The Amorphous Androgynous

The Isness (Abbey Road Cut)


    The now legendary ‘ Abbey Road’ version of ‘the Isness’ was the originally conceived version before last minute wholesale changes resulted in new tracks , different mixes and/or edits appearing in a wholly different order for the commercial release of ‘the Isness ‘ in 2002 . The ‘Abbey Rd ‘ version had been initially promo’d to ecstatic reviews , receiving an unprecedented 6/5 stars from Mixmag ‘ it’s like a beam of white light from heaven’. This is the first time the Abbey Road version has been officially and commercially available .

    The Dirty Three

    Whatever You Love You Are


      Bella Union continue to reissue the catalogue of Australia's favourite post-rock band, The Dirty Three. This year sees the reissue of the critically acclaim career highlight 'Whatever You Love You Are'. It'll be released on double heavyweight gold vinyl, repackaged artwork with painting by the bands guitarist Mick Turner. It will include Download Code

      Thomas Andrew Doyle

      Incineration Ceremony


        The Durutti Column

        Another Setting


          Factory Benelux presents an expanded vinyl edition of Another Setting, the third studio album by cult Manchester ensemble The Durutti Column, issued in a limited edition of 800 copies for Record Store Day on 21 April 2018. Another Setting was recorded in 1983 at Strawberry Studio, Stockport with production by Chris Nagle, a favourite engineer of Martin Hannett. This new vinyl remaster also includes non-album single I Get Along Without You Very Well, a bittersweet Hoagy Carmichael cover sung by Lindsay Reade, the former wife of Factory foreman Tony Wilson. The second disc is a previously unreleased live show taped at the Pandora’s Box Festival in Rotterdam on 4 September 1983, featuring eight tracks performed by Vini Reilly and Bruce Mitchell. This second disc is pressed on clear vinyl. The RSD edition of Another Setting is packaged in a gatefold sleeve printed on white reverse board, restoring the original cover artwork by Mark Farrow with cover paintings by Jackie Williams.

          The High

          Say It Now / Sugarpuff


            The High were formed in 1989 by Andy Couzens ( ex Stone Roses ) John Matthews, Chris Goodwin and Simon Davies. They signed to London Records after one gig and their highly acclaimed debut Lp Somewhere Soon combining 60's pop and psyche guitar was released in 1990 to rave reviews. In brief, ' Somewhere Soon ' is a very effective record, expertly executed and completely addictive. The dog's bollocks. I hope they become massive. ( 9/10 ) Jack Barron NME. The band split in 1993 but reformed in 2015 with Tony Meehan replacing Simon Davies and Jack Couzens taking over from Chris Goodwin on drums. Scott Parkinson has since replaced Jack Couzens. 25 years after their last release, these Manchester favourite's are finally back with new material.

            The Hit Parade

            Happy World


              500 black vinyl pressing

              The Maccabees

              Wall Of Arms


                Limited Edition, individually numbered 12" picturedisc of The Maccabees' second album, Wall Of Arms (2009). It is presented in a clear plastic sleeve and includes a download code.

                The Mekons

                Never Been In A Riot


                  Clear vinyl..repress of seminal debut Mekons 45. Originally released in 1978 on the FAST label

                  The Mekons

                  Where Were You / I'll Have To Dance Then (On My Own)


                    Yellow vinyl..repress of seminal second Mekons' 45. Originally released in 1978 on FAST Records.

                    Thelonious Monk



                      From the forthcoming, previously unreleased Monk LP (due September) Gearbox present a genuine collector’s item, limited to 2000 worldwide, of which just 700 for the UK. To many people this is the definitive Thelonious Monk Quartet line up, recorded at their peak, for a Danish radio broadcast in 1963. Charlie Rouse (sax) Frankie Dunlop (Drums) and John Ore (Bass) deliver a truly outstanding version of ‘Nutty’. Ore and Dunlop really dig in and swing. Simultaneously driving and laid back, Monk's masterful use of space and melody in Charlie Rouse’s solo is a clear demonstration as to why Monk is considered by many to be the the best accompanist the jazz world has ever known.


                      Bolan Boogie 


                        First time on heavyweight blue vinyl for this iconic 'Best of' from 1971.  Features the singles "Get It On", "Hot Love", "Ride A White Swan", By The Light Of A Magical Moon" and "Jeepster". 

                        Tears For Fears

                        Head Over Heels (Talamanca System Remix)


                          As per the previous PR for the Talamanca System Tribal Persuasion mix, part of the true spirit of Balearic/Ibiza has always been slightly left field pop - Prefab Sprout, It’s Immaterial, Talk Talk and of course TFF, so TFF are always held in high regard by the Balearic brigade and this song (Head over Heels) in particular. Whilst a slightly daunting prospect to remix, across the 4 remixes (two by Talamanca and two by Mark Barrott) the aim was to capture the original spirit of Ibiza across it’s different moods, from the dance floor to Sunset via the early poly-rhythms of Underworld, the dramatic majesty of Padilla’s Cafe Del Mar and the dubbed out vibe’s of Larry Heard inspired slo mo house.Whilst these are to be enjoyed by all, in many ways their natural home is on vinyl, as they capture that original spirit and re-frame it in a modern context, taking the atmosphere of the original track and intertwining it with all the aforementioned elements of Ibiza’s musical heritage. Packaging will be black in colour. 

                          Television Personalities

                          Closer To God


                            ‘Closer To God’, as with all TVP albums, is mightily personal. Dan Treacy provides the antidote to the opening of the ill-fated Disneyland Paris and the first McDonald’s in China – it’s a white knuckle ride through his innermost hopes and fears with off stage giggling, half heard dialogue and feedback that sounds like an opera is expiring in an adjoining L-shaped room. ‘Closer To God’ is a spiritual rollercoaster that sounds as poignant and pressing as ever. Remastered double LP on limited edition on marbled black and white vinyl. 1500 copies.

                            Television Personalities



                              1989: It’s nine years since John Lennon died, and five years since The Television Personalities have had an album released. Fire Records sign the latest incarnation of the TVPs and let them loose in a proper studio. Dan Treacy’s muse is overcome by the versatility of Swatch watches and Back To The Future II, he doesn’t allow the songs on ‘Privilege’ to bend to temptation. The world is still wrong; it’s still unreal; as evidenced by the guest list at ‘Salvador Dali’s Garden Party’. Elsewhere there’s a hint of ‘60s soap operas, from Cathy Come Home to The Wicker Man. Remastered on limited edition black and white marbled vinyl. 1500 copies.

                              Tiny Ruins

                              Some Were Meant For Sea


                                Reissue of the New Zealanders album. Gold vinyl. Download code included

                                The Undertones

                                Singles Box

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

                                  Celebrating the 40th anniversary of the ‘Teenage Kicks’ single (1978), and including all 13 of the classic Feargal Sharkey era singles and hits. Original single artwork replicated and masters cut from original analogue tapes.

                                  The Undisputed Truth

                                  You + Me = Love / Sandman

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

                                    Two seminal cuts from Norman Whitfields standout project, The Undisputed Truth. Remastered and reissued on 180g vinyl. RSD exclusive 180g

                                    The Vaselines

                                    Dum Dum

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

                                      Exclusively licensed from Sub Pop for Record Store Day. Clear heavyweight 180 gram vinyl LP

                                      The Waterfront

                                      Normandy ( On A Beach ) / When The Wind Blows

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

                                        The Waterfront were a short lived Manchester supergroup from the early 80's. The band consisted of 3 original members of The Stone Roses. Andy Couzens ( Guitar ) Gary Mounfield ( bass ) John Squire ( Guitar ). The drummer was Chris Goodwin ( The High ) and David ' Kaiser' Carty on vocals. Although the band never played a gig they did record 2 tracks in a small studio in 1983. Only a handful of cassette tapes ever existed among friends of the band. Andy Couzens owns the original _ inch reel to reel tape and has kindly offered the recordings for a special release to raise money for The Christie in Manchester. Andy and John later formed The Stone Roses with Mani joining years later. Chris ended up in numerous bands before having success with Andy in The High. Kaiser chose a different path and went to serve for Queen and Country. The Rest is History.

                                        The Wipers

                                        Live At The Met, December 31st 1982

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

                                          New Years Eve 1982. Unreleased performance from the “Youth Of America” tour. Recorded live in Portland, OR. From the Original Master Tapes and Mastered by Greg Sage. Pressed at RTI - Audiophile pressing. Limited to 2000 copies. From the original tapes with amazing sound. Track listing : Alien boy, Messenger, Romeo, Dimension 7, Something to Prove, Let's Go, Up Front, No Solution, Heart On Fire, Potential Suicide, No Generation Gap, Fly By Night, Tragedy, Scared Stiff, Pushing The Extreme, Telepathic, Mistaken Identity.

                                          The 3 Pieces

                                          Vibes Of Truth

                                            A true is a masterpiece of genre-bending groove, Vibes of Truth covers all the bases: from silky-smooth R&B, to politically conscious jazz-funk grooves, Vibes of Truth has it all. Long sought-after by collectors for the three club friendly tunes within its grooves, “Backed Up Against The Wall,” “Concrete Jungle,” and “I Need You Girl,” this lost classic from the Fantasy catalog represents the very best of the mid-70’s jazz-funk crossover sound and fits perfectly in a collection next to the likes of the Blackbyrds’ City Life or RAMP’s Come Into Knowledge.

