meyer Records label, entitled "The Obscure Department".

                      Featured on the cover next to Robert Coyne is Jaki Liebezeit, the legendary Can drummer and percussionist, who has collaborated with the son of the British multitalent Kevin Coyne on this latest 12-track offering. Supported by Liebezeit's subtle, yet incisive drumming, the simplicity and intimacy of Coyne's lyricism, together with his mellifluous and sophisticated vocals, combine to conjure a compelling and evocative sound. A fascinating and highly successful experiment.

                      Jaki Liebezeit is a drummer probably best known as a founding member of Can who has been called "one of the few drummers to convincingly meld the funky and the cerebral". ,,In the mid-1960s, he was part of Manfred Schoof's quintet, who were early exponents of European Free Jazz.

                      He subsequently moved towards the new possibilities being opened by psychedelic music as a member of Can. His drumming was prominent in the band's sound, particularly in his much-admired contribution to the side-long "Halleluhwah" on Tago Mago. Liebezeit is best known for his exceptional "metronome" style of playing; other members of Can have suggested that he sounds as though he is "half man, half machine".

                      In 1980, he became a member of Phantomband, and has formed drum ensembles such as Drums off Chaos and Club off Chaos. Later he recorded with numerous musicians, such as Jah Wobble and Philip Jeck, with whom he produced an album for Jah Wobble's 30 Hertz Records, and has contributed drums and percussion to many albums as a guest throughout the years, such as the Depeche Mode album Ultra and Brian Eno's album Before and After Science. Recently, he has worked with Burnt Friedman on the Secret Rhythms albums and with Schiller on the Atemlos album.

                      Rodney Crowell & John Paul White

                      Luck Mansion Sessions

                        In September 2016, during the Americana high holiday in Nashville, Third Man Records partnered with Luck Reunion (with a little help from YETI Coolers, Lagunitas, and Tito’s Handmade Vodka) to bring together artists of the folk persuasion. For five days, artists set up in the parlor room of the pop-up "Luck Mansion" in East Nashville to perform, record, and in some cases, pen two songs for Third Man Records engineers to record immediately, after just a few hours of preparation, press onto 7”s, and ultimately bring to the masses. Documenting spontaneous creative collaborations before they are put through any sort of industry machine line was the goal.

                        John Paul White and Rodney Crowell performed Crowell’s “The Girl On The Street” as well as one of three original tunes penned for the Luck Mansion Sessions, “Don’t Think That I Can’t Feel You When You’re Gone.” About the new song, John Paul White says, “It’s the first song we attempted to write.. It gave us both an excuse to sit down and write a song. It was literally the only times we’ve ever played those songs. We didn’t rehearse them ahead of time, we didn’t work out harmony parts and guitar parts… you pretty much captured all of that process.”
                        “Don’t Think That I Can’t Feel You When You’re Gone” is White and Crowell’s first co-write, but not the first collaboration for the pair. White joined Rosanne Cash on vocals for the song “It Ain’t Over Yet” off Crowell’s 2017 release Close Ties (New West). The song and the record have been nominated by the American Music Association in the categories of Song and Album of the Year.

                        Rodney Crowell

                        The Houston Kid

                        Self-produced by Rodney Crowell, "The Houston Kid" is a labour of love. He's poured so much of himself into the songs, most of which have a genuine autobiographical feel about them. Full of heartfelt moments and superb vocal performances. Destined to become one of the Americana albums of the year.

                        Ray Davies

                        Working Man's Cafe

                        Eighteen months after releasing his first ever solo album, Ray Davies is back with what promises to be one of the best albums of his incredible career. While last year's "Other People's Lives" was a lifetime in the making, this new album happened relatively quickly. Recorded in Nashville, Tennessee, "Working Mans Café" features 12 stellar songs written by Ray Davies and co-produced with Ray Kennedy. They assembled a crackerjack band of top musicians who breathe life into a wonderful collection of songs. The 12 new songs are vintage Ray Davies and bear all the hallmark classic musical and lyrical insights we have come to expect from him. The album is infused with a transatlantic sound befitting Ray's close ties to the American south coupled with his well respected Englishness. From the first upbeat notes of the lead track "Vietnam Cowboys", it is clear Ray has never sung better. "Working Mans Café" is a wistful, humorous and poignant look at today, just what we have come to expect from one of Britain's greatest songwriters. Highlights are many and include the Preservation Jazz Hall sway of "Morphine Song", the painful longing of "Imaginary Man" and the haunting emotion of "One More Time".

                        A defining moment in dance music history was the day that Roy Davis Jr. teamed up with vocalist and writer Peven Everett in 1997 to create this deep, ethereal, soulful gospel house gem that helped launch an entirely new musical genre along the way - UK garage. With its combination of funky garage house breaks, almost heraldic horn blasts, subtle keyboard fills and an inspired melancholic yet uplifting vocal from Everett (sounding like he was recorded several rooms away), the "Live Garage" mix is the one you want - totally sublime. One of the few house / garage tracks that transcends its era and genre and still sounds as fresh today as it did almost two decades ago - and still fill dancefloors. Truly a classic that deserves to be celebrated by a new generation of dance music lovers. Hear Gabrielle Play!

                        A newly invigorated Roy Davis Jr is finally ready to drop his musical thank you to the city he grew up in and succeeds in putting the soul back into dance music. Featuring vocals by Ubiquity label mate Jeremy 'Ayro' Ellis, Khalid and another Detroit native Terry Dextor, cameo interlude appearances from Common and Roy's son Caleb and co-production with Platinum Pied Pipers Waajeed, the album takes in garage house, broken beats, uplifting gospel tinged grooves, 4/4 soul and more.

                        Rising up from the bed of the River Tyne, a voice that crumbles and soars, steeped in age old balladry and finely-chiselled observations of the mundane.

                        Richard Dawson is a skewed troubadour at once charming and abrasive. His shambolically virtuosic guitar playing stumbles from music hall tunesmithery to spidery swatches of noise-colour, swathed in amp static and teetering on the edge of feedback.

                        His songs are both chucklesome and tragic, rooted in a febrile imagination that references worlds held dear and worlds unknown.

                        New album ‘Nothing Important’, released by Weird World, hypnotises from its tender dark whispers to its wild screams, an unparalleled voice in today’s over-preened and manufactured music world.

                        FORMAT INFORMATION

                        LP includes MP3 Download Code.

                        Richard Dawson

                        The Glass Trunk

                          Originally released in 2013, ‘The Glass Trunk’ was triggered by a commission to respond to the local museum service’s archives. Dawson created an album largely from stories found in an old 17th Century scrapbook, including a lengthy paean to the sorry demise of community pillar Joe The Quilt-Maker and the much-loved yet equally, viscerally dark ‘Poor Old Horse’.

