MAGIC MIX

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BACK CATALOGUE - S

Shiho

The Body Is A Message Of The Universe

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

    Clear pink colour vinyl. A special limited edition reissue of this rare and unusually dreamy electronic ambient new age album.Originally created and released in a  small edition in Japan back in 1987 by the mysterious musician/magician Shiho.

    Snapped Ankles

    Violations

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

      Snapped Ankles release their brand new violations of songs by Can ('Bel Air'), The Fugs ('CIA Man'), Joey Beltram ('Energy Flash') and The Comateens ('Ghosts'). Limited white vinyl edition with download code.                        
      From the forest floor:“These four tracks were dug up from the sturdy roots of the Ankles undergrowth - but in the process the original recordings were damaged. We reconstructed them using the latest in biomechanical stem re-assemblage processes, which invariably has lead to some misinterpretations and considerable violations of the original recordings. As we tried to decipher the magical genetic code of the originals, events around them informed the nature of these violations; forest fires tore through the wealthy neighbourhood of Bel Air, friends vanished into the dating app dimension never to be seen in solid earthly form again, and as our log synths pounded along to a broken copy of Joey Beltram’s ‘Energy Flash’, we created a possession so potent that the we were left pondering the difference between the mental states of ‘trance’ and ‘ecstasy’. Having unearthed The Fugs’ ‘CIA Man’ some years before, we were shocked to discover a newer more sinister agency had taken over from the diatribe’s protagonist with an updated set of ills. Now the forest is full of agents, we are taping up our microphones and masking our connections!”

      Snow Patrol

      Don't Give In / Life On Earth

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

        Snow Patrol present Record Store Day Special which has a 100% recycled product with off black colour vinyl in commemoration of International World Earth Day 2018. World Earth Day Falls a day after RSD 2018. A sticker will be on this product.

        Sorrow

        Under The Yew Possessed

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

          Under The Yew Possessed is the debut album by Sorrow, a group comprised primarily by Rose McDowall and her then husband Robert Lee. Originally released on World Serpent in 1993, Under The Yew Possessed was a stylistic jump from an artist associated primarily with sparkling pop music and a cult hit in the growing neo-folk movement. Self-recorded by the duo with guest musicians from the hidden reverse of the U.K.’s post industrial landscape, this is the first time this work has been available on vinyl. 500 copies GOLD VINYL

          Spacemen 3

          Taking Drugs To Make Music To Take Drugs To

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

            Berry coloured heavyweight 180 gram vinyl double LP in a gatefold sleeve with new artwork layout. Re-mastered by John Rivers at Woodbine Studios especially for vinyl release.

            Sparks

            The Best Of & The Rest Of The Island Years 74-78

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

              This double album represents one of the most exciting, inventive and witty musical sequences across LP One – ‘The Best Of Sparks’ reissued on vinyl for the first time since it’s 1978 appearance.LP Two ‘The Rest Of Sparks’ rounds up all of the band’s Island B-sides from the period, of which have only ever been available on the 2015 Sparks Box set and prior to that unreleased. Remastered from the original _” master tapes, the set comes pressed on 180GM transparent red vinyl.                                                             

              Sparks

              You've Earned The Right To Be A Dick

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

                Previously unreleased track outside of Japan (physical Japan only CD) ‘You’ve Earnt The Right To Be A Dick’ is a track taken from the ‘Hippopotamus’ album sessions. The exclusive limited edition Record Store Day product has taken direct inspiration from the award winning album artwork. The 7” disc is in the shape of a hippo’s head, the same on the album art. This incredible cut out makes the 7” instantly collectable amongst Sparks fans and vinyl lovers alike.

                Spiritualized

                Fucked Up Inside (RSD18 EDITION)

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

                  Re-mastered by John Rivers at Woodbine Studios especially for vinyl release. Milky clear coloured heavyweight 180 gram vinyl LP in an embossed and hot foil finished sleeve

                  Sufjan Stevens

                  Mystery Of Love EP

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

                    Sufjan Stevens' contributed three songs to the Call me By Your Name soundtrack: "Visions of Gideon", which was used at a very emotional scene at the end of the film, "Mystery of Love," for which a video was made and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film. For the song “Mystery of Love” he received an Academy Award nomination in 2018. The first pressing of The Mystery Of Love 10” EP is pressed on transparent vinyl. This limited edition of 10.000 copies is individually numbered and only available on Record Store Day.

                    Steven Adams & The French Drops

                    Virtue Signals

                      Anger seldom sounds as enticing as it does on Virtue Signals. Steven Adams’s first with his new group, The French Drops is an album that rails against the iniquities of the world and meshes the personal with the political, without ever smacking the listener around the head. Adams (former songwriter/singer/guitarist with The Broken Family Band and Singing Adams) can’t help but be witty and empathetic even as he rages, and the fury is wrapped inside his characteristically sweet melodies.

                      The album’s tone is set from opening track, “Bad Apples”, a song addressing flag-waving, aggressive patriots. The lyrics are alternately playful and oblique, in the spirit of songwriters like John Lennon or Britt Daniel from Spoon. Where Adams aims to remove ambiguity and play with metaphor, as with “Ex Future”, the opacity of his writing means he doesn’t descend into cliche.

                      Following a few years of performing and recording solo, Adams says he wanted to put together “a band where everyone was following their noses. I’ve been calling the shots for ages now, and now I can lean on these people, make more noise. It’s fair to say we share a lot of the same thoughts and feelings about the state of the world. But mostly we talk about food.” Laurie Earle (Absentee, Dan Michaelson & The Coastguards, Wet Paint) plays guitar with a loose, intuitive touch; Michael Wood - who had played bass with The Singing Adams - switches to keyboards here, while Daniel Fordham (drums) and David Stewart (bass) from The Drink complete the band.

                      Produced by Ben Nicholls (Nadine Shah, Cara Dillon). Mixed by acclaimed producer and engineer (and Hudson Records supremo) Andy Bell. Adams tours the UK through May and the summer.

                      For fans of: Field Music, Pavement, Spoon, Grandaddy, Teleman.

                      The 4th edition in the acclaimed Sterns Edits series sees curator Ben Gomori open up the Sterns Music catalogue to other keen re-editors — with Brownswood / Worldwide genius SMBD (aka Simbad) the first to step up to the plate.
                      Nigeria's Segun Adewale is sometimes referred to as the 'crown prince' of jùjú music, but in the 1980s he developed a sound all of his own, which he called yo-pop. A mixture of jùjú, funk, reggae, Afrobeat and jazz, its vibrant melange can be heard on his 1986 record 'Ojo Je', where both these originals are taken from. SMBD delivers too superb flips of the title track — a gritty funk-fuelled 'Disco' version with live bass, and a deliciously deep dub-house version. Gomori, meanwhile, takes the haunting 'Atewo-Lara Ka Tepa Mo'se' for an extended hypnotic, tribal trip.
                      The stunning artwork comes from Kofi Ankobra, the son of radical white South Africans who grew up in Ghana and studied art at Oshogbo, Nigeria — the place Adewale himself was born.


                      STAFF COMMENTS

                      Patrick says: Ben Gomori continues his flawless curation of the Sterns Edits series with another gorgeous reheat of an African original, this time from Nigeria's Segun Adewale. Alongside the unquestionably sunny A-side, which manages to marry easy going instrumentation and an irresistible rhythm, come two tonking B-side mixes from SMBD on a deep disco tip. Don't sleep!

                      Sam Amidon

                      All Is Well

                        New to Bedroom Community comes Sam Amidon and "All Is Well". The album was recorded in label boss' Valgeir Sigurosson's state of the art Greenhouse studio in Iceland. Away from Sam's usual home-recording set-up he was left to concentrate on his intuitive interpretations of age-old folk songs, drawing simultaneously on his experiences growing up as a child of folk musicians in Vermont, and his more recent work in New York with experimental indie-rock bands Doveman and Stars Like Us. Amidon's trademark delivery is perfectly offset by the tenderly plucked notes of his six string on "Saro", with orchestration provided by Nico Muhly and horns erupting around the listener. A dizzying amalgam of trombone, Eyvind Kang's ghostly viola, and processed percussion transform a children's singing game into the ominous ambiguity of "Little Johnny Brown". The distinctive bass of Ben Frost is evident on the pensive "Fall On My Knees", while subtle layers of electronics add an intrinsically modern aspect to the proceedings. Couple this with Sigurosson's production wizardry and you'll realize that despite links to the Appalachian folk music of the past, "All Is Well" is an album that could only exist in the present.

                        Siavash Amini

                        Tar

                          Continuing his experiments combining elements of drone and modern classical music, Tehran based composer Siavash Amini`s 4th solo LP "TAR" explores the fragile tensions between an individual and a collective subconscious. TAR is an inquiry of how fears and hopes of an individual can be related to a broader state of mind shared collectively. Making it`s starting point the expression of these feelings in dreams and nightmares of each individual, and translating the images, feelings and textures into sound. After a series of noisier and less melodic albums, this release catches the active listener with a subtle tension created by oscillating sounds somewhere between discomfort and transcendence. Even if some parts of TAR are quite disturbing, the record gets never simply dark. There is a much more sophisticated attitude that deludes us into a deeper act of listening and provokes some new synapse formations. TAR was premiered in February 2017 as a part of CTM festival`s Fear Anger Love edition.

                          'From behind a wall of public discourse, focus groups and corporate memos, Strahinja Arbutina moves out onto the streets, with four cuts of Croatian electronics pulled from man hunt techno, hood funk and industrial waves.'

                          Strong addition to NS's continuously growing cannon of electroid punk maneuvers. Strahinja Arbutina has previously released on Bank and Vivod as well as tapes for Always Human and Out Of Order. Military grade mechanics characterize the EP, with tank-like power ushering "STMPHS" and "No Reason" forward under barrages of shell fire and toxic gases. "Public Speaker" is a truly destructive offering and sounds like perhaps the armored exterior has been penetrated resulting in a cacophonous series of explosions and digital haybailing, flailing circuitry and noxious fumes. "Sit" closes off the experience with a tuff and direct attack of saturated, side-chained drum assaults. It doesn't get more Natural Sciences than this - a glorious release for the label! 


                          Shinichi Atobe

                          From The Heart, It's A Start, A Work Of Art

                            This album has its origins 17 yeas ago in early 2000, before Chain Reaction released the legendary Ship-Scope 12”. Three of the tracks here are taken from an acetate cut at Dubplates & Mastering at that time but which wouldn’t see the light of day until now, including another batch of tracks taken from original masters. Only 5 copies of that acetate were ever made so this is the first time any of these tracks are available for public consumption and, for our money, rank among the finest and most distinctive in either the Chain Reaction or Shinichi Atobe’s vaults.

                            The material is effectively some of the Japanese producer’s earliest work, showcasing the sort of tender, feminine pressure that would bubble up on the Ship-Scope EP and later be revealed in his new productions, Butterfly Effect and World yet, for many reasons, they would lay sunk in his archive for the next 17 years.

                            The tracks taken from that acetate are labelled First Plate 1-3 and really are quite remarkable, having taken on so much character and added weight over the years that the incidental crackle of surface noise imbues proceedings with an added dimension that’s hard to fathom. it basically sounds like a lost transmission making its way from Paul-Lincke-Ufer at the turn of the millennium to a new, completely changed world all these years later.

                            The patina of crackle lends a mist-on-bare skin feeling akin to summer garden parties at Berghain in the stepping First Plate 1, and gives a foggier sort of depth perception to the hydraulic, Maurizian heft of First Plate 2, but it’s the submerged euphoria of First Plate 3 that hits the hardest; a heady, bittersweet reminder of days gone by.

                            The other four tracks are crisply transferred from master tapes, relinquishing a sublime, impossible to categorise House variant that recalls everything from DJ Sprinkles to Ron Trent, yet with that weird, timeless production tick that by now has become something of a signature for this most distinctive and hard to categorise producer.