                                            FORMAT INFORMATION

                                            LP Info: - First-ever 180-gram vinyl reissue
                                            - Lacquers cut by Kevin Gray, Cohearent Audio
                                            - Old-school style tip-on jacket
                                            - Includes Jazz Dispensary "Authorized Dealer" window cling

                                            The Abbasi Brothers

                                            Something Like Nostalgia

                                              "Something Like Nostalgia" is a film for your ears, a cinematic glimpse into the purity of everyday life. Written over two years, these 15 scenes are like snapshots of daydreams, their soundscapes are their subtitles, and the origin is not so very foreign. Yousuf and Amman Abbasi represent a new generation of evocative and epic instrumentalists. Following in the footsteps of the late 70s output of Eno & Byrne and Rodelius, then wading through the enigma of early 80s 4AD, they arrive in the 21st century with a sound that is familiar and yet all their own. Intensely motivated by the moving image, The Abbasi Brothers have created a new lexicon of music using digital instruments, electronics, guitar, piano and found sound. Through dreamlike 'sound-scenes' that celebrate nostalgia and the gentleness of the mundane in our day-to-day living they manage to make the ordinary extraordinary. While engulfed in their take on life-as-film made super-real is so rewarding one doesn't want the simple moments to ever end. Intricate and evocative, this is music to accompany the dance of waving hands as the train leaves the platform.

                                              A great little single from this Halifax 5 piece. A blend of taught drums and Morse code guitars mixed with a fine layer of loose vocals make "Thieving Magpie" a jaunty and rattling number whereas on the flip there's a more emotionally downbeat "Friend of Mine".

                                              STAFF COMMENTS

                                              Laura says: Think The Strokes covering The Smiths, but with a cool female vox.

                                              The Abstracts

                                              King Of Clubs

                                              Disguised under the name of producer Pee Ditty Pee, Prince Paul is the latest producer to provide two sides of private reel breaks madness for Kenny Dope's cute Sure Shot series.

                                              The Acorn


                                                Tin Fist is being issued on vinyl for the first since its 2007 original release date. The vinyl includes two never before heard bonus tracks ‘Shoot The Moon’ and ‘Sleepwalking’. The Acorn, led by Rolf Carlos Klausener, is very thoughtful, deliberate and at times haunting. Think of the best of worlds encompassed by Bright Eyes, Under Byen and Bruce Springsteen and a song like the dark, mysterious and hushed "Heirlooms" immediately comes to life. Soft and melodic before slowly gaining a harder tone, the track morphs into a tension-filled coda that never breaks through the surface. And while Tin Fist might only be a eight-song EP, this song exemplifies the strength of the effort. "Dents (Glory, Pt.1)" has a distinct folksy nature that gently pushes it along, resembling a fine Appalachian tune that might have been attempted in Wilco's earlier incarnations. Following a warm "Brokered Heart" which has ample twists and turns, the Acorn show another side of themselves with the melodic pop oozing out of "Feral Chile" that sounds like XTC influenced by dance-rock. Carrying on this momentum is the joyful "Spring Thaw" that has the same bounce and panache as songs by the Diableros and the Arcade Fire. – (Taken from a Pop Matters review)

                                                The Acutes

                                                Set On You

                                                The second single by Leeds band The Acutes, follows "When I Left Work Today". Spikey guitars and abrasive vocals over a manic percussive drum rhythm once again create a quirky, catchy, lo-fi gem.

                                                The Adverts

                                                Cast Of Thousands

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

                                                  Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of “Crossing The Red Sea”, The Adverts “Cast Of Thousands” has since been recognized as a lost classic of the time period. TV Smith’s cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert’s bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield “Tubular Bells”) the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV’s best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart.

                                                  They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear “Cast” for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on “My Place” or via the anthemic surge of “Television’s Over”, with TV’s hook factory on full display on the anti-love song “Love Songs”, and the band closing the album with the creeping ballad “I Will Walk You Home”; The Adverts had grown from a great punk rock band to a great rock band. Available on coloured vinyl for Record Store Day. Download includes two bonus tracks. 

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: White vinyl.

                                                  Coloured LP includes MP3 Download Code.

                                                  Fronted by Chris Kearney, who has a powerful, defined and distinctive vocal delivery, The Aeroplanes have taken the sound so associated with scouse bands over the last fifteen years and moved it simultaneously onwards and upwards. With a strength and depth of repertoire that belies the relatively short space of time the band have been together, they are capable of producing raw energy ("Don't Stop Me"), whilst expressing true emotion ("Black Hole").

                                                  FORMAT INFORMATION

                                                  10" Info: Limited edition 10".

                                                  The Afghan Whigs


                                                    "The Afghan Whigs' sound was growing larger by the release during the days on Sub Pop, so the fact that Gentlemen turned out the way it did wasn't all that surprising as a result ("cinematic" was certainly the word the band was aiming for, what with credits describing the recording process as being "shot on location" at Ardent Studios). While Gentlemen is no monolith, it is very much of a piece at the start. While "If I Were Going" opens things on a slightly moodier tip, it's the crunch of "Gentlemen," "Be Sweet," and "Debonair" that really stands out, each of which features a tightly wound R&B punch that rocks out as much as it grooves, if not more so. Greg Dulli's lyrics immediately set about the task of emotional self-evisceration at the same time, with lines like "Ladies, let me tell you about myself -- I got a dick for a brain" being among the calmer points. The album truly comes into its own with "When We Two Parted," though, as sad countryish guitars chime over a slow crawling rhythm and Dulli's quiet-then-anguished detailing of an exploding relationship. From there on in, things surge from strength to greater strength, sometimes due to the subtlest of touches -- the string arrangement on "Fountain and Fairfax" or the unexpected, resigned lead vocal from Scrawl's Marcy Mays on "My Curse," for instance. Other times, it's all the much more upfront, as "What Jail Is Like," with its heartbroken-and-fierce combination of piano, feedback, and drive building to an explosive chorus. Dulli's blend of utter abnegation and masculine swagger may be a crutch, but when everything connects, as it does more often than not on Gentlemen, both he and his band are unstoppable." All Music

                                                    STAFF COMMENTS

                                                    Laura says: One of my favourite records of all time! The album is soulful, with a heavy dose of R&B (I mean 50s/60s R&B here not that auto-tuned modern stuff!) mixed in with rock guitar riffs and Greg Dulli's dark lyrics. The title track, "Debonair" and "Fountain And Fairfax" stand out for me, but it's all great!

                                                    Mute are proud to present the 21st anniversary deluxe editions of The Afghan Whigs’ landmark album ‘Gentlemen’.

                                                    ‘Gentlemen At 21’ features the original album newly remastered along with bonus content consisting of rare Bsides, live performances and previously unreleased demos.

                                                    ‘Gentlemen At 21’ presents the original record’s 11 tracks, updated but still retaining the 1993 album’s blistering swagger. The same 11 tracks that have made a visceral connection with fans over the last 21 years - the deeply dark and confessional lyrical content, the no-frills production qualities and Greg Dulli’s soul-baring vocal performances captured on tape. In addition, the album includes all the original demos for the album, which were recorded at John Curley’s Ultrasuede studio space in Cincinnati.

                                                    The bonus material also includes the original ‘Debonair’ single B sides, including ‘Mr Superlove’ and a cover of the southern blue-eyed soul classic ‘Dark End Of The Street’ along with three songs recorded live for KTCL in Denver, previously issued on the ‘What Jail Is Like’ EP. The set comes packaged with a faithful reproduction of the original sleeve art and its striking front cover image, an homage to Nan Goldin’s iconic ‘Nan And Brian In Bed, New York City’.

                                                    The Afghan Whigs

                                                    Up In It - Vinyl Reissue

                                                      ‘Up In It’ is The Afghan Whigs’ second full length and their Sub Pop debut. The 1990 album, recorded by legendary producer Jack Endino, was critically acclaimed and garnered strong college radio airplay. It has been out of print on vinyl for over 25 years.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Loser Edition coloured vinyl format only available to independent retailers. 180g vinyl with a digital download card.

                                                      The Afghan Whigs

                                                      Uptown Avondale - Vinyl Reissue

                                                        ‘Uptown Avondale’, released shortly after ‘Congregation’, features The Afghan Whigs paying tribute to their soul music influences by performing covers of Stax and Motown classics. This LP pressing is the first time ‘Uptown Avondale’ has been fully released on vinyl (its only previous vinyl pressing was a short European run in 1992).

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Loser Edition coloured vinyl format only available to independent retailers. 180g vinyl with a digital download card.