                          Six acapella odes of between 4 and 13 minutes in length, plus a rendering of Mike Waterson’s ‘The Brisk Lad’, interspersed with a series of brief instrumental vignettes, Dawson’s guitar sparring with the electric harp of Rhodri Davies for strictly spontaneous 60-second blasts.

                          This album paved the way for its successor, ‘Nothing Important’, that saw features on Richard from The Wire (cover feature), Mojo, Uncut, The Guardian, The Quietus and more, as well as several 5 star live reviews from The Guardian.

                          FORMAT INFORMATION

                          2xLP includes MP3 Download Code.

                          Richard Dawson

                          The Magic Bridge

                            Originally released in 2012, the album is the sound of what was a developing Richard Dawson bursting gloriously out of his chrysalis - those first dazzling glimmers of beguilingly Beefheartian folk picking and a voice with a profound range (emotionally and musically and also in terms of the peerless lyrical journeys he’s been taking us on ever since).

                            FORMAT INFORMATION

                            2xLP includes MP3 Download Code.

                            “A crack team of physicists, leather-workers, synchronised swimmers, sausage-sellers, professional wrestlers and computer games-designers assembled in a remote cleft of the Tyne Valley to portray a community fraying at the edges, eaten from the inside by some fearful sickness, searching for answers in the all the wrong places,” says Dawson of the new video. “Matt Stokes is a fabulous video artist. I've loved his work ever since seeing 'The Gainsborough Packet' almost ten years ago now. I'm very happy that we were able to work together to present to you the first song from the album Peasant. It is only one panel of a larger mural. I hope you will enjoy and find something to take from it.”

                            No listener to Dawson’s earlier music has ever discerned a lack of artistic ambition. Whether they got on at the last stop - the 4 track Tyneside-Trout-Mask-through a-Vic and Bob-filter of Nothing Important - or earlier in the journey, with The Glass Trunk’s visceral song cycle or The Magic Bridge’s sombre revels, devotees of his earlier recordings will be at once intrigued by and slightly fearful of the prospect of a record that could make those three landmark releases look like formative work.

                            Peasant is that album. From its first beguilingly muted fanfare to its spectacular climax exploring a Dark Ages masseuse’s dangerous fascination with a mysterious artefact called the Pin of Quib, it will grab newcomers to Dawson’s work by the scruff of the neck and refuse to let them go until they have signed a pledge of life-long allegiance.

                            Driven forward by exhilarating guitar flurries, Qawwali handclaps and bursts of choral ferocity, Peasant’s eleven tracks sustain a momentum worthy of the lyrics’ urgent subject matter. Dawson describes the themes of these songs as “Families struggling, families being broken up by circumstance, and - how do you keep it together? In the face of all of these horrors that life, or some system of life, is throwing at you?” The fact that these meticulously wrought narratives all unfold in the pre-mediaeval North Eastern kingdom of Bryneich - “any time from about 450AD to 780AD, after the withdrawal of the Roman Empire”- only makes their contemporary relevance more enduring and vital.

                            Dawson’s objective was to create “A panorama of a society which is at odds with itself and has great sickness in it, and perhaps doesn’t take responsibility – blame going in all the wrong directions”. But encountering Peasant’s captivating sequence of occupational archetypes (‘Herald’, ‘Ogre’, ‘Weaver’, Scientist’), listeners might find themselves wondering if these multitudes could somehow be contained with one person - surely we all have a ‘Shapeshifter’ and a ‘Prostitute’ within us?

                            FORMAT INFORMATION

                            LP Info: Double heavyweight vinyl.

                            LP includes MP3 Download Code.

                            Previously released in 1973 on the Smash label with different title and tracklisting, Sonar Music Editions reissue Rino De Filippi's library music set 'Riflessi' (right title, right tracklisting). It's a stand-out Italian library album, chock-a-block with keyboard-laden moods and grooves. The record features down-tempo funk and groovy retro synth electronics with hints of prog and lounge breaks. The sleeve features that Italian library music favourite, the Farfalla butterfly. Nice.



                            Rossy De Palma Feat. Max Skiba

                            Dominatrix

                            Phil South's Golf Channel has become somewhat of a staple around these parts. Number 74 for the label sees Spanish actress Rossy De Palma drop some sexually charged business for over active libidos. "Dominatrix" is thankfully as sleazy and seedy as its name suggestions; a part EBM, part cosmic, part erotic narrative with a cinematic edge combined with just enough dancefloor thrust to keep it in the clubs as well as the sex dungeons. Comes with the acapella too for those missing that classic 90s pastime - phone sex. 

                            A couple of years back, Music Pour La Danse released a superb anthology of works by key Belgian new beat producer Rembert De Swet, better known as Ro Maron. This 12" is meant as a kind of partner to that release and features a trio of sought-after cuts from De Swet's La Mystere collaboration with Ferre Baellen (AKA Bhab), plus a bonus acid throw-down he released as Agaric (the fantastic "Cute Acid", whose wild TB-303 lines work in perfect harmony with the producer's delicate beats and ghostly synthesizer melodies). Interestingly, both "On The Beat" and "On The Dub" are far more Balearic in feel than many De Swet projects - think chunky, laidback breakbeats, picturesque melodies and sunny chord sequences - while "Opus 303" wraps lilting, almost melancholic chords and trippy acid lines around a similarly break-driven groove.

                            Rick Deitrick

                            Gentle Wilderness

                              Gentle Wilderness was released as a private press LP in 1978. River Sun River Moon consists of previously unreleased recordings from the same time period. Deitrick came to our attention via Brooks Rice and Michael Klausman, who compiled Imaginational Anthem Vol 8 : The Private Press, which features Rick's "Missy Christa" from Gentle Wilderness. Ohio-born Rick Deitrick took up the guitar at 16 and decided to approach his playing as if he was the only guy on an island and the instrument had just washed ashore one day. According to Rick, “I completely divorced my playing from any formal music knowledge, but it was very important to me to use original tuning. During those years, the sixties/seventies, there was a lot of acoustic guitar playing, often using open tuning as a base.

                              I wanted to create whole tones without de-tuning and keep access to the complex sounds stock tuning provided.” Rick pressed 500 copies of his tranquil solo guitar record, Gentle Wilderness, in 1978 on Niodrara Records, and sold many at performances and directly to music shops who would pay for them. He gave copies to various libraries and left a few albums in the middle of the wilderness, next to trails, “so people would find them.” Rick sought inspiration in nature and in particular the various rivers scattered around the Western United States, often composing songs seated beside them —and even occasionally perched on boulders in them. He never played the songs the same way twice and did two passes on each composition in studio. Rick would sometimes literally come straight out of the mountains and rush to the studio to record the ideas he’d gathered. "Missy Christa" was recorded at Mount Olympus studio in Hollywood and was named after Rick’s daughter; it was originally composed right next to the Big Sur River where he had been camping. Rick currently resides in Los Angeles, “still strumming, waiting for the other shoe to drop.”