                            Sibelle Attar

                            Paloma's Hand EP

                              Five years after her acclaimed debut album Sleepyhead (Pitchfork, nominated for the Swedish Grammys etc) the Swedish pop artist Sibille Attar is back with new music, now signed to Stockholm indie label PNKSLM Recordings (ShitKid, HOLY, Sudakistan etc). A prominent artist on the Swedish indie scene for the past 15 years, Sibille Attar's solo debut, released via Universal imprint Stranded Rekords, was one of 2013's biggest Swedish albums and Paloma's Hand carries on the torch, showcasing a slightly darker and more ominous take on her brand of psychedelic pop, with the songwriting and melodies intact.

                              Sami Baha is a Turkish producer based in South East London. His music was introduced to the world via his 2016 EP 'Mavericks'. Sami got into producing through being a rapper himself, working with local rappers in Turkey and producing beats for them, before setting his sights outside the country. 'Free For All' features MCs from all corners of the globe: UK drill squad 67's Dimzy, Stockholm's Yung Lean and Chicago rapper and singer DJ Nate (aka Flexxbabii). The record also features Egyptian MCs Dawsha and Abanob. Sami's production is refined and elegant, familiar tropes are reassembled in original ways, the instrumentation reflecting his background and influences simultaneously. Everything Sami brings to the album sounds relaxed and minimal, but tough, built from thoughtful arrangements and instruments, shot through with emotion and a dreamy night-time feel. 

                              The opening track from the debut Simon Baker album was always going to be a strong choice to be the first single. "No Pressure" has received unanimous praise since the albums release and arrives here backed with new remixes by Art Department and Simon himself.

                              It’s rare to get great stand-out vocal tracks that don’t split opinion, but this seems to be one of them. "No Pressure" is slick, deep house of the highest calibre with a stand out hooky vocal from Debukas. Art Department, owners of RA’s number one track of 2010 drop a superb remix, adding new vocals and teasing Debukas back into the mix for a pretty special, hypnotic workout. Simon’s ‘Upstate Dub’ mix finishes things off. It aims things directly at the dancefloor in his signature, deep and twisting style.

                              Sorry Bamba Du Mali

                              Sorry Bamba Du Mali 1976

                              One of the most pivotal figures in the history of Malian music is Sorry Bamba. His work spans five decades and his music bridges the gap between Mali's cultural traditions and new the music which arose from the musical cross overs which occurred in Mali's post-Colonial period. Bamba was born in 1938 in Mopti. This is dissected by both the Niger and Bani rivers and known for its rich cultural diversity. Bamba's father was a distinguished veteran of Emperor Samory Toure's military and a nobleman in Malian society; however, this meant young Sorry was forbidden to make music, as under the nation's caste system, music was an art form reserved for the Griots.

                              At the age of 10, Sorry's parents died and in traumatic times that followed the young teen found solace in music. He first taught himself to play am African six-holed flute. As he progressed he began to absorbed the rich tapestry of music of his surroundings; traditional Malian music, highlife from Ghana, local accordion master Toumani Toure, European singers and musicians. In 1957 Sorry formed his first band, Group Goumbe, named after a popular Ivory Coast dance style. In 1960 Mali gained independence from France, Bamba and his group benefited from a new openness toward local music on the state-run radio network Radio Mali. Sorry then went on to form two award-winning, further collectives Bani Jazz and later the Kanaga Orchestra. They fused Latin jazz, Western R&B, Psychedelic and funk, and traditional Malian styles made them a favourite in Mali and beyond.




                              STAFF COMMENTS

                              Millie says: The talented genius which is Sorry Bamba Du Mali is graced a re-issue of his finest songs. Beaming with bright, loud Latin jazz and a whole whirlwind of upbeat genres, this is the one!

                              One of the most pivotal figures in the history of Malian music is Sorry Bamba. His work spans five decades and his music bridges the gap between Mali's cultural traditions and new the music which arose from the musical crossovers which occurred in Mali's post-Colonial period. 

                              In 1979 Sorry produced his third LP for the Paris based Sonafric group. Long out of print Africa Seven is pleased to be re-issuing the LP with the authorization of the newly reformed Sonafric group. The re-issue benefits from extensive restoration and re-mastering to a spectral analysis level, bringing and polishing long lost and distorted sounds.The six track masterpiece opens with "Mayel". It blends Afro-space grooves, cowbell and swirling organ with psych guitar and punchy horns. "Kanaga 78" was named after his band of the time. Sounding as fresh (if not more so) in 2016 as it did in 1979 the hypnotic bass, expansive drums, twisting organ and snakelike fuzz-guitar all combine to create a masterpiece of African psychedelia. "Bayadjourou" closes off Side A of the LP with its pulsating, incessant organ hook-line and driving tom drums while adding in layers of Malian vocal from a female chorus and Sorry himself. Side B opens up with "Tjamantie Kolo" which is powered by driving conga and drums layered with traditional vocals and distorted picked electric guitar lines. "N'Nebakaidi" focuses on the song writing skill and delivery of Sorry who delivers a masterful vocal over grooves which somehow manage to sound melancholy but somehow also forlornly uplifting at the same time. The LP closes with "Nani Nani" which is a brass driven wall of African sound. Stay tuned for further re-issues of Sorry Bamba's first and second albums soon on Africa Seven.

                              STAFF COMMENTS

                              Patrick says: Get your oven gloves at the ready, because this record is red hot! Fusing stomping, straight ahead percussion with wild psych solos, swirling organ and proggy synth wig outs, this African trip is Bamba's masterpiece. Back in print for the first time in 27 years - buy on sight!

                              Our favourite Yorkshire-based 12-string maestro Serious Sam Barrett returns with another self-released future classic on his YaDig? record label. Having wooed us at his Manchester gig last year for Crowfoot we all got very excited here at Piccadilly for Sam's timeless songwriting skills and virtuoso guitar playing. After going through the previous albums and EPs, it's nice to see Sam evolve somewhat on this album - taking in upright bass, accordion and a small drum kit to fully expand the Sam Barrett sound; and loosing none of the authenticity or magic with it. Essential an album inspired and written whilst on tour, it's a collection of songs about being on the road, missing home and missing, of course, the woman of your desires; with the subject matter rarely veering off these classic subject themes. Sam keeps us hooked right till the end though - his heart-on-sleeve lyrics, clear vocal delivery and breathtaking guitar work a sonic Cupid's arrow directly to our hearts. Cupid rears his head quite a lot through Sam's work, and pleasantly returns with earnest on this album (much of the A-side taken up with love lust meanderings about wonderful woman - "Cupid's Song", "She's My Only One", "Better Give It Up"). When Sam talks about being far from home, you know he means it, and learning of his recent US tour the songs speak a thousand pictures of a naive Yorkshire lad in the big, vast country of the American West coast and all that goes with it. From start to finish a breathtaking record, probably my favourite to date. This cat's just starting his musical ascent it seems, improving exponentially and I feel privileged to almost be there from the start of the trip; get on the train and join the journey now - you won't be sorry!

                              STAFF COMMENTS

                              Matt says: Back with another treasure of an album, Sam is joined by upright bass, accordion and percussion on this timeless future classic from deepest Yorkshire. If you play guitar or enjoy stripped back, heartfelt music, I can't recommend this enough.

                              FORMAT INFORMATION

                              Ltd LP Info: Beautiful sleeve art from Sami Graystone and Kate Bristow.

                              Ltd CD Info: Beautiful sleeve art from Sami Graystone and Kate Bristow.

                              Serious Sam Barrett

                              Serious Sam Barrett

                              Towards the end of last year, I was lucky enough to see this guy play in a lovely event organized by the lads at Crowfoot Records. He blew me away with his honest, genuine, old time guitar style coupled with great lyrics touching on all things important to your average young adult (skateboarding, drinking, travelling on shit public transport to see girls etc...). A charismatic performer, with a strong Yorkshire dialect; his 12-string guitar chimed, resonated and strummed away all night, with the crowd reveling in the beautiful music and surroundings. I was further delighted to see that Sam had recorded four full length albums, and promptly snapped them up at the gig, insisting he bring some into the shop in the new year. Well here we are in 2014 and Sam's ferried two titles across the border for your listening pleasure. This, the self titled, comprises of ten original compositions and features his trademark 12-string guitar alongside mandolin and voice. Personal favourites are "Henessey Nights" and "Long Gone". The former is an ode to being young and free and loose on the streets with your best friends while the latter is a heart wrenching break up song with the overpowering smell of whiskey running through it. This private press record is a timeless, succinct slice of reality that every home needs! The new bluegrass explosion starts here! Recommended. Comes with CD.


                              STAFF COMMENTS

                              Matt says: Solo album by the one and only Sam Barrett. Yorkshire's finest guitarist... he does weddings you know?!

                              FORMAT INFORMATION

                              Ltd LP Info: CD included

                              Today was a good day. Sam Barrett brought his new album into the shop in a spume of excitement. It'd been a while since he last graced our shop with his immediately encapsulating presence. This badboy from Bradford (or killer for Keighley, I always forget (Ed- Sam is actually from Addingham)) single handedly turned me onto 'olde time' bluegrass, folk and rock'n'roll with an unforgettable performance in Manchester no more than three years ago. Three albums later and Sam's confidently announced this one is his best yet! So I sit down and put the needle on the record and that sweet syrupy voice comes breathing outta the speakers, his ring-ding-jangle 12-string majesty goin' right at it from the off. Talking about all that good stuff but obviously now heavily informed by someone who's currently spending loads of time on the road. His playing seems to have reached its zenith, effortlessly conjuring up rambunctious, barn-dance slaying riffs and melodies on his trademark steel string or (now fully fledged) delicate banjo. This is still music for whiskey swillin' on the porch, delivered with all the style and attitude of someone who can still rip up the half-pipe in Wakefield Bones. There's a lyrical proficiency and sheer craft of storytelling here that's phenomenal. Sam's words keep you hooked till the end, eager to discover the end of the tale. For anyone who needs convincing on this guy's OG authenticity, check out the bonus, full colour photo-zine that accompanies the album (first 200 copies only - and we've only got about 15 of them!); a beautifully put together project by Sam's girlfriend featuring an amazing insight into the US' deep south (a fascination of Sam's), life on the road and some really iconic US imagery. I think I agree with Sam when he says this is the best one yet, and just completing this set of notes fills me with a whiskey-warm glow and a pine-forest of goosebumps. Highly recommended and surely essential for anyone with a penchant for bluegrass and traditional rock'n'roll - a future classic of the genre.

                              STAFF COMMENTS

                              Matt says: Absolutely killer new album from Yorkshire's Sam Barrett; perfect for whiling away those sun-scorched afternoons in the garden with a cold beer.

                              FORMAT INFORMATION

                              Ltd LP Info: Limited edition LP - initial copies come with full colour photo-zine "Point The Van Down South".

                              Syd Barrett

                              Barrett

                                'On his second solo album, Barrett was joined by Humble Pie drummer Jerry Shirley and Pink Floyd members Rick Wright (organ) and Dave Gilmour (guitar). Gilmour and Wright acted as producers as well. Instrumentally, the result is a bit fuller and smoother than the first album, although it's since been revealed that Gilmour and Wright embellished these songs as best they could without much involvement from Barrett, who was often unable or unwilling to perfect his performance. The songs, however, are just as fractured as on his debut, if not more so. "Baby Lemonade," "Gigolo Aunt," and the nursery rhyming "Effervescing Elephant" rank among his peppiest and best-loved tunes. Elsewhere, the tone is darker and more meandering. It was regarded as something of a charming but unfocused throwaway at the time of its release, but Barrett's singularly whimsical and unsettling vision holds up well'. - All Music.

                                Syd Barrett

                                Barrett - 180 Gram Vinyl Edition

                                  On ‘Barrett’, Syd's second solo album, he was joined by Pink Floyd members Rick Wright and David Gilmour. Gilmour and Wright also acted as producers. Syd needed this help as things were getting a touch more fractured for him  and obviously you can hear this in the music.  It is still  a great  record though, from a trailblazing, unique talent.