                                                        This legendary 1994 double-pack on Eightball has long been an object of desire for proper house heads and vinyl junkies worldwide. We should count our lucky stars then that 2014 is the year that it gets its first full reissue! Featuring deep house classics "Making A Living" (as heard on Phil Mison's awesome 'Originals' comp), "Young And Free", "All In The Same Family" alongside a host of dancefloor weapons, "The African Dream" embodies the true spirit of classic club music at a time when disco and house collided in the melting pot of NYC. An absolutely essential release from a classic era of New York dance music that captures the deepness, rawness and soulful edge of the people who made it. Timeless house sounds for the true connoisseur made available once again. It's a beautiful thing baby!

                                                        The Aints!

                                                        The Church Of Simultaneous Existence

                                                          “Rock music in the seventies was changed by three bands —the Sex Pistols, the Ramones and The Saints.” - (Bob Geldof)

                                                          THE AINTS! THE CHURCH OF SIMULTANEOUS EXISTENCE

                                                          Forty years after the release of one of the great Australian debut albums of all time Ed Kuepper returns with a brand-new band and a brand new contender for the title.

                                                          When the heavily lauded, heavily influential first incarnation of The Saints split in 1978, Ed Kuepper, the sonic architect and primary songwriter of the original band and their three albums: the proto-punk classic (I’m) Stranded (1977), the r’n'b infused Eternally Yours (1978) and the brass-laden genre-defying Prehistoric Sounds (1978) left behind a plethora of unreleased material, however, rather than attempt to salvage what could have been Kuepper chose to move on forming the legendary Laughing Clowns performing and recording in Australia and the U.K. from 1979 through 1984 before embarking on an ARIA award winning solo career that has kept him touring and recording steadily since 1985.

                                                          Come 2017 though, and the 40th anniversary of The Saints seminal debut Kuepper was persuaded it was time to revisit and celebrate the music of his youth. Recruiting like-minded souls in Sunnyboys bassist Peter Oxley, drummer Paul Larsen Loughhead (The Celibate Rifles / The New Christs), jazz pianist Alister Spence and trumpeter and brass arranger Eamon Dilworth the band performed as The Aints! Play The Saints (’73 - ’78) covering Kuepper’s tenure with the band and all the classics including This Perfect Day, Know Your Product, Swing For The Crime and (I’m) Stranded to large crowds and a hugely appreciative response. But rather than purely recycle those formative songs Kuepper began to introduce the new-old material to an audience eager to hear what else Kuepper had been sitting on since 1978. A further positive response from the music department of the ABC saw these two iconic Australians join forces and bring to light what is in essence, the long lost fourth album by The (original) Saints. 

                                                          FORMAT INFORMATION

                                                          Ltd LP Info: First vinyl pressing (500 for UK/EU) will have DL code for album, and instrumental versions also.

                                                          2xCD Info: First pressing of the CD (1000 for UK./EU) version comes with the bonus INSTRUMENTAL VERSIONS (subsequent pressings will be single CD).

                                                          The Album Leaf

                                                          Between Waves

                                                          Nearly twenty years into a career that has seen Jimmy LaValle exercising his creativity across the realms of film scoring, sound collage, and electronic / rock music, via instrumental and vocal-driven compositions alike, LaValle and The Album Leaf are poised to deliver yet another sonic triumph with 2016’s Between Waves.

                                                          Born out of a thorough reinvention of LaValle's creative process and approach, Between Waves is The Album Leaf's first proper full-length record in over six years and the first to be recorded and produced as a complete band, and was written with greater emphasis on the group dynamic. The album displays multifaceted, meticulous sound design, a keen ear for balancing disparate influences, and the strongest senses of dynamics, rhythm, and composition The Album Leaf has displayed to date. From the moody evolution of "Glimmering Lights" to the wistful trip-hop stylings of "New Soul" and beyond, Between Waves is a gorgeous collection of euphoric melodies and emotionally charged, multi-instrumental driven soundscapes from the longstanding innovators. This is intelligent, beautifully composed music at its most inventive, most confident, and most impressive.

                                                          STAFF COMMENTS

                                                          Barry says: Well this is different isn't it? Not like 'It doesn't sound like The Album Leaf' different, it definitely does, but with an urgency previously unheard. I'm a big fan of LaValle's mellow Rhodes-based compositions (the recent reissue of 'In A Safe Place' was one of my record-buying highlights of recent times). The Rhodes is still present here fortunately, but it is backed with thumping drums in places, glitchy snares and giant swells, all topped off with silky vocal refrains. Pristinely produced and exciting from beginning to end. Rich and luxurious. Like a Creme Egg, but better for you.

                                                          Terry Allen

                                                          Lubbock (On Everything)

                                                            Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and visual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Widely acclaimed as a masterpiece, his deeply moving (and hilarious) satirical second album, a complex memory palace to his West Texas hometown Lubbock, is often cited as the urtext of alt-country. Produced in collaboration with the artist and meticulously remastered from the original analog tapes, this is the definitive edition: the first to correct the tape speed inconsistencies evident on all prior versions; the first U.S. vinyl reissue; the first CD to restore the full track listing; and the first to contextualize the record within Allen’s 50-year career. Deluxe 2LP package includes tip-on gatefold jacket with lyrics, printed inner sleeves, download code, and 28 pp. book with related artwork and photos, an oral history by Allen, and essays by David Byrne, Lloyd Maines, and PoB. 2×CD edition features replica jacket, sleeves, and tipped-in 52 pp. book. Just four years separate Terry Allen’s first and second albums and consecutive masterpieces, Juarez (1975) and Lubbock (on everything) (1979), but the two records inhabit completely different systems of worldbuilding, wildly divergent in terms of sonics, scope, and circumstance. Arguably Allen’s most widely beloved and most easily approachable album—it contains his 2 best-known and most covered songs, “Amarillo Highway (for Dave Hickey)” and “New Delhi Freight Train” (famously first recorded by Little Feat)—Lubbock (on everything) is his complex memory palace to his West Texas hometown. Compared to its sparsely produced predecessor, it represents a much more collaborative, even collective, effort with a local Lubbock studio band, complete with rhythm section, pedal steel, fiddle, and horns, and helmed by master guitarist Lloyd Maines, who became Terry’s frequent musical partner, producer, and the de facto bandleader of the Panhandle Mystery Band. Even if Allen’s music is more accurately described as art-country, Lubbock (on everything) sowed the seeds of alt-country’s emergence a decade later. 

                                                            Tony Allen & Jeff Mills

                                                            Tomorrow Comes The Harvest EP

                                                            Lock yourself into the beat, but don’t become prisoner to it. The techno pioneer Jeff Mills understands that only too well. In his quest to liberate himself from the tyranny of the sequencer, Mills couldn’t wish for a better partner than the father of Afrobeat.

                                                            Many consider Tony Allen to be one of the greatest drummers alive. In the last thirty years, his signature mix of Nigerian roots, polyglot jazz and no-fuss funkiness has spread like a virus, infecting the work of artists as diverse as Damon Albarn, Charlotte Gainsbourg and Moritz Oswald. Jeff Mills is a titan of the electronic dance scene and a tireless innovator, who helped to give birth to the 1980s Detroit techno scene before going on to compose electro symphonies, soundtracks and sonic odysseys inspired by futurism and space travel, working with visual artists, choreographers, classical orchestras, even astronauts.

                                                            His collaboration with Tony Allen is another rhythmic conversation in a long and well-established discourse, but a special one too: “It really is a pure collaboration, not just through music, but in our minds and spirit as well.” The same goes for Tony Allen. He has already collaborated with quite a few electro artists during his long career but this is something else. “The difference is that Jeff can play with me, whereas the others cannot play with me. I can only play with them, but they cannot play with me…yunastan?”

                                                            The pair first shared a stage in December 2016, at the New Morning in Paris. Their live shows have become a rhythm summit without equal, a chance to witness two of the world’s most innovative beat-makers, supplemented by the Moogs and synths of Jean-Philippe Dary, fusing past and future into an intense, seamless present where digital and analogue, jazz and electro, Africa and America, the source and the delta, become one.

                                                            In some ways Allen and Mills have already fashioned their own sovereign self-designed state, one where improvisation, creativity and instinct reign. It’s rooted in Africa, yes, but like the music of Art Blakey, it goes beyond Africa, beyond America, beyond the force-fields of history and the structures of technology. That’s all the excitement - to get on board with two of the world greatest living masters of rhythm, set the controls for the heart of their spinning world, and boldly go into the unknown.

                                                            "The Source" is the Nigerian drummer's first album for Blue Note, one of the most prestigious names in jazz and a label that has opened its sphere of activity considerably wider since its renaissance in the eighties. Perhaps more than any other title in the catalogue, "The Source" represents the label's classic era at the same time as it symbolizes Blue Note's innovative present. The album achieves this by means of a sound-aesthetic that has total integrity, the result of a scrupulous transcribing of the music using a technology that is exclusively analogue, and doing so according to the precepts of the virtuous philosophy inherited from the label's founders, Alfred Lion and Marx Margulis. Piccadilly regulars should be well aware of the talents of Tony Allen by now. Pretty much the most prolific musician of the afro-beat scene still alive today! 77 years old and this guy keeps on ticking - or motoring rather, as his excessive, flamboyant, but totally in-the-pocket drumming demonstrates. Like all true jazz men, his personality comes through in his performance and through the course of "The Source" we find him backed up by a more than accomplished set of musicians - skirting around trad and spiritual jazz with inspired passages and lavish arrangement. Top, top stuff indeed.