                              Rick Deitrick

                              River Sun River Moon

                                Gentle Wilderness was released as a private press LP in 1978. River Sun River Moon consists of previously unreleased recordings from the same time period. Deitrick came to our attention via Brooks Rice and Michael Klausman, who compiled Imaginational Anthem Vol 8 : The Private Press, which features Rick's "Missy Christa" from Gentle Wilderness. Ohio-born Rick Deitrick took up the guitar at 16 and decided to approach his playing as if he was the only guy on an island and the instrument had just washed ashore one day. According to Rick, “I completely divorced my playing from any formal music knowledge, but it was very important to me to use original tuning. During those years, the sixties/seventies, there was a lot of acoustic guitar playing, often using open tuning as a base. I wanted to create whole tones without de-tuning and keep access to the complex sounds stock tuning provided.” Rick pressed 500 copies of his tranquil solo guitar record, Gentle Wilderness, in 1978 on Niodrara Records, and sold many at performances and directly to music shops who would pay for them. He gave copies to various libraries and left a few albums in the middle of the wilderness, next to trails, “so people would find them.” Rick sought inspiration in nature and in particular the various rivers scattered around the Western United States, often composing songs seated beside them —and even occasionally perched on boulders in them. He never played the songs the same way twice and did two passes on each composition in studio. Rick would sometimes literally come straight out of the mountains and rush to the studio to record the ideas he’d gathered. "Missy Christa" was recorded at Mount Olympus studio in Hollywood and was named after Rick’s daughter; it was originally composed right next to the Big Sur River where he had been camping. Rick currently resides in Los Angeles, “still strumming, waiting for the other shoe to drop.” 

                                With a languid vocal bathed in isolation, an uneasy, inevitable shoulder shuffle of angular bass, synths and guitar, Stellular is a defiant soundtrack for a generation facing down global recession, political devision and personal insecurity.

                                “I was thinking about some people I knew that were struggling to get a break” says Rose Elinor Dougall of the title track for her new album, “Thinking about the endurance test I was witnessing for others… waiting for something to change.”

                                Stellular is the title-track of a shockingly confident new album, 11 tracks of classic songwriting, all defiantly modern, glowing with clarity and purpose. It is, in Rose’s own words ”something bolder, less apologetic, more decisive… a sophisticated pop record” It is an album rooted in the London lives that shaped its lyrics, the lives and experiences of Rose's friends as their 20s slipped by in a haze of late nights, broken hearts and struggles in an increasingly unforgiving capital. "The last decade in this country has been a really fucking weird time to be young. There's a theme of promises that are falling apart, and negotiating the wreckage of choices you might make that actually start to become less flippant and do have long-standing effects on your future.” Working with producer and friend Oli Bayston, AKA producer Boxed In, the pair started by crafting small ideas, a simple rhythm, drum noises, or a sound on a Korg Delta, exploring the "essential" part of Rose’s songwriting. The plan was to make the record from a limited sonic palette, to give everything a defined aesthetic. This philosophy stretches back to Rose’s days in The Pipettes - a band built on a manifesto for the perfect pop group by the KLF's Bill Drummond.

                                The songs started coming quickly, with album opener Colour Of Water all tight refrains and Kraut-minimalism setting the tone, the album was written in under three months. All At Once is the sound of Rose pushing herself out of her comfort zone. A co-write with Sean Nicholas Savage it provides a darker and stranger flavour to the album, fit with a desire "to make some modern music”. There are obvious nods to Debbie Harry, The Smiths, “the women I love.. like Karen Dalton or Joni Mitchell or PJ Harvey or Roisin Murphy or Beth Gibbons” and Fleetwood Mac, particularly on the duet boy-girl duet Dive with Boxed In. “I want it to be human, I want it to be honest. There's always going to be artifice within these things, but even just one line in one song can find the kernel of something more”, Take Yourself With You throws a very English melancholia to the Los Angeles breeze, while Answer Me - a songwriting collaboration with Andrew Wyatt (Miike Snow) - is an all too glorious reminder of classic power ballads, a bold antidote to the flakey and the indecisive.

                                This album is the culmination of the strange and hectic decade since the 19-year-old Rose jacked in college to go on tour with The Pipettes, made the bold move to go it alone with the introspective solo debut Without Why, then signed up to front Mark Ronson's touring band on a never-ending world tour. "It was quite an overwhelming experience," Rose says of the two-and-a-half-year Ronson outing. “A total whirlwind, playing to thousands of people and really performing. This was something my solo record hadn’t called for, there was a lot of me hiding behind my fringe and being indie, but then I was forced to the front of the stage. It was a bit of a sink-or-swim scenario.” "I've had to accept it's what I'm good at." she says. "In this country we see that as a bit vulgar, there's that natural sense of being apologetic. I wanted to be a bit more assertive." She laughs - "I've cut my fringe off”.


                                If you're hip to the library side of things, you'll already know that Sonor Music Editions seldom fuck around. But even amongst their nigh on flawless reissue catalogue, this is something special. Originally released in 1971 on the pint-sized Union label (founded by G.P. Ricci and Remigio Ducros), "Lo Sport" is one of the rarest Library productions in existence, and a true holy grail for record collectors all over the world. This double monster features some of the hottest breakbeat, funk and psychedelic tunes from Italy, each featuring mental grooves, out-there samples and mind expanding themes. Top of the library pops this release more than merits a holy grail alert!

                                Richard Einhorn

                                Shock Waves (1977 Original Soundtrack)

                                  Waxwork Records is thrilled to announce the vinyl debut of SHOCK WAVES. The 1977 film stars horror movie legend Peter Cushing and is directed by Ken Wiederhorn (Return Of The Living Dead 2). The 100% analog synth score composed by Richard Einhorn (The Prowler, Don't Go In The House) marks one of the earliest electronic compositions created for film. Waxwork is proud to finally release this landmark electronic horror score in vinyl format 40 years after the film's initial public release.

                                  LP package features include the complete score available on vinyl for the very first time, composer liner notes by Richard Einhorn, director liner notes by Ken Wiederhorn, heavyweight old style tip-on gatefold jackets, "Sea Foam Green" colored vinyl, all new album artwork by Marc Schoenbach of Sadist Art Designs, and center label art by Ghoulish Gary Pullin.


                                  FORMAT INFORMATION

                                  Coloured LP Info: Sea Foam Green Colored Vinyl.
                                  Heavyweight Old Style Tip-On Gatefold Jacket.