                                  STAFF COMMENTS

                                  Andy says: Whimsy, melody and magic. Last outing from a legend.

                                  Syd Barrett

                                  Opel

                                    'For several years, the existence of "lost" material by Syd Barrett had been speculated about by the singer's vociferous cult, fueled by numerous patchy bootlegs of intriguing outtakes. The release of Opel lived up to, and perhaps exceeded, fans' expectations. With 14 tracks spanning 1968 to 1970, including six alternate takes and eight songs that had never been officially released in any form, it is equally as essential as his two 1970 LPs. The tone is very much in keeping with his pair of solo albums; ragged, predominantly acoustic, melodic, and teetering on the edge of dementia. At the same time, it's charming and lyrically pungent, with Barrett's inimitable sense of childlike whimsy. The production is generally more minimal than on his other albums, even bare-bones at times, but if anything, this adds to the music's stark power. Highlights are the lengthy brooding title track, the multi-layered swirl of "Swan Lee," the alternate take of "Dark Globe" (with much better, more restrained vocals than the previous version), and the exuberant, infectious "Milky Way." Meticulous liner notes and excellent sound complete this lovingly archival package'. - All Music. 

                                    Syd Barrett

                                    The Madcap Laughs

                                      'Wisely, The Madcap Laughs doesn't even try to sound like a consistent record. Half the album was recorded by Barrett's former bandmates Roger Waters and Dave Gilmour, and the other half by Harvest Records head Malcolm Jones. Surprisingly, Jones' tracks are song for song much stronger than the more-lauded Floyd entries. The opening "Terrapin" seems to go on three times as long as its five-minute length, creating a hypnotic effect through Barrett's simple, repetitive guitar figure and stream of consciousness lyrics. The much bouncier "Love You" sounds like a sunny little Carnaby Street pop song along the lines of an early Move single, complete with music hall piano, until the listener tries to parse the lyrics and realizes that they make no sense at all. The downright Kinksy "Here I Go" is in the same style, although it's both more lyrically direct and musically freaky, speeding up and slowing down seemingly at random. Like many of the "band" tracks, "Here I Go" is a Barrett solo performance with overdubs by Mike Ratledge, Hugh Hopper, and Robert Wyatt of the Soft Machine; the combination doesn't always particularly work, as the Softs' jazzy, improvisational style is hemmed in by having to follow Barrett's predetermined lead, so on several tracks, like "No Good Trying," they content themselves with simply making weird noises in the background. The solo tracks are what made the album's reputation, though, particularly the horrifying "Dark Globe," a first-person portrait of schizophrenia that's seemingly the most self-aware song this normally whimsical songwriter ever created. Honestly, however, the other solo tracks are the album's weakest tracks, with the exception of the plain gorgeous "Golden Hair," a musical setting of a James Joyce poem that's simply spellbinding. The album falls apart with the appalling "Feel." Frankly, the inclusion of false starts and studio chatter, not to mention some simply horrible off-key singing by Barrett, makes this already marginal track feel disgustingly exploitative. But for that misstep, however, The Madcap Laughs is a surprisingly effective record that holds up better than its "ooh, look at the scary crazy person" reputation suggests'. - All Music.


                                      Syd Barrett

                                      The Madcap Laughs - 180 Gram Vinyl Edition

                                        ‘The Madcap Laughs’ is the debut solo album by the English singer-songwriter recorded after Barrett had left Pink Floyd. He only made one full album and a couple of amazing singles with The Floyd, then two solo LP's of which this is the first.  It is a LOT looser than his previous work but still with that unique child-like sense of wonder and a lovely way with a melody.


                                        STAFF COMMENTS

                                        Andy says: Pure expression. A unique vision, slowly unravelling.

                                        FORMAT INFORMATION

                                        LP Info: Gatefold sleeve.

                                        Steve Barrow & Stuart Baker

                                        Reggae Soundsystem: Original Reggae Album Cover Art

                                          A new deluxe 200 page hardback 12”x12” book featuring hundreds of stunning full size record cover designs that span the history of reggae music.

                                          The book is compiled by the celebrated author and reggae expert Steve Barrow (‘Rough Guide To Reggae’ / Blood & Fire Records) and Stuart Baker (Soul Jazz Records).

                                          Beginning in the 1950s, Jamaican music developed into one of the most important and influential music industries in the world. From its early Mento (Jamaican Calypso) beginnings through to the invention of Ska, Rocksteady, Roots, Dub and Dancehall, Jamaican music is also one of the richest and innovative veins in popular music.

                                          This stunning hardback deluxe book is a timely look at the endless visually creativity of reggae record cover designs, iconic, classic, rare and unique artwork spanning sixty years of Jamaican sounds.

                                          The book includes a fascinating introductory essay on the history of reggae by Steve Barrow and the book is edited by Stuart Baker (founder of Soul Jazz Records and editor of the book ‘Dancehall’, and cover art books on Bossa Nova, Freedom, Rhythm & Sound and Studio One Records).

                                          Steffen Basho-Jungans

                                          Last Days Of The Dragons

                                          "Last Days Of The Dragons" is Berlin based Steffen Basho-Junghans' wondrous collection of eight free wheeling finger picking 6 and 12 string guitar tunes. "Last Days.." marks the third in Locust's perennial series of 'Wooden Guitar' solo discs since the 2003 release of the compilation of the same name.

                                          Stafford Bawler, Obfusc & Grigori

                                          Monument Valley - OST

                                          In partnership with developer ustwo, IAM8BIT unveil the soundtrack of award-winning video-game "Monument Valley" as a 2xLP vinyl set. The meditative ambience and melodic experimentations of Stafford Bawler, OBFUSC, and Grigori provide the perfect backdrop to the game’s elegant interactive experience. This collector’s item is the first time that "Volume 1" of the soundtrack has been available in physical form, and is also the debut of "Volume 2", featuring music from the game’s expansions Forgotten Shores and Ida’s Dream. Ustwo’s designers returned to the world of Monument Valley to create exclusive new artwork for this release. This deluxe gatefold package also features printed LP sleeves, and an 8-page story booklet.

                                          STAFF COMMENTS

                                          Patrick says: IAM8BIT show some deluxe coloured vinyl love to "Monument Valley", delivering a gorgeous pressing of the enchanting ambient soundtrack by Stafford Bawler, Obfusc and Grigori.

                                          FORMAT INFORMATION

                                          2xColoured LP includes MP3 Download Code.

                                          Shane Beales (With Baby Ingrid)

                                          I'll Repair Your Mistakes

                                          This collaboration with Baby Ingrid, is the debut solo album from Liverpool based songwriter Shane Beales. His songs are honest, and his voice holds a delicate authority. Influences include Radiohead, Ben Folds and Dave Matthews Band.

                                          Sir Richard Bishop

                                          VDSQ Solo Acoustic Vol. 8

                                            New solo acoustic recordings from the Sun City Girls master guitarist, SRB returns to familiar themes and introduces new ideas simultaneously on this tour de force performance of his singular style.

                                            Saâda Bonaire

                                            Saâda Bonaire

                                              Saâda Bonaire. The fantastic disco/world music project from Bremen, Germany which never was meant to be. Formed by Bremen DJ Ralf Behrendt in 1982, Saâda Bonaire was a unique concept band cen- tered around two sultry female vocalists (Stefanie Lange and Claudia Hossfeld) and dozens of local musicians culled from the local immi- gration center.

                                              Originally signed to EMI in 1982, their first and only single, “You Could Be More As You Are” was produced by legendary Matumbi, Slits and Pop Group producer Dennis Bovell in Kraftwerk’s studio in Cologne. The fusion of husky female vocals, Eastern in- struments, dub and African music aesthetics, drum computers and synthesizers remains unique to this day. EMI cancelled the project upon its release. Saâda Bonaire compiles two songs from the original EMI single plus 11 previously unreleased songs recorded between 1982 and 1985. Also included are never-before-published photos and in-depth inter- views with band members and a full gatefold cover for those dedicat- ed vinyl buyers. These lost recordings from the early 80s still sound fresh on today’s dance floor.

                                              Simon Breed

                                              The Smitten King Laments

                                              Simon Breed has played under his own name and steam around the UK and Europe for the best part of a decade, and having supported the likes of Nick Cave and the Magic Numbers he has gained a wide fanbase, with his Facebook group now calling him Jeff Jarvis (as in Buckley and Cocker)! "The Smitten King Laments" contains eleven of Simon's finest songs yet; concise, sometimes perverse, always haunting; fingerpicked tunes augmented by glockenspiel, harmonium and loops. The album was constructed from scattered weekends and late night recording sessions in the studio (Simon has a 9-to-5 job editing kid's comics) with the help of a clutch of willing musicians. The themes of the album's songs are Simon's cornerstone – social fissures and personal fractures. Having received a big thumbs up from Bad Seed Mick Harvey, this is Simon's finest set of recordings to date.

                                              Stanley Brinks

                                              Stanley Brinks (Foxtrot)

                                              Stanley Brinks is the new guise of Andre Herman Dune, former member of the French anti-folk trio Human Dune. This is his debut single and features two tracks "Stanley Brinks - Fox Trot" and "French Leave - Bolero".

                                              Following the albums Gin and My Ass recorded with The Wave Pictures in un-gentrified East London, Stanley Brinks (aka André Herman Dune) returns with a new collaborative album, this time with the Norwegian folk collective The Kaniks as his backing band. Eschewing a traditional recording studio, André took The Kaniks to a remote island outside the small town of Egersund in south west Norway. Over the course of week of midnight sun, midnight swims and midnight beers on their isolated rocky island, living and recording in the only building on the island, the (now unmanned) mid 19th century Vibberodden lighthouse, Stanley Brinks and The Kaniks recorded three albums of material; Turtle Dove is the first of those three to be released.

                                              Brinks is renowned for his unique antifolk style: both playful and suggestive, insightful and entertaining. His fondness for calypso and the unusual provide the perfect foil to The Kaniks’, whose folk instrumentation and country and bluegrass influences take these 12 songs to a joyous place Brinks hasn’t been before in his extensive back catalogue. Stanley Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York

                                              Stanley Brinks And The Old Time Kaniks

                                              Vieilles Caniques / Nouvelles Caniques

                                              He’s joined once again by the Norwegian folk collective The Kaniks, this time stripped back to a two piece of fiddle and banjo (“The Old Time Kaniks”. Eschewing a traditional recording studio, Brinks took The Kaniks to a remote island outside the small town of Egersund in south west Norway. Over the course of week of midnight sun, midnight swims and midnight beers on their isolated rocky island, living and recording in the only building on the island, the (now un-manned) mid 19th century Vibberodden lighthouse, Stanley Brinks and The Kaniks recorded the double album of modern day folk tales of love, loss and mischief.Brinks is renowned for his unique antifolk style: both playful and suggestive, insightful and entertaining.

                                              His mastery of storytelling, presented in both English and in French on these albums, introduces you to the free spirited world of Brinks’ life as a touring musician. His fondness for calypso and the unusual provide the perfect foil to The Kaniks’, whose folk instrumentation and country and bluegrass influences take this double album to a joyous place Brinks hasn’t been before in his extensive back catalogue. Stanley Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York.

                                              By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.

                                              Stanley Brinks

                                              Peanuts

                                                After releasing a pair of playful records alongside of The Wave Pictures, and two albums of folk shanties and old-time calypso with Norway’s folk troupe The Kaniks, Stanley Brinks’ next release for Fika Recordings is back to being a solo affair, albeit with collaborator and long time muse Clemence Freschard alongside Claire Falzon and Helene Nuland. Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973.

                                                He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin.

                                                The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.

                                                FORMAT INFORMATION

                                                LP Info: Ruby red vinyl with download code.

                                                LP includes MP3 Download Code.