                                                            STAFF COMMENTS

                                                            Barry says: Afrobeat legend Tony Allen returns for his newest mindblowing outing, at the ripe old age of 77, and still pulling the hits out of the bag. This man is a true legend, and 'The Source' reminds us why.

                                                            The Amazing

                                                            In Transit

                                                              The Amazing stay just out of focus. On their fifth album, In Transit, they once again perform the unlikely trick of making music that is both dreamlike, drifting across the consciousness, as well as perfectly constructed. While In Transit shares the sense of mood of many of singer and founder Christoffer Gunrup’s favourite bands – the Cure, My Bloody Valentine, Flaming Lips – it never drifts away into self-indulgence. At the heart of it all, beneath the washes of guitar, the woozy reveries, are sturdy, intensely melodic songs. You hear that from the very start of the album, when Pull slides into view, slide guitar casting shapes and shadows across the arpeggios beneath, while lightly jazzy drums propel the song forward and Gunrup mournfully whispers his barely audible lyrics, before the song ascends into a refrain that sounds like every emotion combined.

                                                              That combination of melody and mood comes from the way the songs are made, and the interaction between Gunrup and his fellow members, Reine Fiske (also of Dungen, guitar), Moussa Fadera (drums), Alexis Benson (bass), and Frederik Swahn (keyboards and guitars). Gunrup writes alone, in what he calls “a very disgusting process. It’s just me in my underwear on my couch.” He emerges with a complete song – “the intros, the outros, the melodies, all the chords” – which he takes to the band, imagining they will play it just as he imagined. Except they never do. “They can feel rather than hear what needs to be done,” Gunrup says. “They do pretty much what they please.”

                                                              Yet In Transit does not sound self-indulgent. Gunrup’s songs are the very heart of In Transit, and the musicians’ playing always serves them, rather than overwhelming them. On For No One, you can hear the subtlety of their interaction, which is not what one might expect to say of a song in which whistling feedback provides the core of its climax – it’s only at the end you realise how cleverly it has transformed from what begins as fingerpicked near-folk into something very different.

                                                              As one might expect, Fiske’s guitars are at the heart of The Amazing: gorgeous tones and textures, sometimes fed through layers of distortion, sometimes kept clear and clean, to convey melody in the most direct way. “He has a sound and a way of playing that not many guitarists do – he’s all about emotion, which is great,” Gunrup says. Benson se Convirtio Completamente Furiosa, just short of 10 minutes long, Fiske displays the full range of his talents. It’s an extraordinary song, beginning with Gunrup’s voice, a lazy sigh, telling of “being caught up in a deadly boring place”, over a gorgeous, circular guitar pattern for two-and-a-half minutes, before hypnotic, swirling instrumental section built on a melancholy arpeggio takes up another two-and-a-half minutes. Gunrup’s voice returns, a little more urgent. Then the song apparently stops – only to return with Fiske playing a furious, squalling solo, a shriek of rage and despair. For the other side, listen to Rewind, a song so simple and gorgeous it sounds as though it has existed forever, in which the playing is resolutely unshowy, yet devastatingly emotive, with one simple hook – a single high note repeated in each phrase – that proves the power of well-deployed restraint.

                                                              It doesn’t come as any surprise to learn that Fiske is obsessional about his equipment. A few years back, The Amazing’s practice space was robbed, and their equipment stolen, all bar Fiske’s Stratocaster. “Afterwards we went for a beer,” Gunrup says. “We sat there in silence and felt blue. But the person who was most upset was Reine. He was so much more upset than us, he said, because what would have happened if they had taken my guitar? He couldn’t even comprehend what would have happened to him.”

                                                              But there’s so much more to The Amazing than guitar histrionics. “The drummer comes from a jazz background, so he doesn’t do what is expected, which I love.” A mention of Black Sabbath’s Bill Ward having the same background, and adding the same swing sets Gunrup off excitedly talking about a film of an early Sabbath live show. He identifies the common thread between Ward and Fadera: “Someone else would do something you had heard a thousand times before, but he won’t.”

                                                              Maybe that freewheeling element is what causes Gunrup to name “playful” as the adjective he most associates with the music of The Amazing, rather than the more obvious “melancholy”. “That’s something I feel, but maybe it doesn’t come across in the records at all. But playful – and, I don’t know, I guess it could sound a bit blue occasionally, when the vocals are there. That to me is what makes it fun to play.”

                                                              On In Transit, Gunrup’s voice is mixed a little higher than before. Snatches of lyrics gain clarity, drifting across the music like clouds. Yet you wouldn’t say he had been placed front and centre, and that suits him. “Lyrics are important to me,” he says. “But I am extremely uninterested in coming across lyrically. That is nobody’s business. If people enjoy the way the vocals interact with the music, that’s good. If not, I don’t care.” Much of his favourite music shares the quality of the vocal being a texture rather than conveying a message, he says. “If you listen to Loveless by My Bloody Valentine, I can make out maybe 11 words in one song, but I love that album more than any album ever made.

                                                              “If there are words I don’t hear, I can decide for myself what they’re saying and I like that. With 99.9% of all music made in this world the lyrics are, oh, so fucking dumb and boring and stupid. There’s no point in me adding to that stupidity. They are important to me, but you can decide for yourself.”

                                                              Work on In Transit began as soon as The Amazing’s last album, Ambulance, was finished. That’s when Gunrup began writing the 11 songs – stretching over 71 minutes – that make up the new record. He wrote quickly, then took them to the band, who recorded them piecemeal in (Fredrik) Swahn’s studio in Stockholm. “We started pretty soon after the last album was released, and did bits and pieces here and there,” Gunrup says. “It’s been forever.”

                                                              While The Amazing aren’t the kind of band who insist every album has to sound radically different from the one before. They change incrementally, adjusting and refining their sound rather than revolutionising it. Changes Gunrup had thought were dramatic – like the greater use of chorus pedals and organ on their third album, Picture You – turned out to be minor. This time, the development from Ambulance is a slightly fuller sound. “The last album was just basic tracks and vocals and that was pretty much it.” He ponders for a moment. “I was convinced the last album was better because the songs were better. But now it’s the other way round. This has got more stuff on it: more vocals, more overdubs.”

                                                              For all Gunrup’s self-deprecation, for all his unwillingness to reveal secrets and his desire to talk down his desire to deflect attention from himself, The Amazing is something he needs to do: it’s his purpose. He laughs and says that without music, “I maybe would not have killed myself, but I would have been even more boring than I am” – but he is compelled to make music, incredible music, which is why he never stops writing songs. And then he connects with the other four members to create something extraordinary. It’s about that combination, those people, playing those instruments.

                                                              “That is the essence of it, so when we all connect in a song it’s pretty nice to be in that room. That’s therapy. I pretty much see everything we do – being on my couch, the recording process – as this therapeutic thing. I don’t necessarily think we go into the studio to do this, this and this, I just want to be with those four guys and play.”

                                                              FORMAT INFORMATION

                                                              2xLP includes MP3 Download Code.

                                                              ‘Ambulance’ sees The Amazing continue their journey to a place where music is free of restrictions. Despite reflecting Chris Gunrup’s often bleak worldview, the music is expansive and beautiful, marked by playing that’s as much free jazz as rock - pure music without any showiness.

                                                              The songs unfold slowly, without a traditional verse / chorus structure, spinning gauzy webs of shimmering mystery with their own inimitable dynamic of sinuous, swirling guitars; rich, ambient basslines; crisp percussion and restrained, church-like, keyboard textures. The stately tempos suggest a room full of shadows desperately reaching out for intimacy but never quite making the connection. The songs brim over with tension and more implied release than actual relief.

                                                              Gunrup is known for his reluctance to talk about his process and prefers to let the music speak for itself and if 2015’s ‘Picture You’ was brighter, exploding outward to explore the limits of experience, ‘Ambulance’ is much more intimate. The mix denser and darker, the instruments pressing closer, crowding each other, imploding inward to reconnoitre the uncharted distances that exist between us, even in life’s most intimate moments.

                                                              Sharing members with Sweden’s psych forefathers Dungen, the album delves into the hidden recesses of the heart, finding inner space to be just as expansive as the midnight sky. It was recorded in just a few days in one tiny room at Stockhom’s Buller & Bäng studio.

                                                              The Amazing’s drummer, Moussa, is one of Sweden’s top jazz drummers and has also played with Rodriguez and Jose Gonzalez.

                                                              The video for lead track ‘Ambulance’ features Ross Marquand (AMC’s ‘The Walking Dead’).

                                                              Previously the band have performed on The Late Show with David Letterman and toured with Tame Impala.

                                                              “The Amazing specialize in a beauty that isn’t airbrushed or slick or antiseptic, it’s elemental rock - earthy, molten, aquatic, but using each of their qualities to soothe rather than destroy or intimidate.” - Pitchfork

                                                              STAFF COMMENTS

                                                              Barry says: Indie roots and melodic intonations with a tantalising mix of Jazz structures and surf-rock tinged slide guitar. Mournful moments mix seamlessly with more upbeat offerings, showing the breadth of talents on display. Sweet vocal refrains and layered otherworldly harmonies float around the fluid instrumental backdrop. Gorgeous heartwarming masterpieces.