                                  Rob Ellis

                                  Music For The Home

                                    One time member of PJ Harvey's band produces an album of keyboard experimentation reminiscent of Morton Subotnik. An outerworld experience and quite a suprise.

                                    CD & LP housed in deluxe gatefold “tip-on” jackets with book-deep liner notes by Joe Nick Patoski
                                    LP includes 8-pg booklet, download card for full album, and bonus 7" (with tracks 13-16 from the CD)
                                    CD includes 32-pg booklet
                                    Rare / unseen archive photos and ephemera


                                    By 1986, Roky Erickson’s career had endured twists, turns and a late-period purple patch marked by incredible music and self-destructive behavior. The Evil One (LITA 097) broke him out of the indie underground and Don’t Slander Me showed off his rock ‘n’ roll sensibilities. But Erickson was difficult to manage – and patience was running out. "I‘d given up after the second album,” Erickson’s then-manager, Craig Luckin, has said. “I had enough.”

                                    Yet a third album – arguably his best – was to be found, if not created. Gremlins Have Pictures is an anthology of Erickson’s solo work following his extended incarceration at the Rusk State Hospital for the criminally insane, beginning with his first live performance (opening for a screening of the Texas Chainsaw Massacre in Austin) all the way to Don’t Slander Me (LITA 098).

                                    The core member of 13th Floor Elevators, and an undisputed pioneer of psychedelic rock, Erickson struck big with the howling single ‘You’re Gonna Miss Me’. “Any kid that played music in the Houston area would tell you the Elevators ruled,” says Erickson’s future drummer Freddie Krc in the liner notes. “Unlike the West Coast groups, they were our band.” But Erickson’s ‘60s dream came to an abrupt end when he was caught with a single marijuana joint on his person. Pleading not guilty by reason of insanity to avoid prison, he was sent to the Rusk State Hospital, where he was ‘treated’ with electroconvulsive therapy and Thorazine treatment.

                                    Released from the institution in 1974, Roky found his legend had grown while he’d been away – not least because ‘You’re Gonna Miss Me’ was included on 1972’s Nuggets compilation. He formed a band, the Aliens, and set about honing a hard rock sound that placed the psychedelic garage blues of the Elevators firmly in the last decade. It wasn’t just the sound that had changed: Roky’s lyrics spoke of vampires, demons, beasts and even presidents – his ‘Song To Abe Lincoln’.

                                    Collected here, the odds and ends of Erickson’s post-incarceration work tell a story of a man finding his musical feet, ranging from Dylan-like folk strumming to the big, Neil Young-like rock of the unparalleled ‘Anthem (I Promise)’. The span of time is great – from The Ritz Theatre tracks, recorded in Austin in 1975, at the debut performance by The Aliens, to those troubled Don’t Slander Me off-cuts. Other tracks were cut with the Explosives, the band Roky started working with at Raul’s punk club in Austin after he’d returned to Austin in 1979, following the departure of the Aliens. Together the various tracks deftly summarize Roky Erickson’s recording career. Following reissues of The Evil One and Don’t Slander Me, Gremlins is now brought back to life by Light In The Attic Records. This is a chance to pick up a missing jigsaw piece in the history of American rock ‘n’ roll in deluxe packages. Don’t let it pass you by.

                                    Rudi Esch

                                    Electri_City: The Dusseldorf School Of Electronic Music

                                      Just like Memphis for Rock'n'Roll, Dusseldorf is regarded as the Mecca for electronic music. The capital of North Rhine-Westphalia became the centre of an analog electronic movement which changed the course of all popular music to come.

                                      Electri_City is the oral account of the city's most influential bands, including Kraftwerk, NEU!, DAF, Die Krupps and many more. This history uncovers the myths and reality of the bands emerging from the artistic backdrop of a wealthy, modern, post-WWII German city; the conditions that fostered such a creative explosion.

                                      Interviews include Daniel Miller (Mute Records), Paul Humphreys and Andy McCluskey (OMD), Martyn Ware (Human League), Glenn Gregory (Heaven 17), Rusty Egan (Visage) Ryuichi Sakamoto and producer, Giorgio Moroder.

                                      Richard Fearless

                                      Night Blind

                                      "Night Blind" is Richard Fearless’ second release on Drone’s white label series. The title track coalesced in the early hours of the morning as diffuse, Turneresque lights glimmered across the Thames and the container was pounded by a storm. Unnerving and melancholic yet with a glimmer of light, this is Fearless at his best. On the B side is "Cancan". With Xavier’s spiritual acid head, Kenichi Iwasa, on percussion duties, this is one for peak time body shaking.

                                      Both tracks were recorded and mixed at the Metal Box by Chris Blakey and produced by Richard Fearless. Stamped and numbered edition of 300 vinyl.


                                      Richard Fearless

                                      Sweet Venus

                                      The first release in Drone’s vinyl only series sees label founder Richard Fearless steering the sound toward a skewed and mutated form of skeletal house music."Sweet Venus", recorded in one take, traps a ray of light in troubled times. Paying tribute to Kraut minimalists like Cluster whilst referencing the bleepy space techno of Jeff Mills. Its unusual, concentric rhythm takes a while to take hold but once in its grasp it's hard to escape. "Rex" occupies side B. Using the 303 and 909, Fearless draws on the sonic tapestry of "Metal Dub" to create an acidic and biting number, stripped back to its bare bones which sits nicely alongside Factory Floors or Paranoid London's claustrophobic, schizoid corrosion. Stamped and numbered edition of 300 vinyl.

                                      Robert Finley

                                      Goin' Platinum

                                        Soul and blues singer Robert Finley will release his second studio album, Goin’ Platinum! via Easy Eye Sound. The album captures a singer at his prime, surrounded by all-time-great session musicians with skill to match his singular voice, including drummer Gene Chrisman (Elvis Presley, Aretha Franklin) keys player Bobby Woods (JJ Cale, Bobby Womack), horns players from Preservation Hall and legendary guitarist Duane Eddy. Goin’ Platinum! was co-written and produced by The Black Key’s Dan Auerbach and also features writing credits by legendary songwriters John Prine, Nick Lowe, and Pat McLaughlin. “These guys are legends in their own time,” Finley says. “I’m grateful to be part of the team and working with such extraordinary guys. We hooked up the soul and rock and roll and made one hell of a record.” 

                                        STAFF COMMENTS

                                        Barry says: A beguiling and brilliantly soulful outing from Finley, brimming with elements of blues, funk and soul. Finley's voice remains as enchanting to this day as it ever has, and his songwriting has never faltered. Superb.