                                                Sandro Brugnolini

                                                Overground

                                                A virtuoso saxophonist and inventive composer, Sandro Brugnolini was one of the plethora of library and soundtrack specialists hailing from La Belle Paese in the sixties and seventies. Inspired by Ennio Morricone's breakout success, the likes of Brugnolini took to the studio and began experimenting with jazz, funk, psychedelia and orchestral composition, creating some of the heaviest grooves and most out there jams ever committed to wax. The companion to the jazz heavy indulgence of "Underground" from the same year, 1970's "Overground" saw Bugnolini incorporate proggy fx, psychedelic riffs and tribal percussion to create a set of deep freak funk nuggets. So let loose to the searing solos of "Celluin", smoke up to the ghostly groove of "Adrie's Dream" and cop a load of the mind expanding "Cirotil" - then take a deep breath, because another seven perception shifting fusion bombs await. Rare as hens teeth in its original form, this is a must have for any deep musical archeos out there.

                                                STAFF COMMENTS

                                                Patrick says: This lost library masterpiece finds Italian maestro Sandro Brugnolini in properly progressive form, fusing searing psych guitar licks, funk basslines and jazz percussion into a beat diggers' dream. Far out!

                                                FORMAT INFORMATION

                                                Coloured LP Info: Strictly limited edition of 300 numbered copies on multicolour vinyl with MP3 download card.

                                                At its heart, Hundred Acres -- the third full-length album from Wisconsin singer/songwriter S. Carey -- finds him grounded comfortably in his skin, but still with one foot in the stream. More direct than ever, there is a wellspring of confidence in this new batch of songs that lays bare the intricacies of life while keeping its ideas uncomplicated.

                                                Trained in jazz, Carey’s astute musicianship has never been in question nor taken for granted, and the execution of Hundred Acres’ new ideas is seamless. He intentionally unburdened himself from a more complicated instrumentation palate for these ten songs, and, in effect, this modification to his approach brings the content of the work much closer to a living reality. By giving equal status to the indifference of nature and the concerns of a material world -- while employing more pop-oriented structures instead of the Steve Reich- or Talk Talk-ian repetitions of his past work -- a new balance is struck that creates something unique. This in turn provides equal status for the feeling that created each song, and the feeling each song creates. Almost impossibly, there is more air between the bars; Carey and his contributors sway like treetops in the wind, remaining flexible enough that they never threaten to break.

                                                Sean Carey is the drummer of Bon Iver and an acclaimed solo musician in his own right. ‘Range Of Light’ is the follow up to his well received ‘All We Grow’. Like its predecessor, ‘Range Of Light’ deals in hugely beatific, restorative panoramas of beauty. An array of musical light and shade, drawn from Carey’s love of jazz, modern classical and Americana.

                                                Spring Theory alumni Sage Caswell returns to the San Francisco-based label to deliver new album "Hoop Earring". Both label and producer have enjoyed a quick rise to stardom following some head turning, challenging and darn right breathtaking takes on new, coastal-tinged and momentous house & techno music. Following "Sleep Quarters", Caswell's introspective label debut, "Hoop Earing" shows that dance music long players are still coming on strong as end the year. Wonderfully sequenced, with an unhurried yet impactful approach, Caswell's production style is both up-to-date and reassured; filling the frequency range with glorious synth licks, highly rhythmic drums and a modern production aesthetic that should see it find favour with anyone into the fresh sounds of electronic music. There's moments of glowing, blissful ambience, sounds blowing in on coastal waves or sun-fried convection currents. When Caswell turns his attention to the house and techno styles he does so with aplomb - hefty drums perfectly accompanying the futureproof soundscapes he conjures up around them. Driving, hypnotic and radioactive, he's carved out his own space in the over populated worlds of dance music and easily matches fellow luminaries Fort Rom, Keita Sano, John Talabot & Anthony Naples when it comes to carrying the baton for electronic, club-focused music in 2016. Recommended.

                                                Sarah Mary Chadwick

                                                Roses Always Die

                                                  Following three critically acclaimed solo albums, Sarah Mary Chadwick’s Roses Always Die expands on the quiet intensity of her previous work, exploring memory, grief and personal analysis. Her unflinching approach to songwriting introduces complex, often difficult subject matter as vivid as it is understated. An old immobile organ provides the only accompaniment to her voice, giving the album an eerie consistency that perfectly underpins the diverse, open-ended narratives that run through each song.

                                                  The second album recorded with Geoffrey O’Connor (Crayon Fields), it has a more organic sound than the wall of synths used on 9 Classic Tracks, with most songs comprised of just one voice and a live ’70s Yamaha analogue organ- a huge, heavy, double-tiered beast with built-in percussion beats and pedal bass - recorded on site in the loungeroom at Sarah’s house in Collingwood, Melbourne.

                                                  Unembellished and at times brutally sparse, these songs are whittled down to their surprisingly hooky, heartbreaking, wry, bare-boned essentials. The sentiments are personal and the refrains are huge and ambitious, while Sarah’s voice is strong and vulnerable - it croons and croaks and cracks, conjuring grief and memory.

                                                  “Sarah Mary Chadwick’s new album is a beautiful and insightful collection of songs. Her work achieves a poignancy which is distinct as it is rare.” - Henry Rollins.

                                                  Sarah Mary Chadwick

                                                  Sugar Still Melts The Rain

                                                    New Zealand multi-instrumentalist and visual artist Sarah Mary Chadwick is not a new face to Melbourne’s music community. After spending a decade fronting the New Zealand formed grunge band ‘Batrider’, Sarah became tired of the collaborative requirements intrinsic to band life and shifted her focus to songwriting independently, drawing inspiration from ‘weird old New Zealand musicians’ and the way they ‘tinker away and work for decades for little to no commercial success’.

                                                    Six years and three solo records later - ‘Eating For Two’ (Bedroom Suck Records), ‘9 Classic Tracks’ (Siltbreeze) and ‘Roses Always Die’ (Rice Is Nice Records), Sarah will join fellow songwriters Homeshake, Jaye Bartell and Tim Cohen on Omnian Music Group’s label Sinderlyn to release her fourth solo record Sugar Still Melts In The Rain.

                                                    To listen to Sarah’s music is to be an observer to her thoughts on love, death and mental health. Sometimes this anguish bears itself in quiet moments of the record, but more often torment manifests at the break of Sarah’s voice as she sing-shouts painfully self-aware lyrics. Learning that Sarah’s songwriting is thoroughly autobiographical is perhaps more unnerving than the sexually deviant pornographic art that she creates to accompany her music.

                                                    Sharon 'Mhati' Chatam (Reverberi)

                                                    Fantasy

                                                      Originally released in 1973 on RCA, this obscure library music title was produced by Maestro Gianfranco Reverberi using the pseudonym of Ninety as previously done before for other records like Psycheground Group Library on Lupus and the 2 Underground Set releases. The style is different from the aforementioned LPs and is closest to the style of murky erotic cult soundtracks created for Renato Polselli (Delirio Caldo, Riti Magie e segrete orge nel Trecento, etc.) as “Fire Shadows in the sunset" features congas, groovy piano, spacey synthesizers and vocals. It contains many other amazing tracks like "I've Got An Idea" which includes insane fat drums, hypnotic bass, trippy piano and beautiful phased flutes, or the jazz groove "Closed In a Drugstore”, the uptempo funk "You're So Vain” (Carly Simon), the hip hop drum on the cover versions of “Daniel” (Elton John, Bernie Taupin), “Sylvia’s Mother” (Shel Silverstein) and “Vincent” (Don McLean), and the slow psychedelic cinematic lounge of “Quel che non saprei dirti mai a parole”.

                                                      FORMAT INFORMATION

                                                      LP Info: Limited edition of 500 copies with Cinedelic glossy cover with title on cover in relief. Includes digital download code.

                                                      The latest mini-album from French composer Sylvain Chauveau sees a radical change in direction in which the luscious strings of his earlier releases are replaced with prepared guitar and crisp sculpted electronics.

                                                      It is hard to believe that five years have passed since Sylvain Chauveau's last 'proper' album. Of course there have been re-issues peppering the years since 'Down To The Bone', as well as more than a few collaborations and soundtrack appearances, but Sylvain has purposefully waited to allow his ideas to come to fruition. On mentioning his new album a few years ago, Sylvain commented that he didn't think it would appeal to everyone and that he wanted to take a fresh direction. The Depeche Mode songs he had explored on "Down To The Bone" had given him ideas he felt he needed to explore, and "Singular Forms (Sometimes Repeated)" is his attempt at an album of 'songs'.

                                                      In many ways, "Singular Forms (Sometimes Repeated)" is constructed the way albums used to be – it is compact and filled with vocal hooks and melodies, yet Sylvain has deconstructed the musical forms he grew up listening to and reduced them to their base level. Vocal snippets fall through the stereo field and his signature piano motifs splutter and cough through processed digital hiccups. As Carsten Nicolai and Ryuichi Sakamoto deconstructed classical music, Sylvain attempts here to study and dissolve the roots of popular music. Each piece feels like it could have started as a three-minute pop sing-along before the accompaniments were stripped away and the component parts reduced to merely a backbone.

                                                      "Singular Forms (Sometimes Repeated)" is a daring and challenging listening experience. The widescreen theatrics of Sylvain's previous work have all but disappeared, leaving an album that is stark and incredibly beautiful. It is an album rooted in a love of art and music, both minimal and mainstream and celebrates Sylvain's influences. One listen might
                                                      only reveal surface details, but listen again and you will find much, much more.

                                                      Stevie Chick

                                                      Psychic Confusion: The Story Of Sonic Youth

                                                        Rock journalist Stevie Chick draws upon his wealth of source material and exclusive interviews with band-members and the people closest to Sonic Youth, to give an insight into this most complex and fascinating of rock bands.

                                                        Stef Chura

                                                        Messes

                                                          Stef Chura’s debut studio album, Messes, is born of her years of experience playing around the Michigan underground, setting up DIY shows in the area, and moving around the state. “Right when it starts to feel like home/It's time to go," she sings on its opening cut, 'Slow Motion', a twisty, dim-lit guitar pop song where she curls and stretches every word. There are worlds of emotion in the ways Chura pronounces phrases with twang and grit, alternatingly full of despair, playfulness, and abandon. Chura calls her music “emotional collage,” eschewing start-to-finish storylines in favour of writing intuitively about feelings, drawing from experiences and references related to a certain sentiment.

                                                          Originally from Alpena, Michigan, Chura moved to the Ypsilanti area in 2009, where she began playing shows before ultimately moving to Detroit in 2012. Chura has been home-recording and self-releasing her songs for six years, playing bass in friends’ bands as well. With a trove of demos and 4-track home recordings, some of which she’d released on small runs of cassettes over the years, Chura says she wasn’t sure what to do with her life before heading into the studio. “One of my best friends passed away and I thought, what do I have to do before I die? I have to at least make one record.”

                                                          She recorded the entire album with Fred Thomas (Saturday Looks Good To Me) throughout 2015. Thomas plays bass on most of the record, and a bit of guitar and drums. Drummer Ryan Clancy of Jamaican Queens and Dale Earnhardt Jr. Jr. adds the bulk of the drums. Through intricate guitar work and warm, textured production, Messes finds her trying to make sense of life’s ups and downs. “It’s about emotional mess, not physical mess,” Chura says. “The title track is about knowing that you are going to do something the wrong way, but you’re doing it anyway because you want that experience. I’ve had to do a lot of things the wrong way in order to figure out how to live my life.”

                                                          A very special Disposable Music edition comprising two programmes of lost early 80s North American synthesiser music from American / Italian Buchla pioneer Suzanne Ciani and Alaska’s only dedicated electronic collective Clone. Comprising of instrumental versions of Ciani’s much coveted cassette-only electronic advertising portfolio (featuring Atari music and power tool jingles) alongside a Clone archive of exclusive Anchorage one-off radio synth sessions and theme tunes, this release represents another Disposable Music milestone bringing lost embryonic electro and proto-synth pop from a place beyond the outskirts of the oblivious record industry.