                                                              FORMAT INFORMATION

                                                              LP includes MP3 Download Code.

                                                              The Amorphous Androgynous

                                                              The Cartel & Remixes

                                                                THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                Collectors Limited Edition Double Vinyl for Record Store Day 2014 * Hand Numbered 750 Units

                                                                A special collector's double vinyl of 'The Cartel' by the Amorphous Androgynous exploring psychsploitation (where psychedelia meets blaxploitation) on their 'MONSTROUS BUBBLE' soundtrack series.

                                                                Features original tracks from The Cartel Vols 1&2 written by the Amorphous Androgynous plus remixes by Youth, DJ Food, Black Light Cinema, Cranium Pie, Lost In Edit and by the Amorphous Androgynous themselves. Also includes 'WHERE DOES THE EVIL GO ?' featuring Alisha Sufit (Magic Carpet) on vocals and BANKSTERS which features Noel Gallagher on bass and guitar.

                                                                The Animals

                                                                We Gotta Get Out Of This Place ( The Animals Radio & TV Sessions 1965)

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

                                                                  The Alan Price Rhythm & Blues Combo, later the Animals, were the premier attraction on the Newcastle-on Tyne live circuit in 1962. They had a real edge combining a tough vocal sound, charismatic stage presence and a rich organ sound. They moved to London two years later, becoming popular on the mod scene and scoring record deals with EMI in the UK and MGM in America. They were the only British Invasion group whose every single released in the UK and in the US was a hit record at the time.This album comprises 14 recordings never previously released, taken from radio and TV broadcasts from the peak year of the Animals’ success of 1965. 

                                                                  The Animals

                                                                  Five Animals Dont Stop No Show

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

                                                                    By Summer 1966, the Animals were ready to call it a day. John Steele had bailed out back in February and Nashville Teens drummer Barry Jenkins was drafted in as his replacement. The band had decided to break up in May, but they were contracted to do a lengthy American tour along with teen stars Herman’s Hermits, so the reluctant five-piece dragged themselves over to the States to fulfil the commitment. But it turned out to be a pretty eventful tour, culminating in a trip to San Francisco where Eric Burdon saw the light. There, R&B was out but Psychedelia was very definitely in. The group cut a couple of tracks in Los Angeles with Frank Zappa, one of which, The Other Side of This Life, came out as a US 45 in November after the break up. Over on the East Coast, they played a gig at New York’s Wollman Rink Central Park on August 3rd and later on that evening, Chas Chandler had a Damascene moment after seeing an obscure, unsigned guitarist by the name of Jimi Hendrix. Chandler’s days of playing bass were over. The group’s last gig was on September 5th at the Steel Pier Resort in Atlantic City and that was it for the Animals – at least, until Eric Burdon and The New Animals made their appearance. 

                                                                    The Animals

                                                                    We’re Gonna Howl Tonight - Mono Edition

                                                                      THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                      180gm LP limited to 2000 copies worldwide. Unlike most of the London-based, middle class art school types adopting the blues, the Animals came from a tough working class area of Newcastle. Despite their somewhat scruffy appearance and what appeared to be homemade haircuts, their pure gutsy performances went down a storm around the UK. This album taken from live sessions broadcast in 1964 finds the group in fine fettle and features recordings from that first successful year when they sounded so fresh and exciting. Here they are playing blues standards by the likes of Jimmy Reed, John Lee Hooker and Chuck Berry, just like they did when they cut their debut self-titled LP that same year. They’re gonna howl tonight! All tracks in Mono.

                                                                      The Anniversary - Superdrag

                                                                      Split CD

                                                                      The coming together of these two emo-pop bands signifies the first release in a Split EP series from Vagrant Records. Three strong songs from each band makes this an easy-to-assimilate treat. Superdrag showcases a handful of songs and The Anniversary contribute three new creations too.

                                                                      The Annuals

                                                                      Sweet Sister

                                                                      North Carolina’s The Annuals have had a whirlwind ride. They released their first album, "Be He Me", in 2006 while each of their six members were only around nineteen years old. Bloggers, critics, and fans alike fell in love with the album. Two years later, they released their second album "Such Fun". The Annuals are currently embarking on their most dynamic and creative project yet, a 2010 EP release "Sweet Sister", which has been written, recorded and produced entirely by its founder, Adam Baker, in the band’s own hometown recording studio. "Sweet Sister" encompasses the pure energy that Annuals are known for: the quirky experimentalism, the intrinsic pop sensibility, the impeccable production, and the boundless independent spirit. It is electrifyingly alive, and promises to be yet another highlight in this young band’s successful and blossoming career.

                                                                      Recorded throughout the spring of 2010 by frontman and first time producer Martin Colclough, "Lifeline" is the album that everybody believed The Answering Machine could make. A departure and a knowing deviation from the sound that established the band on 2009’s angular debut "Another City, Another Sorry", "Lifeline" is a unique, intelligent and diverse LP. Stylistically extensive, the album clicks between moments of post rock magnificence to glitch-driven programming; at once inhaling a varied catalogue of influences and exhaling a body of work that will top End of Year polls.

                                                                      After working with producers from London and New York, writing songs in Tokyo, demoing in sky scrapers and honing ideas in Brooklyn, it became obvious that ‘home’ was the perfect place to pull "Lifeline" together. The cliché goes that record producers are the so-called ‘fifth member’ of the band but Manchester’s The Answering Machine decided to keep things simple and opted for an actual member of the band to produce their second album. After several successful remix projects, frontman Martin Colclough decided to step up to the role. What followed was not an expensive studio, engineers or remote location; instead the band opted for their underground practice room in the city centre. From six feet under they emerged with their lifeline.

                                                                      While journalists stalked the streets murmuring buzz words and hailing the new ‘Manchester scene’ The Answering Machine were hard to find. They were in fact below the city campaigning for change, creating a record that is far removed from people’s expectations of them, peeling all the layers of what journalists and fans had deemed them to be and avoiding being caught up in any industry onslaught on their city. They stand alone and by doing so have rediscovered themselves, their identity and uncovered a new sound. Central to this regeneration has been the acquisition of a number of vintage synths passed down from the Factory Records band Repetition. These, along with pump organs and acoustic guitars, opened up a new and more collaborative way of writing for the band.

                                                                      There are no gimmicks, stories or press angles for The Answering Machine on their second album campaign. This is because what the band have created and achieved is truly remarkable and therefore the ONLY thing worth writing about. Musically eclectic, textural and complex, lyrically sophisticated, honest and striking "Lifeline" is a very special record; the first great record of 2011. It documents a band reborn, a band who have taken the model of Radiohead and The Beatles before them, determined to make a record that sounds nothing like their last. They have succeeded with a grace and elegance all of their own.

                                                                      STAFF COMMENTS

                                                                      Laura says: Sadly, The Answering Machine have decided to call it a day, but they bow out in style with the release of the Limited Edition vinyl version of this album.

                                                                      FORMAT INFORMATION

                                                                      LP Info: Was £13.99.

                                                                      "Per/son/alien" is the The Antikaroshi's way of telling stories by using only fragments or short lyrics. Having grown up in the East German Punk & Hardcore underground and raised by direct in-your-face lyrics, with subtleties not to stir up governmental attention, The Antikaroshi try to figure out where they stand now – over 20 years later. Approaching this culture and their music with the knowledge of these circumstances, The Antikaroshi admit that whatever is created will be just a trace - the bit within the byte. So the three-piece delivers an album full of struggles, inner conflict and uncompromising emotion. The sound is deeply rooted in post-rock back and the DC Punk/ Hardcore explosion in the 90s.

                                                                      The Apartments

                                                                      No Song No Spell No Madrigal

                                                                        Eighteen years after they released their last studio album, the return of The Apartments with No Song, No Spell No Madrigal means more than just a new record to add to their perfect mythical discography. What we fnally have is an album that could have never existed, flled with every single doubt of the tortured and brilliant Peter Milton Walsh. This album carries these numerous years of absence, a deep artistic and personal history. It is a striking comeback into the world of music, eminently intimate, dreadfully universal.

                                                                        "If you care about quality songwriting, from one of the most singular talents to emerge from Brisbane in Peter Milton Walsh, you really should explore those albums." The Daily Telegraph.

                                                                        "Played with quiet grace, the eight chamber-pop songs here are alternately harrowing and redemptive, anchored by loss." – UNCUT.

                                                                        The Apartments

                                                                        The Evening Visits And Stays For Years (Expanded Edition)

                                                                        Born of the small but vibrant Brisbane punk/new wave scene of the late Seventies, Peter Milton Walsh began to cultivate the mysterious, moody myth that would follow him through out his career that has taken him around the world. But before setting out abroad, Walsh certainly made his mark on the Brisbaine scene. His band, The Apartments, formed in 1978 and spent the next year playing ample amounts of shows around Brisbaine. With a reputation that preceded him, Walsh was sought out by Robert Forster and Grant McLennan, members of one of Brisbaine's most noteworthy bands, The Go-Betweens. Having been offered an 8 album deal by Beserkly Records, Forster and McLennon asked Walsh to join The Go-Betweens as their fourth member in late 1978. The union was, however, short lived. There were personality differences, which led McLennon to famously say "Walsh is night, we are day. We're sun, he's rain."