                                        Raffaelle Fiume / Joey Mauro

                                        Dreamer Cafè

                                        Joey and Mauro Raffaele Fiume, we can say for sure is that the odd couple of 'Italodisco of yesterday and today. Joey mauro spent the last 15 years as a writer , producer, singer and 1st actor of alomost 60 new generation Italodisco dance tracks published worldwide. Raffaele Fiume an old acquaintance of Italodisco who produced and sang over 40 disco mix from 1981 to 1989 and sold thousands of records around the world with various pseudonyms, the most famous are : Clock on 5, Mr Rocambole, Helicon and Raf Coney. They come together with a mini album born from their friendship that led to a collaboration destined to leave an indelible mark in the Italo disco new generation panorama .Their newest mini album rediscovers the QUADRANGOLO MIRABILE label in an all-Italian production that is bringing back to the great experiences of Label as Discotto and Disco Magic. Along with the great the Pin Up designs of the great artist Giovanna Casotto, the voice of Francesco Cataldo Verrina aka Bounty Miller and Karl Otto make this release a must to have for all Italo Disco fans!

                                        Robert Forster

                                        Grant & I : Inside And Outside The Go-Betweens - Signed Edition

                                          The 1980s songwriting partnership of McLennan/ Forster was a little like an Australian Lennon/ McCartney. The pair wrote all the band’s distinctively original material and, like their more famous counterparts, shared the credits and alternated on lead vocals. Grant & I is an extraordinary portrait of an intense, creative, sometimes fraught friendship that represented a genuine meeting of artistic minds.

                                          In Grant & I, the reader is given a front-row seat at the sessions that produced an incredibly prolific and diverse song catalogue. Just as The Go-Betweens were like no other music group, so this book is like no other music memoir. It is wise and witty, poignant, insightful, self-deprecating and knowledgeable. Robert Forster is as natural a storyteller and prose writer as he is a songwriter, and Grant & I is an unforgettable ride.

                                          FORMAT INFORMATION

                                          Hardback Book Info: Limited Signed Edition!

                                          Roddy Frame

                                          Surf

                                            Ahead of Roddy Frame’s new album later this spring we’re pleased to be pressing vinyl copies – not previously available - of Roddy’s solo albums Surf and Western Skies. Surf, Roddy’s second solo record, was released in 2002 and features a series of totally acoustic performances. The eleven songs capture Roddy at his personal best in terms of finely crafted songs and deft, highly accomplished guitar work.

                                            “A songwriter's masterclass” NME.


                                            Robbie Fulks

                                            Couples In Trouble

                                            A collection of 12 songs, each of which, as the title suggests, documents a tale of two people in crisis. Mostly country / bluegrass songs but occasionally deliving into pop and rock. Very good!

                                            11 early electro-acoustic pieces for the Studiotrautonium keyboard alongside tape manipulation to accompany the New York City Ballet production Electronics by George Balanchine

                                            Originally staged March 22, 1961, as part of a double bill choreographed by George Balanchine, the experimental New York City Ballet production Electronics included the renowned dancers Violette Verdy and Jacques d’Amboise (pictured on the front of this album) and a revolutionary score by multi-disciplined composer Remy Gassmann using a truly unique instrument. Working alongside German born keyboard composer and close acquaintance Oskar Sala (with whom he had studied in Berlin under Paul Hindemith), Gassmann was given access and assistance to the latest developments of the Trautonium, an early electronic keyboard that was first exhibited in 1930 by inventor Adolf Trautwein and three pianists (including Sala).

                                            Being one of the original exponents of the machine, Sala (with Trautwein’s blessing) took the basic model of a neon tube oscillator and wire frequency controller (which provided an untempered continuous tonal range) and spent over twenty years developing what would become the Konzerttrautonium (as used by Roichard Strauss to emulate synthetic gongs), followed by the microtonal Mixturtrautonium and eventually the static Studiotrautonium which formed the centrepiece of his own studio in Berlin-Charlottenburg where electronics was composed and realised. For the 1961 ballet, dressed in metal- lic bodysuits with geometric diodic motifs, Verdy and d’Amboise (alongside a small troupe of other dancers) performed the concise eleven-part ballet to polarised but predominantly positive audiences, generating a new outlook on experimental dance and supporting the similar sensibilities of other choreographers such as Alwin Nikolais, Yvonne Georgi (with Henk Badings) and Maurice Béjart (with Pierre Henry). As one of the first American performances drawing primarily on European developments, the modest critical success of the project would open new avenues for the electronic musical duo who were commissioned later in the year by Alfred J. Hitchcock Productions to provide enhanced and versatile sound effects emulating cacophonic bird sounds alongside Bernard Hermann for the 1963 blockbuster The Birds.

                                            FORMAT INFORMATION

                                            10" LP includes MP3 Download Code.

                                            Roger Gerressen & Ivano Tetelepta

                                            Build From Wax Vol. 1

                                            First mini album (2x12") of the two Dutch masters, Roger Gerressen and Ivano Tetelepta.

                                            "Build From Wax" is the first part of their sample-based series, which covers field recording and fragments from the past, reconstructed to the future by the tools of drum machines and analog warmth, with the classical flavour of techno and house era.

                                            Nilla rocks again.

                                            GRAMMY-winning band Robert Glasper Experiment release their new album ArtScience. The eclectic album finds the Experiment getting down to its essence, with each of the band members—keyboardist Robert Glasper, saxophonist Casey Benjamin, bassist Derrick Hodge, and drummer Mark Colenburg—delivering the vocals and sharing in the production and songwriting on the album. On ArtScience, the Experiment sounds like a bit of everything that's vibrant and challenging and great about music woven into a billowing fabric of jazz, funk, soul, rock, hip-hop, blues, disco, electronic, and pop. 

                                            Robert Glasper & Miles Davis

                                            Everything's Beautiful - The Recordings Of Miles Davis

                                            A stunning new record of reimagined interpretations of Miles Davis' music produced by Grammy Award winner Robert Glasper (who also served as coproducer of the Miles Ahead soundtrack) with musical guest artists including Bilal, Illa J, Erykah Badu, Phonte, Hiatus Kaiyote, Laura Mvula, KING, Georgia Ann Muldrow, John Scofield and Ledisi, and Stevie Wonder. A visionary exploration of the music of Miles Davis, 'Everything's Beautiful' incorporates Davis' original recordings into new collaborative soundscapes.

                                            "I didn't want to do just a remix record," Glasper noted when discussing the 11-song set. "My idea was to show how Miles inspired people to make new art." Realizing that "Miles didn't have one audience," Glasper recruited a legion of diverse guest artists to add to the magic of the project. "I am living in the spirit of Miles when I am doing what I'm doing because I am documenting my time period. I'm documenting what's around me. I'm documenting who I am now, where music is now," says Glasper. "That's what this project is about. I wanted to do something where we can take some of Miles' ideas, shake them up, and try to show the influence of Miles and make new things. And that's the beauty of this whole album. The whole project is based on Miles, but it is based on Miles' vision, it's based on Miles' trumpet, it's based on Miles' voice, it's based on Miles' composition, it's based on Miles' influence, it's based on Miles' swag."