                                                          Quite possibly one of our most requested releases on any format and one of Finders Keepers proudest vault digging moments to date, the limited release repackaging of Suzanne Ciani’s original cassette portfolio of electronic advertisement music harboured some of her most radical and uninhibited experiments - unconsciously redefining synth-pop and electro from behind American TV screens whilst totally evading the radar of the record industry. These commissions originally made for companies such as Atari, a major power tool firm, soft drinks companies and printed publications, provided a new canvas and challenging directive for Suzanne who would deploy her maverick expertise with some of the most experimental electronic instruments and forward thinking visual/sound artists. As one of the only female composers in the global advertising industry Ciani’s results represented a small sound revolution in the world of production music forging deep nostalgic memories of the would-be electronic-music generation in its wide-eyed infancy.

                                                          Finally for their precious Disposable Music series, Finders Keepers are now able to present these originally truncated TV and radio recordings in their full-length forms mastered from original tapes including much coveted instrumental versions. Including 15 tracks in total these original recordings are presented here in a new wider musical context as pieces of early synth based pop music, designed specifically for widespread commercial consumption whilst retaining veritable maverick integrity an attribute that quickly diminished at the hand of less adventurous, less sensitive and more complacent production music composers.

                                                          Finding a perfect bedfellow on this early synthesiser based Disposable Music edition and adding weight to one of our most exciting musical partnerships of recent years these newly excavated early 1980s recordings from the Alaska based Clone synthesiser collective (see Harmonitalk CACHE04) are the results of the group’s wide library of weekly synth jam sessions primarily recorded for band leader (and electronic harmonica soloist) Gary Sloan’s weekly radio show The Import Hour ,which specialised in playing the earliest slim pickings of global new wave and electronic music to the station’s Anchorage fan base. Relying on the very records and tapes that actually made it over to Alaska in 1980, Gary and Clone would compose and create their own music to fill the gaps providing us with a long archival shelf of C60 and C90 masters to cement their legacy of perhaps the only dedicated synthesiser initiative to exist in this extreme North American state.

                                                          Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this record as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that it was in fact not a record at all... It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation / grant application / educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.

                                                          In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its like-minded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums 'The Bull' and 'Silver Apples Of The Moon', Buchla’s versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog’s marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith.

                                                          These “concerts” are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and ‘alternative’ musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes “ambient” and “futuristic” utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental “records” of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then.

                                                          The importance of these genuinely lost pieces of electronic musics puzzle almost eclipses the glaring detail of Suzanne’s gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. Those familiar with Suzanne’s work, a vast vault of previously unpublished “non-records”, will already know how the creative politics in her art of “being” simultaneously reshaped the worlds of synth design, advertising and film composition before anyone had even dropped a stylus in her groove. Needless to say this record, finally commanding the archival format of choice, courtesy of the Ciani and Finders Keepers longstanding unison, was not the last “first” with which this hugely important composer would gift society, and the future of a wide range of exciting evolving creative disciplines.

                                                          You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. With the light of Buchla and Ciani’s initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these “non-records” that evaded the limelight for almost half a century. You can’t write history when you are too busy making it. With fresh ink in the bottomless well, let’s start at the beginning. Again. You, are invited!


                                                          The American Delia Derbyshire Of The Atari Generation.

                                                          With a sonic portfolio that boasts commissions for the Xenon classic pinball machine, the sounds for the Meco Star Wars theme, the Atari TV commercials and the electronic sound effects in the original Stepford Wives film (amongst many others) the mutant electronic music CV of Suzanne Ciani is proof that in a 1970s commercial world of boys toys, monopolised by a male dominated media industry, a woman’s touch was the essential secret ingredient to successful sonic seduction. A classically trained musician with an MA in music composition this American Italian pianist first came across a synthesizer via her connections in the art world when abstract sculptor and collaborator Harold Paris introduced Suzanne to synthesizer designer Don Buchla who created the instrument that would come to define Ciani's synthetic sound (The Buchla Synthesiser).

                                                          Cutting her teeth providing self-initiated electronic music projects for art galleries, experimental film directors, pop record producers and proto-video nasties Suzanne soon located to New York where she quickly became the first point of call for electronic music services in both the underground experimental fields and the commercial advertising worlds alike. Counting names like Vangelis and Harald Bode amongst her close friends Suzanne and her Ciani Musica company became the testing ground for virtually any type of new developments in electronic and computerized music amassing an expansive vault of commercially unexposed electronic experiments which have remained untouched for over 30 years... until now.

                                                          Finders Keepers Records are happy to announce a new creative archive based relationship with Suzanne Ciani, a very unique and celebrated experimental composer in her own right, who, as one of the very few female composers in the field (save Chicago's Laurie Spiegel, Italy's Doris Norton, and a post-op Walter Wendy Carlos) turned a hugely significant wheel behind-the-screens of many early computerised music modules throughout the 1980s dating back to her formative years studying at Stanford's Artificial Intelligence Labs in the early 70s. Suzanne Ciani's detailed and academic approach to music and electronics coupled with an impeccable sense of timing and melody (and a good sense of humour) shines throughout this new collection of previously unreleased recordings. "Lixiviation" complies and recontextualises both secret music and commercial experiments of Suzanne Ciani made for micro-cosmic time slots and never previously documented on vinyl or CD.


                                                          Suzanne Ciani

                                                          Fish Music

                                                            THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                            As the first and only dedicated label to liberate the private, noncommercial artefacts from Suzanne Ciani’s groundbreaking Ciani Musica studio vault, Finders Keepers Records presents an incredible cryogenically suspended slice of precious precocious immersive fledgling synthesis for this ultra limited RSD 2107 title.

                                                            Ironically well removed from the intension of phonographic application in its original inception, this anti-pop wash of marine biology modular synth sound design was originally proposed by a very young Ciani for exclusive infinite loop airings in a giant mid-American shopping mall aquarium in 1977.

                                                            Potentially conjuring ambient scenes from the consumerist satirical Dawn Of The Dead while sonically ushering a genuine desire for total musical science reevaluation/revolution via a decidedly mainstream portal, the Fish Music project is a striking eerie example of how Ciani’s “Subversion With A Smile” approach led to a long career breaking boundaries in formal music technology, film scoring, the advertising industry and gender equality - all of which has continued to fuel her passion and channel her life lust and artistic appetite much to the benefit of future ambitious trajectories of music.

                                                            Owing much to the memory of genuine synthesiser maverick Don Buchla this conceptual release is very much the product of artistic America at its progressive halcyon but, with its illustrious and idiosyncratic composition, communicates subtle undertones of Suzanne’s feminine Italian origins which seldom reside outside of the efforts of Roman library composers like Casa, Tomassi, Raskovich and siblings Antonioni and Maria Teresa Luciani.

                                                            Sourced from Suzanne’s private archive and available here for the first time ever. Presented here as an isolated one-sided pressing on aquatic clear vinyl and including the original press release and a press cutting this limited release proceeds a wider series of unreleased Ciani work for 2017. File under… water.

                                                            Limited to 500 copies for the UK and Eire.

                                                            Stelvio Cipriani

                                                            Deviation OST

                                                              THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                              Before Jose Larraz made his notorious cult classics Vampyres and Symptoms, he helmed three unique British horror films that aren’t very well known today. His second feature film was Deviation a quiet little film, with moody atmospherics followed by intense moments of perversity. First issue ever, in a limited edition of 500 copies for the RECORD STORE DAY 2016, Dagored presents this haunting, sophisticated score composed by the great Stelvio Cipriani.
                                                              - FIRST RELEASE EVER
                                                              - LIMITED NUMBERED EDITION OF 500 COPIES IN TRANSPARENT VINYL.


                                                              Stelvio Cipriani

                                                              Rhythmical Movement

                                                                Maestro Cipriani is one of the most known and appreciated composers of Italian soundtracks, whose unmistakable style makes it one of the most appreciated and collected. "Rhythmical Movement" came out only as a promo-library LP for CAM records in 1980 and is therefore a very rare album pressed in limited quantity. But what impresses most is the high level content and, as explicitly expressed in the title, no rhythm decreases. After a jazz intro depart sequentially tunes full of funk, soul, samba and disco, with references also to the classic tradition of Italian poliziotteschi for which Cipriani is the absolute Master. Alternating on a drum and congas base are wahwah guitar, but also often distorted as in fierce riffs of "Storm in a teacup" and "Do not tamper with my things", piano-electric and horns. Two tracks, "What can I do" and "Living and Loving" were composed with Michael Fraser, the famous UK musician and producer very active in Italy since the early 70s. Also of note are the curious "Percussion Gun" and "Chicago U.S.A." built on the popular bassline of "In-a-Gadda-da-Vida" by Iron Butterfly. An unmissable record to listen and dance to, with a wonderful minimal mirror-cover with title in relief.

                                                                Sonor Music Editions dig deep into the bulging bag of Italian Library greats and pluck out some more mysterious magic for the heads out there. The catchy "UST 7013" is yet another legendary jam on the Fonit Library series 'Hi-Fi International' composed by none other than the mad maestro Stelvio Cipriani. Probably written for some obscure movie, this infamous session from 1976 (only recently discovered by the digging community) immediately became a holy grail for DJs and collectors. As we dive beyond that expressionist sleeve we're treated to some thoroughly cinematic vibes, as Morricone-esque western and romantic movie themes rub shoulders with insane beats and spacey avant-garde.

                                                                Miami by way of Fayetteville and Little Rock, Steven A Clark’s raw, confessional singing and personal stories pair with pulsing synthesizers and rhythms that hang in the air like a glowing grid of roadside neon. It’s a means for the soft-spoken artist to process all the drama in his head. 

                                                                On songs such as ‘Not You’, he flips a brutally honest breakup tale and draws emotions and empathy from being on the ‘right’ side of the conversation. 

                                                                The title track uses a slinky, sensual beat to create a perfect backdrop to tell the story of a weekend-long tryst in Vegas. For a man of few words, his unadorned and uncomplicated lyrics hit home. 

                                                                “… a heroic underdog of the specific, delivering diarylike lyrics detailed enough to provide a loaded portrait of a young man in transition.” - SPIN

                                                                FORMAT INFORMATION

                                                                Indies Exclusive LP Info: Indies exclusive blue vinyl edition.

                                                                Indies Exclusive LP includes MP3 Download Code.

                                                                Steven A Clark

                                                                Where Neon Goes To Die

                                                                  ‘Where Neon Goes To Die’ explores a complex relationship full of highs and lows. From sultry pop to heart aching ballads, the album retells Clark’s travels through the city’s nocturnal fantasyland through hooky, R&B-infused synth pop - file alongside Prince and Frank Ocean - that (maybe ironically) could fill the floors at the same clubs he’s singing about. Of course, when Clark writes about his city he’s really writing about himself.

                                                                  ‘Where Neon Goes To Die’ retells Clark’s travels through the Miami’s nocturnal fantasyland. At its core, it is the story of a musician casting aside the distractions of his youth and discovering not only a new level of maturity but a new level to his talents.

                                                                  After a string of mixtapes and EPs and his 2015 debut album ‘The Lonely Roller’, Clark is making music more confidently than he ever has before, sliding effortlessly between effervescent future disco on ‘Feel This Way’ to purple-tinged slow-burn soul on ‘Easy Fall’, a duet with Gavin Turek.

                                                                  Shana Cleveland & The Sandcastles

                                                                  Oh Man, Cover The Ground

                                                                    ‘Oh Man, Cover The Ground’’s softly-stated melodies and breezy air operates on its own sense of time. Though the songs still settle comfortably into threeminute parcels, their gestation bucked at the convention of pop music’s stringent time format.

                                                                    “I’m really into meandering, fingerpicked open-tuned acoustic guitar, like John Fahey and Robbie Basho,” says Shana Cleveland. “I started playing guitar in that style during a year right before I moved to Seattle when I was lonely and bummed out in the San Fernando Valley and found solace in spending long afternoons fingerpicking slow moving improvisations.”

                                                                    This casualness is evident in the music - you can hear it in the airy ambience of album opener ‘Butter & Eggs’, the gentle piano and strings accompaniment on the title track, the particularly Fahey-esque explorations of ‘Itching Around’ and ‘SPATM’. Even the timeline of the album’s development seems to defy the ephemeral haste that permeates so much contemporary music.