                                                                        After the deal with Beserkly fell through, Walsh returned to The Apartments, leaving The Go-Betweens as a three piece. They went on to affectionately write a song for Walsh, entitled "Don't Let Him Come Back", which included the line "Here he comes, with his twelve o'clock junk...who's that dressed in black? Who's that in his apartment?". Things weren't sour between the two bands and The Apartments recorded their first EP, "Return of the Hypnotist" on The Go-Between's Able Label. But before the EP was even released, The Apartments broke up and Walsh left for New York City. During his time in NYC, Walsh played mustic with a number of bands and recorded many songs that would serve as demos for future releases for the still defunct Apartments.

                                                                        Returning to Australia in 1984, Walsh got the band back together and recorded a few singles, including "All You Wanted". All the while the band were also recording demos, which led to a record deal with London's legendary Rough Trade Records, prompting Walsh to move to London. It was there that he recorded his first proper LP, "The Evening Visits... And Stays for Years". The album received strong praise and drew comparisons to a wide range of acts such as Cocteau Twins, Nick Drake and Bob Dylan. The NME said of the record "after whetting our appetites with last year's classic import single 'All You Wanted' The Apartments have stunned us to a reverential silence. This album is a pure heart-wrencher, and should only be listened to after dark.".

                                                                        Although The Apartments and Walsh continued to tour and record with a variety of line ups, it is these early works that provide a definitive look at their sound. Available all together for the first time, Captured Tracks are pleased to present "The Evening Visits... And Stays for Years" along with "The Return of the Hypnotist", the "All You Wanted" single and a collection of demos from "The Evening Visits...". Complete with liner notes by Robert Forster and Walsh himself, this incredible collection of Walsh's first seven years of recordings is not to be missed.

                                                                        FORMAT INFORMATION

                                                                        2xLP includes MP3 Download Code.

                                                                        The Apples In Stereo

                                                                        Velocity Of Sound

                                                                          For their fifth album, Velocity of Sound, the Apples in stereo cranked up the guitars and made what Robert Schneider proclaimed is their ode to The Ramones. This set of short tunes, most of which clock in at under three minutes, had Pitchfork saying, “if you’ve got a sweet tooth, Velocity of Sound does provide a few irresistible vending machine snatcks.”

                                                                          FORMAT INFORMATION

                                                                          LP includes MP3 Download Code.

                                                                          Odion Livingstone present another essential reissue from the Nigerian archives, the first ever international release of The Apples’ essential Afro-funk LP rarity ‘Mind Twister’. As part of the St Gregory’s student band scene in Lagos during the late ‘70s alongside Ofege, Grotto and more, Apples were picked up and produced by legendary EMI Nigeria producer Odion Iruoje who added overdubs to the album at Abbey Road in London with Curved Air keyboardist Francis Monkman.

                                                                          The band met and formed in Lagos. Bandleader Frank Ikpefuran teamed up with Georges Vieira from the American School and brothers Clifford and Gerard Nagi who were studying at “St Greg’s” in Lagos, and remembers, “I must have been 19 years old when I met Clifford. We used to hangout on Victoria Island, watching bands play and jamming with them. That’s how we met Georges. We all listened to Jimi Hendrix, Santana, Idris Muhammad and the Beatles.”

                                                                          “We started jamming with Clifford on the guitar, his brother Gerard on the bass and Georges on the guitar. We chipped in with song ideas, with the group contributing arrangements and refining things until we were satisfied. The band had a natural sound, which stemmed from the chemistry we had. It was a strange chemistry, we were an odd combination from different backgrounds but when we played, something happened…”

                                                                          After landing a residency at Tee Mac’s club in Surulere, Apples auditioned for Odion Iruoje who arranged recording dates and cut the record. For a young band, Iruoje was surprised by the quality of the band, adding in extra keyboard parts from Lemmy Udofia and Francis Monkman, founder of Curved Air and session man for Kate Bush, Sky and music libraries like BBC Music, Bruton and KPM. Iruoje remembers, “their playing added a layer of sophistication and sheen without encumbering proceedings.”

                                                                          This definitive edition of Apples’ ‘Mind Twister’ features new interviews with bandleader Frank Ikpefuran and producer Odion Iruoje and has been fully remastered by The Carvery.

                                                                          STAFF COMMENTS

                                                                          Patrick says: Supercharged Afro-funk excellence here on this tasty reissue from the marvellous folks at Odion Livingstone. A staple of the Lagos live music scene in the late 70s, the Apples were famed for their powerhouse sets and frazzled grooves!

                                                                          The Aquarium is a duo featuring Jason Hutto on keyboards and vocals and Laura Harris on drums. Jason's layering of overdriven electric piano and keyboards creates surprising depth and ample texture for Laura's rollicking back-beats.

                                                                          The Aquarium only plays a handful of shows each year yet have attracted a dedicated following with their hypnotizing instrumentals and frantic vocal compositions. In addition to performing with The Aquarium Laura also plays drums with Benjy Ferree (Domino Records).

                                                                          Jason has toured with Edie Sedgwick, and played guitar in Motor Cycle Wars. In 2006 Dischord released the band's self-titled debut full-length. The Aquarium’s newest release is a two-song seven inch, mixed by Brendan Canty (Fugazi) and produced by Benjy Ferree.

                                                                          Features current and ex-members of Chain & The Gang, Pygmy Lush, and The Shirks. Moody lo-fi garage rock.

                                                                          Coasting into town on fumes, late and not speaking to each other because nobody would stop to ask for directions,The Ar-Kaics take their cues from the first wave of ‘60s punk — American teenagers taking cues from the British Invasion, in turn taking cues from pilfers of the hinterland originators — with the added vantage of several subsequent decades worth of wayward balladeers, no names and psychedelic rock hangovers.

                                                                          The Ar-Kaics have been delivering their off-brand, spot-on garage rock originals out of Richmond, VA, via a flood of small press singles and a s/t debut album - all of which have since become highly desirable in the collectors market - and several successful DIY tours across the lower 48, with shows in Canada and Europe to boot. Since, they've drifted around some, gotten and lost jobs, opened a record store and label, and started families.

                                                                          In the summer of 2015 the group hooked up with Wayne Gordon and Mikey Post, of Wick Records to record a couple tracks at the Daptone Records' House of Soul - resulting in 2016's critically acclaimed - Just My Life b/w It's Her Eyes 45.

                                                                          After the success of their debut single on Wick, plans were hashed to record their sophomore full-length, which took place over three days in the Spring of 2017, at Adrian Olsen's Montrose Studio in Richmond, VA.

                                                                          Produced by Wayne Gordon (Black Lips, King Gizzard and the Lizard Wizard, Jon Spencer Blues Explosion), and Mikey Post (Reigning Sound, The Jay Vons) the fruits of the heady three day retreat produced the forthcoming Long Player, "In This Time"...a low-brow journey through the Teen-Beat sounds of the 1960's...and beyond! From the opening, crude thud of "Don't Go With Him", the Velvet Underground tinged swagger of "She's Obsessed with Herself", the breezy, late-period psych of "Long Way Down", to the unpretentious, sap-free balladry of "It's Her Eyes" - The Ar-Kaics flex their deft understanding of the subtle intricacies that defines bonafide Garage Rock.

                                                                          In spite, the band remains, taking its time with In This Time, void of professionalism or self-preservation, just an unquenchable thirst to lap it up and pass it around — the good stuff that is — before it’s all gone.

                                                                          The Arcs

                                                                          Outta My Mind / My Mind

                                                                            The Arcs are Dan Auerbach, Leon Michels, Richard Swift, Homer Steinweiss, Nick Movshon, Kenny Vaughan, and Mariachi Flor de Toloache. In advance of their debut album, Yours, Dreamily, which will be released on September 4 on Nonesuch Records, they release a limited edition 7-inch single, available only at independent retail outlets. The single includes the songs ‘Outta My Mind’ and non-album track ‘My Mind’. This is The Arcs’ second 7-inch single, following the earlier release of ‘Stay in My Corner’ and non-album track ‘Tomato Can’, two boxing tales inspired by the Floyd Mayweather vs. Manny Pacquiao match in May 2015.

                                                                            The Arcs collaboratively wrote and recorded 13 tracks for the forthcoming album Yours, Dreamily, with the musicians playing a large array of roles both vocally and instrumentally. Co-produced by Auerbach and Michels, the album was recorded in roughly two weeks through spontaneous, informal sessions across the country at the Sound Factory in Los Angeles, the Diamond Mine in Queens, Auerbach’s Easy Eye Sound in Nashville, and in a lounge room at Electric Lady in Manhattan. Tchad Blake mixed the album on his horse farm in Wales.