                                            Ruben Gonzalez

                                            Introducing... (Extended Edition)

                                              World Circuit provide all lovers of latin music with a welcome double heavyweight vinyl reissue of Ruben Gonzalez' "Introducing...". Mastered from the original mix tapes by Alex Wharton at Abbey Road, several tracks are now heard in unedited, full length form for the first time with the addition of a further track that has never previously been released. When the Cuban pianist Ruben Gonzalez recorded his first solo album in Havana in 1996 he was 77 years old. Released on World Circuit the following year, along with the Grammy-winning Buena Vista Social Club on which he also played, it led to a remarkable late flowering of his career that lasted until his death in 2003, as he toured the world and was revealed as one of the timeless legends of Cuban music. The story of Ruben Gonzalez's rediscovery was movingly told in Wim Wenders' award winning Buena Vista Social Club lm. A maestro whose piano playing in the 1940s helped de ne the Cuban sound as we know it today, by the 1990s Rubén had virtually stopped making music. Suffering with arthritis, he no longer even owned a piano. Invited to come out of retirement in 1996 to play on World Circuit's remarkable trio of albums recorded in a two week session in Havana in 1996 - alongside Ry Cooder on the Buena Vista Social Club album, and with the Afro-Cuban All Stars on their debut 'A Toda Cuba La Gusta' - his pleasure as his touch and phrasing returned was palpable and infectious. Every morning he was the first to arrive at the studio in Havana, waiting for the doors to be unlocked. Once inside he played all day long, prompting Cooder to dub him "the greatest piano soloist I have ever heard in my life." Accompanied by a hand-picked band playing a selection of Cuban classics 'live ' in the studio, Gonzalez turned in one of all me classic Cuban piano albums.

                                              Rachel Goswell

                                              Waves Are Universal

                                              Long awaited solo album from Rachel Goswell (of Slowdive and Mojave 3 fame). Recorded with co-writer Joe Light and producer David Naughton, "Waves Are Universal" is quite a radical departure for Rachel. The track "Plucked" best hints as to what is to follow - an album that has been recorded organically (so to speak), largely without the aid of electronic effects, allowing her to be heard away from the familiar delay and reverb of most her previous outings. What remains on record is pure atmosphere, which is unsurprising given David's recording technique. On some tracks, Rachel's vocals were played back in Chislehurst Caves and re-recorded to create a natural echo ("Warm Summer Sun", "Gather Me Up" and "Hope"). In addition to this, both real-life sounds caught by an ambient microphone ("No Substitute") and field recordings made during a holiday in Thailand ("Shoulder The Blame" and "Plucked") find their way on to add extra warmth and depth. "Waves Are Universal" is proof that Rachel is a real talent.

                                              Ragnar Grippe

                                              Sand

                                                Since its original release in 1977, Ragnar Grippe’s seminal debut album entitled “Sand” has been adorned with immense praise and influenced a myriad of ambient musicians and minimalist composers. Grippe’s unique approach of bonding post-modern classical composition into the tape techniques of musique concrète allowed him to be one of the leading experimental electronic musicians of the late 20th century.

                                                Originally trained as a classical cellist, Grippe had relocated to Paris in the early 70’s to study at the famous Groupe de Recherches Musicales (more commonly known as GRM) founded by musique concrète pioneers Pierre Schaeffer, Pierre Henry and Jacques Poullin. Around the same time, Grippe had struck up a close friendship with French avant-garde minimalist Luc Ferrari. It was under Ferrari’s direction and guidance that the young Grippe started to build a shared experimental music studio, aptly named l’Atelier de la Libération Musicale (ALM), in which Ferrari shared his knowledge and instrumental supplies, thus forging Grippe’s implementation of harmonic tone within the confines of musique concrete.
                                                After a brief stint of electronic music study at McGill University in Montreal, Grippe returned to Paris in 1976 to compose with Ferrari at the now fully-realized ALM studio. One of the visiting artists passing through the creative epicenter of the Cité Internationale des Arts during this time was the painter Viswanadhan Velu. Velu’s recent works consisted of various Sand paintings which were to be exhibited at the Galerie Shandar, the avant-garde art gallery and home to the Shandar record label which was the home to minimalist composers Terry Riley, La Monte Young, Cecil Taylor and Charlemagne Palestine.

                                                Grippe was asked to compose a composition that was to be played during the Sand painting exhibition and was then to be released on the Shandar imprint in 1977. This release would be the first official album that would start Grippe’s career as a modern avant-garde composer and electronic musician. After a celebrated release, “Sand” has since been out-of-print on its original vinyl format for four decades and original copies fetch high prices amongst minimalist listeners and collectors.


                                                FORMAT INFORMATION

                                                Ltd LP Info: New pressing on randomly packed blue or black vinyl.

                                                Ltd LP includes MP3 Download Code.

                                                Robert Haagsma

                                                Passion For Vinyl (A Tribute To All Who Dig The Groove)

                                                  Brazilian superstar Ed Motta came to Holland to buy an apartment, but spent all his money on vinyl instead. When a young Mikael Åkerfeldt of Opeth discovered a scratch on his recently bought Bathory LP he demolished his bedroom. It’s Atlantic’s CEO Craig Kallman mission to own all relevant albums on vinyl. He has 750.000 already. That’s what vinyl does with music lovers.

                                                  In Passion For Vinyl a wide selection of DJ’s, musicians, label owners, designers, record dealers, collectors and engineers like Henry Rollins, Bernie Grundman, Hans Pokora, Chris Ellis, Steffi, Mala, Vaughan Oliver, Lee Dorrian, Jacco Gardner, John Dyer Baizley and many others share their unconditional love for vinyl. They muse about the first record that changed their lives, talk about their prized collectibles and explain why they were determined to keep vinyl alive. Passion for Vinyl also tells the history of Record Industry, the Dutch factory that has been pressing vinyl since the 1950’s.

                                                  This book is a tribute to vinyl, a format that is making a spectacular comeback recently, although for many music lovers it never really disappeared.

                                                  Passion For Vinyl is written by Dutch author, music journalist and incurable vinyl fanatic Robert Haagsma. With an introduction by American vinyl guru Michael Fremer.