                                                                    The bulk of ‘Oh Man, Cover The Ground’ was recorded in Shana’s basement. “I wanted it to sound casual and kind of loose like my favorite folk albums, so we didn’t practice much before recording and a few of the musicians were playing the songs for the first time.”

                                                                    In these headspinning days of information overload, it seems hard to believe that anything can slip through the net. After all, if you've got a 3G connection, reasonably priced tablet and local coffee house you can do almost anything, at least until those artisanal grounds send you into cardiac arrest. Remarkable then, that the world was nearly deprived of these three sonic gems from Chieftain. The collaborative vehicle (image a tandem) of Fila Brazilia legend Steve Cobby and Birmingham mainstay Adam Regan, Chieftain made a brief and ill-fated appearance in the digital realm back in 2013, delivering a killer package of jazzy downbeat, piano house and island funk which was lost in the face of label ineptitude and online ignorance. Luckily for those of us with ears and a turntable, Mr Cobby is a man of stern stuff. Making fine use of his stubborn Yorkshire grit, Hull's finest son has waded through copyright calamity to give this material a much deserved moment in the vinyl spotlight through his Déclassé imprint.

                                                                    'Out Of My Life' struts into the room to the laid back funk of a fine breakbeat, pours itself a drink and starts to hold court. Mellow jazz chords and lithe sequences add a sophisticated texture while sumptuous strings (both sustained and pizzicato) sit in perfect balance with the floor shaking bassline. While lesser men could have made this cocktail way too smooth, Cobby and Regan are raiders of the Black Ark, utilising plenty of dub FX to add a little bite. 'Til Everyman Is Free' sees Chieftain shift gear, switching to midtempo house with a solid drumtrack and driving bassline. Soulful vocals and warm keys turn up the heat before the killer house piano drop tears the roof off in an explosion of wide-eyed dancefloor euphoria. It's the perfect soundtrack for those sultry nights when you're still dancing as the sun comes up, and that's exactly where the polyrhythmic exuberance of 'Coati Mundi' comes into play. Alive with the ripple of playful percussion and the sunkissed sounds of steel drums, this Island groove throws out shapes and feelings long after the part timers have gone home, slinking around to languid synth lines and getting down to those funky Rhodes licks. With Chieftain taking care of the warm up, peak time and after party, you've just gotta remember to pack your dancing shoes. 

                                                                    STAFF COMMENTS

                                                                    Patrick says: Hull's finest export gets collaborative with Brummy boy Adam Regan for three choice cuts, including the magnificent beard house bomb "Til Everyman Is Free". Pianos and hazy memories from the master.

                                                                    After making us wait almost two decades for new solo material before last year's "Saudade", Steve Cobby is back in the blink of an eye with his second LP in as many years, once again on his own Declasse imprint. I suspect self-releasing suits Mr Cobby, and "Everliving" sees him embrace the creative freedom it allows. The fourteen immersive and expansive cuts are spread lovingly across three LPs rather than cramped onto a double, allowing each track the time and space to grow and evolve at its own pace. The result is an LP which entirely envelops you within its own sonic world, beguiling your senses with hypnotic keys, lilting rhythms, gentle guitars and pan global sounds. More electronic than its predecessor, "Everliving" delves deeper, gradually easing you into a trance like state through repetition and an expert understanding of space. So far the release has been met with universal praise from the likes of Dave Harvey, Phil Mison, Richard Norris and Peter Kruder, and really, who are we to disagree? Superb.


                                                                    STAFF COMMENTS

                                                                    Patrick says: Surely it's about time Hull appointed Steve Cobby 'first among equals' and had done with it. The insanely talented Yorkshireman is on peerless form here, blending mellow dub, outernational sounds and acoustic warmth into a sublime bit of laid back listening. Cap doffed, sir, cap doffed.

                                                                    Hull's finest son, Fila Brazilia's Steve Cobby returns with his first solo material in 18 years and it is well worth the wait. Released on his new Declasse imprint, "Saudade" sees the veteran producer superbly weave a lifetime of influences and experiences into a panoramic world view spread across twelve expressionistic soundscapes. Across four sides of pristine white wax, Cobby marries vibrant rhythm and playful melody, alternating irresistible grooves with the horizontal beauty of blissed out orchestration. The producer has scattered the album with souvenirs from all corners of the globe, be it the Caribbean pans of "Melismatic", the African thumb pianos of "Passerines" or the West Coast funk of "Clawfist" and "Why Sleep Through Your Dreams?". While the LP boasts plenty of hypnotic grooves to get lost in, but also delights on the more concise cuts, such as the jazzy "Rapelle" and the atmospheric "The End Of A Perfect Death". Essential for fans of our Balearic selections or the textured downbeat of Nightmares On Wax, "Saudade" is a strong contender for my album of the year. I'll leave it to our good friend Boggy to have the last word...

                                                                    "Those of you not aware of Steve Cobby will be one of two things. Young or tone deaf. Here is a solo album inflected with indescribable feeling of Saudade. True craftsmanship." - James Holroyd (Back To Basics, Bugged Out)

                                                                    Not only is Steve Cobby a resonating force for social change and incredibly nice chap, he's also a TOTAL effin' ledge, and this latest LP delivers every bit of slow-release splendor you could hope for. "Jenkem" opens the set with a sublime mid tempo groove, giving us blobby bass, funky guitar licks and mellow mallets, all topped with the purest pads and delivered with crystal clear production. So far so funky, and the cool and cosmic of "Rick James Dwells In The Abyss" delivers on its titular promise with a mega Charlie Murphy vocal sample, soulful strut and eventual evolution into rapid fire breakbeats and buzzing guitar-god riffage. "The Canyons Of Lower Manhattan" powers into the peaktime with neat disco-house percussion, Metro Area style production and a heart wrenching leadline worthy of a Todd Terje classic. It wouldn't be a Cobby cut without a little dub, and "Babylon On The Hudson" arrives right on time, translating Blaxploitation chords and soulful horns into a supreme smokers jam, while "Heure D'or" is a thing of true beauty - all twinkly keys, broken beats and warm feelings. "A Candle For The Moth" continues with the dreamy downbeat theme, serving us soulful keys and chiming mallets on a stoned Roy Ayers tip. "Cherry-skin Blanket' brings back the blorp, pairing slobbery synth bass with smooth guitars and pleasing arps, before Cobby calls time with a siren song for subtle bodies and sunsets alike, merging malleable electronics with divine acoustic guitar. 

                                                                    STAFF COMMENTS

                                                                    Patrick says: Steve doesn't make bad records, but this is beauty even by his standards. Whatever your particular penchant is, if you like to live slowly, there's something here for you.

                                                                    Shirley Collins

                                                                    English Songs Volume 2 (RSD Exclusive)

                                                                      THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                      At the beginning of Shirley Collins' recording career in 1959 she recorded a series of 7" EPs for the Collector Records label. Originally released in short press runs, these rare early recordings have been very hard to find for nearly five decades.

                                                                      Just like the original, this comes in a front-laminated, flipback sleeve, but with a beautiful new inner bag illustrated with rare photographs.

                                                                      For Record Store Day, 16th April 2016, Fledg'ling Records is very proud to announce the release of a newly-remastered vinyl-only version of English Songs volume 2 (the third of her Collector EPs).

                                                                      Shirley Collins

                                                                      An Introduction To

                                                                        During the 1960s and ‘70s Shirley Collins was regarded by many as the first lady of folk music, the subsequent decades have only served to enhance that reputati on. Between 1955 and 1978 she recorded for the Folkways, Argo, Harvest and Topic labels. After the release of ‘For As Many As Will’ in 1978 she withdrew from performing and the music world aft er developing dysphonia. Shirley recently returned to recording after a very long hiatus and is still widely acknowledged as one of the finest singers and ambassadors to have emerged during the Folksong Revival of the 1960s.

                                                                        Few singers of the English folk revival have attempted as much on record as Collins – an extraordinary combination of fragility and power. “I like music to be fairly straightforward, simply embellished – the performance without histrionics allowing you to think about the song rather than telling you what to think.” Through an impressive series of experimental recordings Shirley established an extraordinarily sympathetic marriage of traditi onal songs handed down through generati ons of rural labouring people with ground breaking contemporary arrangements – recordings that have scarcely been equalled in subsequent decades. This collection draws together some of her most iconic recordings and will serve as an Introducti on to her very special catalogue of music.

                                                                        “Shirley Collins is without doubt one of England’s greatest cultural treasures.” Billy Bragg

                                                                        The return of Shirley Collins after a 38 year silence. ‘Lodestar’ is a collection of English, American and Cajun songs dating from the 16th Century to the 1950s, recorded at Shirley’s home in Lewes by Stephen Thrower and Ossian Brown of Cyclobe and produced and musically directed by Ian Kearey.

                                                                        Though Shirley Collins (MBE) has been absent from the music scene for many years, her impact has not diminished. The likes of Graham Coxon, Jonny Greenwood, Stewart Lee and Angel Olsen laud her and a documentary, ‘The Ballad Of Shirley Collins’, is currently in progress. Additionally, she was given the Good Tradition award at the BBC Radio 2 Folk Awards in 2008, elected President of the English Folk Dance & Song Society in the same year and was awarded an Honorary Doctorate in Music from Sussex University this year. Shirley released her first memoir, ‘America Over The Water’, in 2004 and is currently working on her second book.

                                                                        “Shirley is a time traveller, a conduit for essential human aches, one of the greatest artists who ever lived, and yet utterly humble” - Stewart Lee.

                                                                        FORMAT INFORMATION

                                                                        CD Info: The CD comes in a capacity wallet with a 28 page booklet containing a full and extended essay by Stewart Lee, with notes and annotations from Shirley Collins. This edition will be for first press only before reverting to a standard jewel case format.

                                                                        Shirley And Dolly Collins

                                                                        For As Many As Will

                                                                        This was Shirley and Dolly Collins' last album together, originally released on Topic in 1978. It was something of a labour of love for them both as they chose songs that had a special relevance to them as they were growing up in Sussex. Dolly's arrangements (always criminally underrated) are a perfect foil for Shirley's exceptional vocal talent and this is one of their most satisying and timeless collaborations.

                                                                        Shirley Collins / Davy Graham

                                                                        Folk Roots, New Roots

                                                                          Reissue of previously deleted classic Folk album - Back to Black.

                                                                          Shawn Colvin

                                                                          Whole New You

                                                                          The new album from grammy award winner Shawn Colvin featuring some of her best work yet including quality songs like "Whole New You" and "A Matter of Minutes".

                                                                          Simon Connor

                                                                          Seaside Surprise

                                                                          "Seaside Surprise" is the debut release from Manchester based musician Simon Connor. After gigging as an acoustic solo artist for the past year the arrangements on the EP have been fleshed out with a full band, a string section and electronic beats. The well crafted songs are given a much wider scope and the sound sits somewhere in between Radiohead, Elliott Smith and Scott Matthews.

                                                                          Unlucky for some, but unlikely for Tusk, we reach number thirteen in the series thanks to this synthesized trip from Steve Cook. "Self Control" starts off life as simmering chugger with some sleazy female vox before morphing into a slo mo acid monster. "Still Hardcore" does what it says on the tin, taking the 'ardcore blueprint and slowing it right down into a weird and warped mogadon mover. On the flip "Juno How I Feel" (ooh, we do like a good synth related track title pun) is a meaty and beaty take on Chi-town's dancefloor heritage feature prominent use of, you guessed it, a Juno synth. Ripping sequences and jack track percussion with a whispered vocal cooing "D'You Know How I Feel" (double pun alert). EP closer "Hacid" takes us right back to the old school of the Haccie with rave stabs, acid squiggles, the vocal sample from "Hallelujah" and plenty of bang for your buck. A few more tracks like this and the Criminal Justice Act 1994 will magically disappear.  