                                                                            Yours, Dreamily, is the debut album by The Arcs, who are Dan Auerbach, Leon Michels, Richard Swift, Homer Steinweiss, and Nick Movshon. Also featured on the album are Kenny Vaughan, and Mariachi Flor de Toloache. Yours, Dreamily, includes the singles ‘Stay In My Corner’ – about which NPR Music wrote, ‘It's got a slinky, timeless feel, propelled with alluring ease by Auerbach's falsetto and a lush instrumental backdrop befitting The Arcs' roster’ – and ‘Outta My Mind’, ‘A great of slab of loose, catchy, psych-rock blues,’ in the words of the NME. 

                                                                            The Arcs collaboratively wrote and recorded 13 tracks for Yours, Dreamily, with the musicians playing a large array of roles both vocally and instrumentally. Co-produced by Auerbach and Michels, the album was recorded in roughly two weeks through spontaneous, informal sessions across the country at the Sound Factory in Los Angeles, the Diamond Mine in Queens, Auerbach’s Easy Eye Sound in Nashville, and in a lounge room at Electric Lady in Manhattan. Tchad Blake mixed the album on his horse farm in Wales.

                                                                            The Arlenes / The Corb Lund Band

                                                                            Stuck On Love / Five Dollar Bill

                                                                              Third release in the Loose Recordings Vinyl Junkie series. Numbered 7", limited to 500 copies. One side features The Arlenes "Stuck On Love" from the wonderful debut album of the same name. The flip has a track from the forthcoming Corb Lund Band album.

                                                                              Tom Armstrong

                                                                              The Sky Is An Empty Eye

                                                                              Tompkins Square's recent double-LP, Imaginational Anthem vol 8 : The Private Press shed light on forgotten, impossibly rare guitar recordings spanning several decades. Tom Armstrong's The Sky Is An Empty Eye is the first of several reissues planned by Tompkins Square of full albums by artists featured on IA8. Armstrong's self-released LP from 1987 sports blissed out acoustic numbers like the one featured on IA8, along with some electric workouts and even a deep pysch vocal tune. Tom's main mode of distribution for the album was handing the LP to drunken patrons at a bar in Pinos Altos, NM. Now Tompkins Square makes it a bit easier to acquire.

                                                                              In his own words, today : I was born in Elmhurst IL, lived there 29 years. Had a brief career playing open mikes and bars for tips, drinks and nominal cash payments, even gave some guitar lessons. In 1984 I was offered a half partnership in an engineering firm in Dallas, so I moved to Texas. Made a big pile of money. My wife bought me a Tascam 4 track recorder for my birthday, I went crazy with it. Recorded a bunch of melodies that had been rattling around my brain since I was 8 years old. Liked what I heard, decided to make an LP. It wasn't too hard to track down a studio to master my 4 tracks. By this time I was an old hand at graphic design for promotional material, so I designed the cover myself. Handed the albums out to business associates, as promotional material for other business interests, at a drunken open mike at a bar in Pinos Altos, NM. I continued to record for about another 10 years, blues rock, pop. Really refined my recording skills. Still play once in while, but I'm an old fart now, with all the baggage that entails.

                                                                              The Arm

                                                                              He Builds Bombs

                                                                              West Midlands math-rock trio The Arm return with this four track EP hot on the heels of their acclaimed debut on Speedowax. On "He Builds Bombs", The Arm have stepped up the intensity with a relentless assault of frenzied rhythms, razor-edged guitars and acid-damaged electronica.

                                                                              Cult new wave band The Art Museums tell sordid tales of artists, lovers, and poseurs. Bay Area psych burnouts Josh Alper and Glenn Donaldson converged in San Francisco in the summer of '09 to record Anglophile jams on a Tascam 388 tape machine (state of the art home-recording circa '85). Rough Frame is their debut LP for the Woodsist label. They would make a hi-fi studio record if they had the money, but reviewers would probably still say it was lo-fi.

                                                                              The Art Museums are into: art, poetry, Whaam! Records, and films about Mods. The Art Museums are not into: flared trousers, drip coffee, or dirty sneakers.

                                                                              STAFF COMMENTS

                                                                              Darryl says: Cool and intelligent lo-fi indie-pop, kinda like a Beat Happening for the new decade. Another biggie from the Woodsist stable.

                                                                              An intensely quiet trip inspired by Tarkovsky movies, Feldman’s long works and essentialist jazz. It sees Arthurs expand his long-time duo with pianist Richard Fairhurst to a trio with the inclusion of Finnish percussionist Markku Ounaskari. Fragile and deep, mysterious and nocturnal, romantic and entrancing. There was a striking, yet entirely coincidental proximity between these new tunes and the folk pieces Ounaskari had earlier recorded with his Kuára-trio on ECM.

                                                                              For ‘One Year’ Arthurs kept reshaping the scores, from changing comparatively minor details to turning entire arrangements upside down. Since the bulk of the original material comprised of fragments, he was able to shift sections from one piece to the next in search of their ideal position. The inspiration had come from film: “I was deeply impressed by how Tarkovsky edited his masterpiece ‘Mirror’. He had no story, no plan, no storyboard. He just shot a lot of material and then, for two years, he had these clothes lines in his house and was putting together the scene into different forms until he had the movie.” 

                                                                              Tatsuhiko Asano

                                                                              Genny Haniver

                                                                                Alec Empire set up the Geist label specifically to release Asano's work... and five years later, lo and behold, it's here! Guitar and electronic fiddling, includes a MS-20 patch diagram on the back, so you can recreate the music at home!

                                                                                The Assassinations

                                                                                Future Blasts From The Past

                                                                                'All you need to make an album is a girl and a gun.' Jean Luc Godard. Sex, death, rock-n-roll. The Assassinations is a band, an album and an idea. Is there any more appropriate name for a rock'n'roll band during a decade in which suicide bombs, ethnic cleansing, and kidnapping have become like muzak on the TV news. The Assassinations is rock-n-roll that revels in the signs of the times. The band also has two asses in its name. The Assassinations is latest incarnation in the career of Berlin music legend and agent provocateur Ghazi Barakat. A mainstay of the city's underground music scene since the early 90s, Barakat was the founder and singer of garage noise outfit the Golden Showers. He also performed as part of 'Give Up', a Digital Hardcore-affiliated band with Shizuo's David Hammer and Cobra Killer's Annika Trost. The nine tracks on "Future Blasts From The Past", which is the first release on Barakat's new label Hashishin Records, were recorded between 2006 and 2007 with engineer and producer Tico Zamora at his Polytrash studios in Berlin. Barakat roped in a selection of able friends and conspirators: Tim Gane of Stereolab, Fred Bigot (aka French art-techno one man band Electronicat), Taylor Savvy, Nicole Morier from Electrocute and, most extravagantly a brass ensemble from the Himalayas (Hindulam Ensemble).

                                                                                The Associates

                                                                                Fourth Drawer Down - Expanded Edition

                                                                                Formed in in 1976 by Billy McKenzie and Alan Rankine, The Associates made lavish, genrebending cabaret pop.

                                                                                The original release of ‘Fourth Drawer Down’ gathered The Associates’ inventive, genre-defying singles released by Situation 2 on one album.

                                                                                The group’s story is filled with wonderful anecdotes (chocolate guitars on Top Of The Pops, whippets with their own hotel room) but it’s their wildly-inventive music capped by Billy’s stunning vocals, that ensures their place in pop music history.

                                                                                This new CD edition expands the original single album to a 2CD collection with a 28 page booklet featuring lyrics, new liner notes, previously unpublished photos and rare memorabilia.

                                                                                The Associates

                                                                                The Affectionate Punch - Expanded Edition

                                                                                Formed in in 1976 by Billy McKenzie and Alan Rankine, The Associates made lavish, genrebending cabaret pop.

                                                                                Their debut album, ‘The Affectionate Punch’, further cemented their growing reputation as sometimes startling, often enthralling innovators.

                                                                                The group’s story is filled with wonderful anecdotes (chocolate guitars on Top Of The Pops, whippets with their own hotel room) but it’s their wildly-inventive music capped by Billy’s stunning vocals, that ensures their place in pop music history.

                                                                                The original album on CD1 is newly re-mastered from ¼” tape. CD2 features rare and unreleased tracks.

                                                                                28 page booklet features lyrics, new liner notes, previously unpublished photos and rare memorabilia.

                                                                                After their first release on Deeplak in 2017, Lars Bartkuhn and Aybee return as The Astral Walkers with a brand new 12", this time on the incomparable NEEDS (not wants) imprint. The two friends continue to break boundaries of nowadays often narrow minded dance music by using the broadest palette of musical ingredients they could possibly put together for their special studio session.

                                                                                While Astral Stroll is a spaced out groover featuring some of Aybee's trademark rhythms and mysterious pads, Full Expansion
                                                                                explores in nearly 15 minutes what dance music is ideally about for the duo. A fearless journey that begins with esoteric waves of sound blending into futuristic jazzfunk worlds where the dancer can get
                                                                                truly lost. Elevating choirs, virtuous bass lines, sparkling guitars and lush pads altogether flow into a grand finale that can only be described as a true anthem and epic journey.