                                                  FORMAT INFORMATION

                                                  Hardback Book Info: 240 page hardback book. Individually numbered, with free 7” single

                                                  Robert Haigh

                                                  Creatures Of The Deep

                                                    A new album of piano driven ambient music from British composer Robert Haigh. Following in the path of his albums for the Japanese Siren label, Creatures of the Deep is an underground vantage of a meeting between the musical worlds of Harold Budd and Erik Satie. With a storied musical career that has ranged widely in style — from his industrial-avant-garde works on Nurse With Wound’s United Diaries label as SEMA to his legendary ambient drum and bass records as Omni Trio on Moving Shadow — Robert Haigh's work occupies a space between music and mystery. With Creatures of the Deep, Haigh is at the peak of his powers. Among noir, minimal, neo-classical landscapes are robust scatterings of bright reflection and a musical expression that is subtle and elusive yet uniquely Haigh’s in its voice and masterful execution. The closer we examine, the more is revealed, and the less is defined.

                                                    FORMAT INFORMATION

                                                    LP includes MP3 Download Code.

                                                    The first in Rush Hour’s OFFICIAL series of Trax reissues, highlighting the seminal label’s more obscure and overlooked titles. First up is a landmark house record - certainly not the first house record, but a very important release all the same, as this was produced by the legendary Ron Hardy, one of the most influential DJs at the birth of the style, who was instrumental in shaping the (Chicago) house sound. Awesome female vocal cut “Sensation” was originally issued in 1985 and is one of the earliest Trax releases (TH 109). It remains one of the hardest to hunt down and most in-demand on the collectors scene, with original copies changing hands for over 100 Dollars. Even the late 90s repress commands a high value, while the original limited edition white vinyl pressing is beyond the reach all but the most deep-pocketed collectors. Now available again in its full remastered glory. Features long, short, and dub mixes.

                                                    Roy Harper

                                                    Bullinamingvase

                                                      Never shy about using the most intimate and personal autobiographical details in his songs, Harper is one of the most genuine of songwriters. He has recorded several albums of great quality and beauty and "Bullinamingvase" is one of his finest. With an original vocal delivery and a sympathetic acoustic guitar style, Harper never crosses that line that divides the heartfelt from the bitter and mawkish. The halcyon summer feel to much of this work still has the timeless quality that can stand comparison with the best of music of the period.

                                                      "The major event on the record, One of 'Those Days In England', is a collection of reminiscences. The legend of Excalibur in the first line. The last of the willow leaves at the top of the tree hanging on into January. 'Alfred had me made', the words written in anglo-saxon around the Alfred Jewel. More precisely 'AElfred mec heht gewyrcan' Alfred ordered me to be made. The Alfred Jewel is housed in the Ashmolean Museum at Oxford (England) and I visit it regularly when I can for emotional sustenance. In the light of the events of his lifetime, Alfred must not only be considered as the founder of the British Navy, but more importantly as the founder of the English language. Had it not been for Alfred's victory over the Danes in the late ninth century, it would perhaps be conceivable that one fifth of the world's population would now be speaking some kind of Danish dialect. I really love this album. It's always been one of my real favourites. I've always thought that the long version of 'One Of Those Days In England' is a touchstone of my long affair with my own culture. All in all, the album has the pastoral feel of the nature of my life at the time. Having said that, it also has a lovelorn edge in 'Cherishing The Lonesome' and angst in 'Naked Flame'. There's also sufficient reference to the nature of the times in lines such as 'You and me sister we're gonna plant a bomb in a street to change law and order', and 'You and me brother wrapped up in silence brooding for better breathing spaces'; both of which unfortunately still seem set to demand attention in global culture for the foreseeable future. Perhaps the reason I always think of it as a gentler album is the subtle ushering in of the realisations embodied in 'These Last Days', which are not so much resignation to a certain maturity as recognition that negotiation in life is paramount to community." - Roy Harper

                                                      Remastered audio reissued on 180gm vinyl.

                                                      Packaged in deluxe gatefold sleeve.

                                                      Roy Harper

                                                      Come Out Fighting Ghengis Smith

                                                        Originally released in 1967.

                                                        Produced by Shel Talmy.

                                                        Orchestral arrangements by Keith Mansfield.

                                                        Remastered audio reissued on 180gm vinyl.

                                                        Packaged in deluxe gatefold sleeve.

                                                        Printed heavy inner sleeve including lyrics, extra notes and images.

                                                        Artwork redesign by Harry Pearce.

                                                        Roy Harper

                                                        HQ

                                                          "HQ is to date my most integral 'rock' record. The songs on the record are less acoustically oriented than on any of my other albums. However this is not to say that any of the songs couldn't have been recorded playing just an acoustic guitar. The combination of Chris Spedding, Bill Bruford, Dave Cochrane and myself was a band I should have kept together, but hindsight is a wonderful thing. Dave Gilmour, John Paul Jones and Steve Broughton were the band that played together at a Hyde Park Free Concert and then recorded the backing track for 'The Game'. 

                                                          The highlights of the record are one, Chris Spedding's guitar solo on 'The Game,' which was a first take and is a wonderful piece of spontaneous Rock and Roll. He played it on a tiny amp in the middle of the empty aircraft hanger sized Studio 1, at Abbey Road, a studio built for a 100 piece orchestra and opera cast. He was dressed in a white suit with a red carnation and was in and out of the studio within 20 minutes! And two, the great lift that the Grimethorpe Colliery (brass) Band gave to the David Bedford arrangement of 'When an Old Cricketer Leaves the Crease.' It was recorded in the same studio and there were about 50 musicians in the studio that day. 

                                                          My childhood memories of the heroic stature of the footballers and cricketers of the day invoke the sounds that went along with them. Paramount among these was the traditional Northern English brass band, which was a functional social component through all four seasons, being seen and heard in many different contexts. My use of that style of music on 'Old Cricketer' is a tribute to those distant memories. Finally, not least among the highlights is the third verse of the lyric of 'The Spirit Lives.' A poem of mine that I really enjoy. I always look back on HQ as a great album made at one of the best times of my life." - Roy Harper

                                                          Remastered audio reissued on 180gm vinyl.

                                                          Packaged in deluxe gatefold sleeve.

                                                          Original cover art with additional printed heavy inner sleeve including extra notes and images.

                                                          Artwork redesign by Harry Pearce.

                                                          Roy Harper

                                                          Return Of The Sophisticated Beggar

                                                            Roy Harper’s first solo album was originally released in 1966, The Sophisticated Beggar, and by 1970 he had met up with Pink Floyd manager Peter Jenner and re-released his debut as Return Of The Sophisticated Beggar.

                                                            Roy Harper’s music can be best defined as progressive folk, but as his work is so varied there are many instances where his music transgressed these genre confinements.

                                                            He worked alongside greats like Jimmy Page of Led Zeppelin, David Gilmour of Pink Floyd, The Nice, Kate Bush and Ian Anderson of Jethro Tull. Roy Harper is also recognized for his vocal contribution on “Have A Cigar”, the third track on Pink Floyd’s 1975 album Wish You Were Here.