                                                                          ‘Bugger Me’ is Sam Coomes’ first ever solo album. Coomes is probably best known as half of the long-running underground pop duo Quasi, the other half being Janet Weiss, herself better known as the drummer for Sleater-Kinney.

                                                                          ‘Bugger Me’ is, in Coome’s own words, “Suicide meets The Beach Boys. Not the sophisticated ‘Pet Sounds’ Beach Boys, but more like ‘Surfer Girl’ stuff. More conscious reference points were Chris Montez or Timmy Thomas.”

                                                                          All formats include a 16-page black and white booklet.

                                                                          'Red Kite' is the much-anticipated new solo album by Saint Etienne’s lead singer Sarah Cracknell. Musically, 'Red Kite' has a sophisticated, pastoral feel, drawing on classic 60s pop with less of a dance music influence than Saint Etienne. Sarah has co-written all the songs bar one cover version, ‘The Mutineer’. It’s fanfared by new single ‘Nothing Left To Talk About’, an uplifting indie-pop duet with guest vocalist Nicky Wire of the Manic Street Preachers.

                                                                          The album was recorded at Big Pink, Oxfordshire and in Cardiff in winter 2014 and early 2015, and is co-produced by Carwyn Ellis of Colorama.


                                                                          Samantha Crain

                                                                          You Had Me At Goodbye - Bonus Disc Edition

                                                                          Fifth album (third for Full Time Hobby) from Samantha Crain, following 2015’s “Under Branch & Thorn & Tree” and the 2014 album “Kid Face.”

                                                                          Written over 4 months at the back end of winter whilst at home in Norman, Oklahoma, You Had Me At Goodbye was penned whilst Samantha was working shifts at a pizza place to save up money for touring, recording, paying bills, and as a self-confessed ‘film nerd,’ binge watching movies. “Oklahoma is beautiful but my relationship with it is complicated. There are mountains, plains, prairies, rolling hills, high deserts and plateaus, with an amazing creative community of people making beautiful visual art, interesting films and loud music. But it’s extremely Christian, conservative, and whilst people say it’s ‘friendly,’ really, people are only friendly if you’re white and aren’t dressed unconventionally. I feel welcome and alienated all at once.”

                                                                          Bolstered by the visionary production of John Vanderslice (Spoon, the Mountain Goats, Strand of Oaks), mixed and engineered by Jacob Winik (The Magnetic Fields, Hot Buttered Rum), Samantha returned to the Bay Area in California to, once again, record the album in analog at Tiny Telephone Studio.

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: First pressing of vinyl is pink in gatefold sleeve with download code, 750 for Europe.
                                                                          Includes limited indies only bonus CD ‘Kinda’, while stocks last. Features acoustic versions of the whole album, plus the bonus track ‘Re-Run Cartoon’.

                                                                          CD Info: Includes limited indies only bonus CD ‘Kinda’, while stocks last. Features acoustic versions of the whole album, plus the bonus track ‘Re-Run Cartoon’.

                                                                          Sally Crewe & The Sudden Moves

                                                                          Drive It Like You Stole It

                                                                          Teaming up with Spoon's Jim Eno and Britt Daniel in early 2001 has proved to be an effective partnership. On "Drive It Like..." Sally strips the pop idea to its pure essentials. Recorded throughout 2002 at Eno's Austin, TX studio, "Drive It Like You Stole It" showcases Crewe's twin senses of wit and melody with unusual flair. Equally informed and influenced by classic cars and classic pop, its a startling debut album from one of the sharpest female voices / minds in rock since Liz Phair's "Exile In Guyville" emerged all those years ago.

                                                                          Silvano D’Auria

                                                                          Sortilegio

                                                                            • “Sortilegio” literally means ‘spell’ and was shot in Italy between 1969 and 1970. One of the most mysterious movies that came out from the golden age of Italian cinema, its soundtrack was recorded in 1974.
                                                                            •The movie had never been officially distributed and probably had never reached the final stage of post-production. The film is lost, gone forever apparently.
                                                                            •Four Flies Records’ researchers had been able to locate the original master tapes of the soundtrack, which had been re-mastered and is going to be released as a deluxe limited edition 180gr LP, with extensive liner notes signed by composer Silvano D'Auria and film critic Davide Pulici (Nocturno Cinema).
                                                                            •Originally recorded in Rome at the famous RCA Studios, the soundtrack casts a fine blend of jazz-funk and prog-rock elements.

                                                                            One of the most mysterious movies of the golden age of Italian cinema, “Sortilegio” is a visionary horror movie directed by Nardo Bonomi, starring Erna Schurer and the famous Italian director Marco Ferreri as a co-star. The movie also featured Corrado Farina (director of the legendary “Baba Yaga”) as assistant director. As the influential Italian magazine Nocturno Cinema stated some time ago, the movie had never been distributed and is to be considered definitively lost. Thanks to Four Flies Records’ meticulous research, at least the soundtrack of the movie survives: the original master tapes have been finally recovered and restored, thus to be released for the very first time. Recorded in Rome at the famous RCA Studios, “Sortilegio” is a dark and esoteric soundtrack composed by Silvano D’Auria. The soundtrack casts a fine blend of jazz-funk and prog-rock elements, and features some of the greatest session musicians of those times, like Silvano Chimenti (his fuzzy guitars are unmistakable).

                                                                            Sumptuous deluxe limited 180 gr. editions, Four Flies’ works are accompanied by precious liner-notes and are enriched by archival images, original artwork and lettering designed by Luca Barcellona.

                                                                            FORMAT INFORMATION

                                                                            Ltd LP Info: Limited Deluxe Edition 500 copies with gatefold sleeves and gloss inners, remastered from the original masters.

                                                                            Seven Davis Jr releases his debut album 'Universes' via Ninja Tune – his most honest and heartfelt musical statement to date. Recorded in LA, San Francisco, Amsterdam and London, it’s a unique exploration of his musical landscape, traversing tempos and flipping styles with typical panache but always embedded in the bedrock of soul and funk.

                                                                            Born in Houston, Texas, before relocating to Northern California, Seven Davis Jr was raised on the classics - from Michael Jackson and Prince to Stevie Wonder and Aretha Franklin. He studied gospel and jazz singing, inspired by the likes of Frank Sinatra, Nat King Cole and Burt Bacharach. During his teenage years he discovered dance music, specifically house and jungle.

                                                                            SDJR’s early Bandcamp output was more closely aligned to Los Angeles’ vibrant left-leaning electronic underground. Nurtured by the Hit+Run crew, he owes his first official release to Kutmah (who bagged "Thanks" for his ‘Worldwide Family Vol.2’ compilation on Gilles Peterson’s Brownswood imprint in 2012). It was the only four-to-the-floor jam on an album curated by a DJ who is rarely drawn to that style and that fact alone is significant.

                                                                            When he’s making straight ahead house music, the swing is reminiscent of classic Todd Edwards and the drums bump ‘n’ shuffle like Tuff Jam and Derrick Carter. And the vocals… well at times it’s like he’s channeling the spirit of George Clinton, offset with the sweet character of Peven Everett - the perfect balance of rough and smooth - it’s that undeniable funk that hooks in the hip-hop fans, the cats that don’t generally mess with “house” music. "Good Vibes" (feat. Julio Bashmore) nails this dynamic in a whirlwind 3 mins 18 secs that recalls Daft Punk at their boisterous best - proof that sometimes all you need is a chopped-up disco loop and a hook.

                                                                            Elsewhere on "Universes" Seven brings a similar soulful energy that Moodymann or Theo Parrish purvey. "Sunday Morning" picks up where Seven’s "Wild Hearts" 12” left off, a mighty ditty with the cheeky mantra “I bet ya never had a love like this before?” sitting pretty upon bustling drums and bass punctuated with snatches of guitar. “It’s about having healthy confidence in yourself and what you can offer the world,” says Seven. There are more introspective moments on the record too – such as "Fighters" and "Afterlife" (feat. Kutmah) – that explore murkier downtempo depths.


                                                                            FORMAT INFORMATION

                                                                            2xLtd CD Info: Exclusive indies-only 2CD edition with an additional disc featuring bonus beats from Seven’s ‘Life In Deep Space’ poetry opus.

                                                                            Stanton Davis And The Ghetto Mysticism Band

                                                                            Isis Voyage: Unreleased Music & Alternative Mixes From The Brighter Days Sessions

                                                                            The original spacey jazz-funk sound of the Brighter Days album by Stanton Davis' Ghetto Mysticism Band has been championed by everyone from Gilles Peterson to Andrew Mason of Wax Poetics to hip hop producer and rapper Madlib. Isis Voyage is a collection of unreleased music and alternative mixes from the Brighter Days sessions. Many of the tracks on Brighter Days were shortened to be more accessible to the listening public. Isis Voyage contains the original, longer versions of many of these songs including "High Jazz" and "High Jazz Reprise." Back in October 2012 Stanton Davis and Cultures of Soul Records' label head, Deano Sounds, went into the studio to mix down tracks from the original multitrack reel to reel tapes. Two unreleased tracks, "Odwalla" and the title track "Isis Voyage," were among the material discovered while mixing down the music. Also included are extended instrumental versions of "Things Cannot Stop Forever" and "Funky Fried Tofu." Bonus tracks include remixes of "Things Cannot Stop Forever" and "High Jazz" by UK disco remix expert Al Kent.

                                                                            Often referred to as the best R&B songwriter you've never heard of, Sam Dees has penned hits for Gladys Knight, Aretha, Whitney, George Benson, The Temptations, Teddy, Millie, Jackie, and pretty much any soul outfit you'd care to mention. He's no slouch in the singer department either, racking up a host of top R&B and northern hits on Chess, Atlantic, Polydor and SSS during the 70s. His 1975 Atlantic album The Show Must Go On has long been regarded by Southern soul aficionados as one of the best of the genre. Sounding a bit like a deeper-voiced Curtis Mayfield (in both style and theme), Dees sings with assurance, wisdom, passion, and a whole lot of soul here. Songs like "Child of the Streets", "Troubled Child," & "What's It Gonna Be," share Mayfield's commitment to social commentary, and Dees knows his way around a love song, too. It's absolutely essential.


                                                                            Stax Dempsey

                                                                            Monet Sky

                                                                            First two songs from next year's LP produced in conjunction with Mo Wax producers Parsley Sound. Stax Dempsey's "Monet Sky" is full of simple, beatific melody and gently plucked guitar BJ Cole adds his unique pedal steel guitar sound to "Endless Summer", but what you really have here are two simple, classic songs that come from a tradition that stretches from Leadbelly to Lambchop, from an American outsider with a guitar and a headful of dreams, and not much else that matters..

                                                                            And The Unicorn is the first solo album from Robots In Disguise's Sue Denim, to be released on 13th August 2012 on Sue's own label, Superhealthy. And The Unicorn is Sue's 10-song début solo release. Recorded and co-produced in North Wales with award-winning producer/mixer David Wrench (Bear In Heaven, Caribou, The School, James Yorkston, Y Niwl), And The Unicorn presents a mixture of simple and honest tracks that are less typical singer-songwriter and more nostalgic pop - sometimes reminiscent of a female Syd Barrett, Jonathan Richman, or Kevin Ayers.

                                                                            Having had plenty of electro fun, touring the world and releasing 4 albums as half of Robots In Disguise in the Noughties, as well as acting in cult TV comedy series The Mighty Boosh, on this album Denim has swapped the synths for seagull cries (The Plan) and drum machines for a toy drum kit (Bicycle) on her adventure into a warm, dreamy and sometimes poignant celebration of life, love, books, bicycles and boys on film, delivering a unique view of the world through her easy, free flowing melodies and lyrics.

                                                                            Musically, And The Unicorn is based around acoustic guitar and piano, with Sue's voice sounding natural, dynamic and intimate. She uses her bass skills to sweet dubby effect on the opening track, 'Bicycle', and plays Velvet Underground style violin on 'I'm Not An Island'. Added to this are electric guitars, massed percussion, layered harmonies, and during recording breaks Sue cycled around Anglesey & Bangor making field recordings, sometimes referencing the lyrics of the songs - rain in ‘Hollow’, a walk on the pier in ‘The Plan’ - and sometimes less literal, more mood-inducing - ticking clocks in ‘For JT & Carson & Emli’. 'This was all part of the plan, dream dates and astral weeks, we're naked, and don't make a stand, I'll meet you on the pier at midnight' .

                                                                            Sandy Denny

                                                                            I'm A Dreamer / Who Knows Where The Time Goes? (RSD 2011 Edition)

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

                                                                              This strictly limited edition 7" single contains two tracks featured on the recent box set, and comes in an attractive gatefold sleeve. 1000 copies of this single will be available for one day only at local independent retailers.

                                                                              "Music Weaver - Sandy Denny Remembered" is the first ever definitive cross-label anthology celebrating the work of Sandy Denny and is timed to coincide with the 30th anniversary of Sandy's untimely death. As well as containing the cream of Sandy's solo work there are choice cuts from when she fronted Fairport Convention and Fotheringay and her collaborations with Led Zeppelin (on the "Battle of Evermore" from Led Zeppelin "IV"). "Music Weaver" contains 36 songs including rare demos, album tracks and live BBC recordings.

                                                                              Sandy Denny

                                                                              Like An Old Fashioned Waltz

                                                                              More beautiful sadness for you! Sandy's 1973, third solo offering is rich with nostalgia. Not only are two of the songs covers from her father's record collection but Sandy's own tunes are heavy with romance, memory, loss and loneliness. There are five absolute anthems on this album and the singing is beautifully embroidered with subtle inflections and emotional nuances. It wasn't for nothing that Robert Plant named her as his favourite of all the British female singers. And this edition's unaccompanied take of "No End" has to be up there with her greatest ever performances.

                                                                              FORMAT INFORMATION

                                                                              CD Info: Digitally remastered with, sleevenotes and enhanced packaging plus four bonus tracks: "At The End Of The Day (Alternate Take Without Strings)", "King & Queen Of England (Demo)", "Like An Old Fashioned Waltz (With Fairport Convention)" and "No End (Solo Piano Version)".

                                                                              Sandy Denny

                                                                              Like An Old Fashioned Waltz (RSD18 EDITION)

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

                                                                                45th aniversary vinyl reissue of Sandy's third solo LP (1973) hasn't been pressed since 1986. Considered by many to be her best solo release, it features musicians from her Fairport days, including Richard Thompson on guitar, contains the track 'Solo', one of very finest compositions and probably her best known after 'Who Knows Where The Time Goes?'. Pressed on clear vinyl.

                                                                                Sandy's second solo LP in 1972 was a bit less folky and more singer-songwriterly than her debut. She'd duetted on "Led Zeppelin Four" with Robert Plant and come up with perhaps her stongest set of songs. The arrangements were more expansive and the sound more ambitious, which was just as well since a number of the songs dealt with the healing powers of music. As she said herself: 'I can't write happy songs'... so here's another lush, melancholic, autumnal record for all you dreamers and true believers.

                                                                                FORMAT INFORMATION

                                                                                CD Info: Digitally remastered with sleevenotes and enhanced packaging plus five bonus tracks: "Here In Silence", "Man Of Iron", "Sweet Rosemary (Demo)", "Ecoute, Ecoute" and "It'll Take A Long Time (Live With Fairport Convention)".

                                                                                Sandy Denny

                                                                                The North Star Grassman And The Ravens

                                                                                After leaving Fairport Convention in '69, Sandy Denny made one record with her new group Fotheringay, and then this, in 1971, her first solo LP proper. The amazing Richard Thompson plays guitar and infact this album shares a similar, dense, drone-based tonality with his own debut solo effort. It's also a little idyosyncratic, truth be told, but there's still moments of unbelievable beauty here. With two alternate takes and two songs begun (but unfinished) during the sessions, now included, this is a must have purchase for all you Nu-Folkies and oldies alike!

                                                                                FORMAT INFORMATION

                                                                                CD Info: Digitally remastered, with sleeve notes and enhanced packaging plus four bonus tracks: "Late November (El Pea Version)", "Walking The Floor Over You", "Losing Game" and "Next Time Around (No Strings)".

                                                                                Sandy Denny

                                                                                I've Always Kept A Unicorn - The Acoustic Sandy Denny

                                                                                  Selected highlights from the critically acclaimed and commercially successful 2CD set of the same name. Pressed on 180gram vinyl and containing a Download Voucher. Compiled by Andrew Batt with sleevenotes by Mick Houghton.

                                                                                  FORMAT INFORMATION

                                                                                  2xLP includes MP3 Download Code.

                                                                                  Consolidating 2 years of solo work, “Hard To Please” is the debut album by Canadian polymath Sally Dige. First coming to prominence in the synth-wave scene with an elusive, meta-persona in a blur of homemade costumes, Dige’s world has grown to encompass visual art, theatre and design elements. Most surprising on her long-awaited debut however is the occasional removal of the various masks and characters Dige has played to date, revealing something more tangible and fragile underneath.

                                                                                  “Hard To Please” still revels in a darkly thrilling, Euro synth-pop music, awash with dry ice and hidden in shadow, most personified on the instant classic 'Immaculate Deception'. However, on the long, nocturnal walk home Dige begins to sing of loneliness, being lost, the transience of our relationships. Attention to detail is paramount. On the title-track the crisp early-80s, swooning bass line duets with Dige’s desperate plea to a lover fading into the distance, a presence lamented with even more pathos on the towering, early-4AD-esque, slow-burner 'Your Girl'. It’s a new fragility that effortlessly manages to convey a luxurious, inescapable sensuality at the same time.

                                                                                  Indeed, 'Hard To Please' portrays a clear narrative, with electronic body movers like Doppelganger portraying an out-of control, self-obsessed persona at the beginning of the record. Breaking down into the foggy murk, the more hopelessly romantic album closers “A Certain Beauty” and “Dance Of Delusion” burn a ghostly image into the listener’s mind, as Dige, or someone like her, over Cure-like swooning reverberations entreaties the powers that be to let her dance. Dige never fully reveals her hand, but the game is worth playing endlessly.

                                                                                  Final Chapter are back!
                                                                                  Swedish producer Sean Dixon once again contributes with his characteristic sound.
                                                                                  Classic analogue synths and drum machines used in his very own way, with the result being three killer melodic and warm tracks, all with short vocal parts on top.
                                                                                  Fellow swede Sankt Göran wraps things up with an excellent floor friendly remix of the title track Believe.
                                                                                  Enough said, let the music speak.

                                                                                  Support/Quotes by:
                                                                                  Brendon Moeller: Mr. Dixon’s finest work to date IMHO. Strong, forward-thinking, melodic trax

                                                                                  XDB: The 8.5 tune is great and my favourite. Nice depht and drive.

                                                                                  D´Marc Cantu: Sean Dixon's Final Chapter nicely captures that sleezy classic sound that I love so much. My favorite cut on the release, six seconds, is a groove filled body workout, picking this one up for sure

                                                                                  Youandme: Cool record!!

                                                                                  Aroy Dee (MOS): Yeah man, great release! Especially 8.5 and Six Seconds are great deep & moody tracks!

                                                                                  Siobhan Donaghy

                                                                                  Don't Give It Up - Carl Craig Remixes

                                                                                  Theo Parrish, Delia Gonzalez & Gavin Russom, Junior Boys, Beanfield, X-Press 2, Faze Action, Goldfrapp and Japanese Synchro System. Over the past eighteen months Carl Craig has remixed all these artists with individually-tailored yet devastating dancefloor mixes. To this list we know add the name of erstwhile Sugababe Siobhan Donaghy, the first one to jump the good ship pop back in 2001. Her inevitable return to the charts will no doubt be matched with critical club acclaim as Carl Craig's impossible to replicate big sound takes "Don't Give It Up" to being a fixture at the cooler end of the spectrum. Although it actually only appears on a fraction of the main mix running time, Donaghy's vocal is well suited to the electronic backdrop, especially the amazing strobe-style edited effect that comes in after the main breakdown with that obscure "Sharevari" synth reference. Also includes instrumental version.

                                                                                  FORMAT INFORMATION

                                                                                  Ltd 12" Info: Limited picture disc. NB: Sorry folks, all copies have a big fat pressing fault that makes side A jump, so I'm taking them off sale.

                                                                                  Stella Donnelly

                                                                                  Thrush Metal

                                                                                    Stella Donnelly quickly became one of Australia’s buzziest young singer-songwriters earlier this year with the release of her debut EP, Thrush Metal. Now release in the UK, it opens with the defiant, "Mechanical Bull" which is reminiscent of "Dry" era PJ Harvey. Next up is the stunning "Boys Will Be Boys". Atop delicate, singsongy acoustic fingerpicking, Donnelly confronts a man who raped her friend and takes to task the accompanying victim-blaming. “Why was she all alone? Wearing her shirt that low And they said boys will be boys Deaf to the word no,” she coos in the chorus, a slight vibrato flaring up at the corners of her lovely voice.
                                                                                    The stripped back melancholy of the following three tracks: "Mean To Me", "Grey" and "A Poem" show off her vocals in a slightly different light, and closing track "Talking", which is a new addition to the EP for this vinyl release, returns to the weightier content of the EPs start. 




                                                                                    From 1982 comes this minimal track by deejay Sammy Dread, backed with an even more stripped down dub version from Channel One house band The Revolutionaries.

                                                                                    FORMAT INFORMATION

                                                                                    7" Info: Jamaican import dinked 45. Not the best pressing ever!

                                                                                    Sam Duckworth

                                                                                    The Mannequin

                                                                                      "This is a record I wrote over September and October of last year. The record came together from ideas I knocked about with whilst touring Get Cape. Wear Cape. Fly. At times it has moments of splitter-induced cabin fever and tension, but I like to see it as a record that had a bit too much time to think. I spent a lot of time working with metaphors and parables to try to make sense of the current political climate, and the more time I spent thinking about it, the more confused I got and the more convoluted the songs became. Taking the songs into the studio was a lot of fun. Trying to make head and tail of the sketches was tough at first, Chernobyl doesn't really rhyme with many things. In the end it all went down pretty quick, Me and Jay Malhotra spent a few days trying to capture the late night lucid space of travelling with a bleakness of war. Andy Theakstone (drums) and Jamie Allen (Bass) spent a few days with us at Andy's studio (Unit studios) in Letchworth hammering out the band songs, catching the grooves and adding a bit of well needed release. A good mix from Dean Barratt and here we are. I hope you like the album." Sam

                                                                                      Sly Dunbar

                                                                                      Sly Wicked And Slick

                                                                                        Classic '70s dub LP from the drumming half of the Taxi rhythm duo. Reissue of this Frontline series.

                                                                                        Steve Earle & The Del McCoury Band

                                                                                        The Mountain

                                                                                          Originally released in 1999 and widely regarded as one of the best albums of that year, New West is proud to reissue one of Steve Earle's finest works. Released in 1999, The Mountain marks a radical departure from Steve Earle's previous works as it was his first wholly bluegrass album. He later revealed that he had made the album as a tribute to the founder of bluegrass music the legendary Bill Monroe, who had died in 1996. In order to help flesh out the songs he had written for the album, Steve Earle called upon the famous bluegrass band of Del McCoury; widely regarded as one of the finest bluegrass bands on the planet who at that point. The album was a critical success and yielded Earle's 7th Grammy nomination when it was nominated for 'Best Bluegrass Album' in 2000.

                                                                                          FORMAT INFORMATION

                                                                                          2xLP Info: Available for the first time ever on heavy duty 180g vinyl.

                                                                                          Stacey Earle And Mark Stuart

                                                                                          Never Gonna Let You Go

                                                                                          Husband and wife team who have both enjoyed previous success in their own right as well as together. Stacey's endearingly evocative style was first heard in 1990 in duet with her older brother, country renegade Steve Earle. "Never Gonna Let You Go" is their second album, built around the couple's obvious chemistry together.


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