                                                            FORMAT INFORMATION

                                                            LP Info: 180g audiophile vinyl re-issue of his debut folk rock album.

                                                            Roy Harper

                                                            Hats Off

                                                            14 songs featuring Roy Harper's collaborations with the likes of Kate Bush ("You"), Jimmy Page, David Bedford, Dave Gilmour and Paul McCartney amongst others on an excellent US compilation.

                                                            "Lady's Bridge" is filled with enough classics to last you a lifetime. Great music doesn't need hype, it makes its own friends. And "Lady's Bridge" will find plenty. As they did in "Coles Corner", ghosts haunt "Lady's Bridge" – the dying embers of past romances in "Valentine", the 16-piece string orchestral lush opener, there are the victims of the Great Sheffield Flood remembered in "Roll River Roll" and the glorious "The Sun Refused To Shine", the lonesome wanderlust of "The Sea Calls" and "Dark Road". There is tenderness (the lovely "Our Darkness" which finds our hero returning to the sanctuary of home) and grit too, the first single – "Tonight The Streets Are Ours" is quite possibly the most beautiful song about the brutality of the British government's anti-social behaviour policy you are ever likely to hear. The album's title "Lady's Bridge" is a Sheffield landmark and the oldest bridge to cross the river Don. 'I used to walk across it nearly every day, it was a gateway from the poor bit of town to the rich bit' - Richard Hawley. The album was recorded at Yellow Arch Studio in Neepsend, Sheffield in the dilapidated building that Hawley had helped out with the restoration of almost four years ago. Yellow Arch gives Hawley what he calls 'that Sun Studio red light factor' and the pressure of turning up with the bones of an idea and leaving with a masterpiece.

                                                            Richard's third solo album (his fourth if you include the self titled mini album). It was recorded at Yellowarch Studio in his hometown of Sheffield and is a beautiful album, filled with nostalgia, emotion and romance. Its orchestral splendour sits alongside earthy rock and roll, with songs that are by turns intimate and soaring. You'll know of his time spent with Pulp, perhaps pass on his tenure in The Longpigs, and maybe be intrigued by his audition for Morrissey; all that will fade, however, as song by classic song socks you where it matters. Hawley is a massive talent in his own right, and this must be one of the most romantic albums of the year. Gorgeous.

                                                            STAFF COMMENTS

                                                            Martin says: Inevitably lovely music from a thoroughly lovely chap. A clear nod in the direction of Lee Hazlewood, Scott Walker and Roy Orbison, but shot through a distinctly northern English lens; the tales are touching, nostalgic and sentimental, the mood is of a man lost in life and love. 'Ocean' is an aching, gorgeous highlight, as is the sublime drift of the gorgeous 'Last Orders' which closes the album.

                                                            Following the success of his hugely acclaimed 2012 Top Three album, Standing At The Sky’s Edge, Richard Hawley will release his eighth studio album, 'Hollow Meadows' via Parlophone Records.

                                                            Recorded at Sheffield’s Yellow Arch Studio in spring 2015, Hollow Meadows' sees Hawley return to the classic, sophisticated songwriting and subtle arrangements that made him so widely loved and revered in the first place.

                                                            Meditating on such themes as ageing, fallibility and relationships, much of the album shares a brooding, yet wistful and romantic atmosphere in keeping with early albums Late Night Final and Lowedges, as well as touches of 2009’s Truelove’s Gutter (‘Nothing Like A Friend’) and Standing At The Sky’s Edge (‘Which Way’, ‘Welcome The Sun’).


                                                            FORMAT INFORMATION

                                                            2xLtd LP Info: Double heavyweight vinyl in a gatefold sleeve.

                                                            2xLtd LP includes MP3 Download Code.

                                                            Eleven gorgeous, late night, storytelling songs by the erstwhile Pulp and Longpigs guitarist. Hawley croons lovelorn words which evoke the late 50s in their charm and sweetness. Musically it's pretty and melodic, acoustic guitar ballads, lushly fleshed out with lapsteel, vibes, Mellotron and shimmery, echoey electric (guitar). Warm, poetic and inviting, this is a beautiful record and a balm for aching hearts everywhere!

                                                            Originally released in 2003, this was his second album, or third if you include his self titled mini-LP too. Although it follows a similar late night, love lorn style as his previous releases, it's musically and atmospherically a much bigger sound and hinted at what was to come with it's stunning follow-up Coles Corner. 

                                                            Truly classic, timeless songs, americana guitars (think Mazzy Star or maybe even Lambchop), and echoed vocals mixed with a very English sound. Imagine the soundtrack to Blue Velvet, recorded in Sheffield! Absolutely brilliant!

                                                            Following the success of his award-winning, hugely acclaimed 2009 album ‘Truelove’s Gutter’, Richard Hawley will release his sixth studio album.

                                                            Recorded at Sheffield’s Yellow Arch Studio in 2011, ‘Standing At The Sky’s Edge’ marks a seismic shift in direction for Hawley. The album is a euphoric, sonic assault on the senses, channelling elements of psychedelia, space rock and ragas with heavy riffs and raw, visceral guitar solos – as well as more familiar, tender moments – which will surprise Hawley’s fans and peers alike.

                                                            Exploring lyrical themes of love, loss, redemption and darker areas of the human condition, it’s an album of ominous storytelling and cosmic exploration, sung in Hawley’s rich baritone and soundtracked by an epic musical journey in glorious, menacing Technicolor. In the tradition of Hawley’s previous albums, the title is inspired by an area of Sheffield.

                                                            Hawley says of the album, “I wanted to get away from the orchestration of my previous records and make a live album with two guitars, bass, drums and rocket noises!”

                                                            'Standing At The Sky's Edge' is set to establish Hawley as one of the UK's greatest, contemporary guitarists.


                                                            STAFF COMMENTS

                                                            Laura says: Right from the off you realise that this album isn’t exactly going to follow the same lush, string embellished path of the last three Hawley albums, as it plunges straight into a seven minute plus psych rocker. "She Brings The Sunlight" and title track "Standing At The Sky’s Edge" - a bleak view of modern life pushing people to the brink - pretty much set the tone for the whole album really. Although he hinted at a darker side with "Truelove’s Gutter", this album is not just a darker affair, but heavier too. (He has rocked before though don’t forget, and he’s really pretty good at it!) There are lighter moments: "Seek It" and the shimmering acid haze of "Don’t Stare At The Sun" for example, mellow things out nicely before we’re plunged back into heavy riffs and layers of feedback. It’s an ambitious and very different sound, but he pulls it off with ease. And of course with THAT voice, it’s most definitely a Richard Hawley album. A triumph!

                                                            Richie Hawtin

                                                            From My Mind To Yours

                                                              Long overdue repress of Richie Hawtin’s 2015 Plus8 compilation


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