                                                                                In times where one can repeatedly hear that music doesn't really matter anymore, Aybee and Lars made a record to prove the opposite is true. Don't Fear The Sound is a sincere and bold statement by two pioneering producers and an invitation for the dancer to get lost in every note and moment of the music. 

                                                                                The Astro-sound Of Magnificence

                                                                                Astro Sounds From Beyond The Year 2000

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

                                                                                  Swirling guitars and proto-ambient electronica sounds from many light years away!

                                                                                  The Astro-Sound of Magnificence, from Beyond the Year 2000...a unique capsule of a funky, psychedelic rhythm section jamming, with snarling, stabbing and swooshing cranked-up-to-infinity electric guitar voyages piloted by Wrecking Crew veteran Jerry Cole, polished and primed for takeoff with a string section playing eerie, beckoning melodies in unison. These are the sounds of epiphanies concerning the future, space and sounds on the horizon, circa 1969.

                                                                                  The tracks for this album were recorded by Cole and other players during sessions for a separate longplayer and were deemed to be outtakes; the details as to how they became Astro Sounds From Beyond the Year 2000 are dark and distant, but the 10 tracks here were first issued sans strings in 1967 as The Animated Egg, with alternate song titles. Two years later the recordings were overdubbed with the swirling, piercing phase-shifted strings mix you hear here, creating a spectacular fusion of psych-rock, R&B, easy listening and fuzz guitar, with hints of the coming worlds of ambient and electronica.

                                                                                  These truly are the far out sounds of tomorrow’s unchartered trip, as the original album jacket proclaims—come aboard, launch and listen.

                                                                                  “My only regret is I didn't know just how good this stuff was at the time. Sure, I knew we were on to something. But really, 'After Murder Park’ ...fucking Woah!” Luke Haines, 2014

                                                                                  After Murder Park is the third album from The Auteurs, originally released in March 1996.

                                                                                  Recorded in under two weeks at Abbey Road Studios, it marked a new direction and needed a new sound provided by the production of Steve Albini. Luke Haines considers the recording sessions the high point of The Auteurs career.

                                                                                  The expanded edition, compiled by Haines, features a wealth of bonus material including key B-sides, a John Peel session plus the entire unreleased recording of their Black Session recorded for Inter France radio station in March 1996.

                                                                                  The Auteurs

                                                                                  How I Learned To Love The Bootboys - Expanded Edition

                                                                                  The Auteurs fourth and ultimately final album, How I Learned To Love The Bootboys was released in July 1999, a 3-year gap since their previous release, After Murder Park, a period during which Luke Haines released albums as part of Black Box Recorder and under the guise of Baader Meinhof.

                                                                                  This expanded edition, compiled by Luke Haines, features 40 tracks including key b-sides and rarities plus 5 previously unreleased tracks. The second disc features the band’s final gig recorded at London School Of Economics in November 1999. This is the first time it’s been on CD, having been briefly available as a download previously.

                                                                                  “On listening to '...Bootboys' again, I'm actually surprised how focussed it sounds. There's a straightforward 'pop side' and an unstraightforward 'experimental' side. My only regret is not putting more on the album – really stretching it out and making it a sprawling double, songs like 'Breaking Up' and 'Get Wrecked At Home' were far too good for B-sides.” Luke Haines 2014

                                                                                  Originally released in May 1994, Now I’m A Cowboy was The Auteurs second album. Produced by Phil Vinall and Luke Haines, it was a more than worthy successor to the Mercury Music Prize nominated New Wave and is home to probably their best known song, Lenny Valentino.

                                                                                  The 2CD expanded edition, compiled by Luke Haines, features a wealth of bonus material including key b-sides, 2 complete BBC radio sessions of the time plus an unreleased live recording of the band performing at Leeds Town And Country Club in December 93 where they supported The The.

                                                                                  By day John Stirratt and Patrick Sansone sell thousands of albums and tour the world as members of indie juggernaut Wilco, while lending their writing, playing and producing abilities to dozens of high-profile recordings. But by night these renowned pros are able to sit down, relax and create something special that comes straight from the heart of why they pursued music as a career - and that's the Autumn Defense.

                                                                                  After releasing 2007's The Autumn Defense on their own Broadmoor label, Stirratt and Sansone have teamed up with North Carolina's Yep Roc Records to release their latest full-length effort, "Once Around".

                                                                                  For the past nine years, this pair of Southerners-turned-Chicagoans has quietly been nurturing the reverent, classic pop of the Autumn Defense. Though the outset of the band saw Stirratt handling the bulk of the songwriting while Sansone lent his talents to production, the duo has steadily evolved into a partnership in both respects. From 2000's debut effort "The Green Hour" to the critically lauded, salt-of-theearth folk rock of 2003's "Circles", the Autumn Defense developed its late afternoon kickback sound like a fine wine develops and deepens - with time.

                                                                                  "Once Around" is a formidable tapestry of thoughtful, intricate sunshine wrapped around a core of timeless, experienced songwriting. It's the kind of record that needed to be made, for the audience but also for the artists. The result is a distinctly Autumn Defense record, full of lush melodic textures, invitingly delicate pop arrangements and frequents nods to the AM gold, soul and radio rock that dominated the group's formative years.

                                                                                  Broken Horse present the self titled and 3rd album by Wilco offshoot The Autumn Defense (John Stirratt and Pat Sansone of Wilco). After the release of their second album in 2003, The Autumn Defense, multi-instrumentalists John Stirratt and Pat Sansone, realized that there was indeed an audience for their Simon & Garfunkel/Bread influenced soft-rock that they hadn't truly appreciated, and like most things took some time to develop. "The Autumn Defense" is the culmination and continuation of what the band has reached for in the last two records, from the Philly-soul of "Feel You Now", to the baroque "Estate Remains", the bossa "City Bells" to the classic Southern-California sound of "We Would Never Die." Playing this album next to Wilco's Sky Blue Sky which followed "The Autumn Defense" a few months later, it becomes clear how integral both Stirratt and Sansone are to the current Wilco sound in what is looking likely to be it's most successful and enduring line up.

                                                                                  Do you remember what you were doing fifteen years ago? I do. I was a fifteen year old kid from the burbs, spending my summer playing football and recreating WWF classics in the back yard while dressed like a nerdish Eminem (bleach blonde hair and everything). Then a wacky-ass radio track packed with film snippets and horse noises worked its way into my teenage brain and changed things for good. The Avalanches were insane, inspired and in full effect; following the 'horse song' ("Frontier Psychiatrist") with a soulful and swooning summer jam ("Since I Left You") which has played in my head ever since. Family Allowance firmly in hand I took my privilaged ass off to the Market Hall, picked up a CD copy of this album and spent the whole bus journey home feasting my eyes on the liner notes and sleeve artwork. As I hit the play button on my naff home stereo, I was whisked away Dorothy-style and taken on a head spinning journey through 50 years of popular music. Leaving the monochrome mundanity of Bolton behind, I soared through technicolour stage sets of paradise islands, Brooklyn block parties and countryside BBQs, Sci-Fi spectaculars and rewired romances as 3,500 samples were sticky taped together before my very ears. The plunderphonic sound of six men who spent their adolesence rummaging through the bargain bins of Melbourne's record shops, "Since I Left You" applies hip hop's cut'n'paste mentality to the full gamut of weird and wonderful pop, from exotica to erotica, disco and funk to lounge and psych. Unlike anything I'd ever heard before, and better than any imitators I've heard since, The Avalanches are truly in a class of their own.  

                                                                                  In a collage of fuzz guitars, tuning radios, pitched up soul samples, pitched down exotica records, and a whole lot of background chatter, The Avalanches return after an unprecedented 16 year wait. Created by the band’s core duo - Robbie Chater and Tony Di Blasi – "Wildflower" is nothing less than The Beach Boys’ "Smile" reimagined in the Daisy Age - a mind-bending cartoon road movie that’s best viewed with closed eyes and an open mind. Unmistakeably the work of Australia's sample kings, "Wildflower" is a Technicolor kaleidoscope of everything great and groovy about music, blessed with the warm and dreamlike aesthetic we first fell in love with on the sublime "Since I Left You". A throwback to those halcyon days when artists made albums, as opposed to a couple of radio singles and eight tracks of filler, The Avalanches sophomore LP drifts from one track to the next, taking us on a tripped out tour of downtown Melbourne in the summer time.

                                                                                  Lead single "Frankie Sinatra" divided the critics on its initial release, making a marmite statement with its oddball calypso samples, oompah brass and unhinged lyrics from Danny Brown and MF DOOM. Here, nestled comfortably between the gorgeous summertime soul of "Because I'm Me" and the sampledelic disco of "Subways", the track makes perfect nonsense. The inner city synth pop of "If I Was A Folkstar" strolls through the sunshine like a laid back relative of Cut Copy's "Bright Like Neon Love", while the spectral "Colours", featuring some heavily treated vocals from Mercury Rev's Jonathan Donahue, is as dreamy and doped up as pop music gets. Elsewhere Ariel Pink, Father John Misty, Warren Ellis (Nick Cave & the Bad Seeds)  and Toro Y Moi’s Chaz Bundick make cameos, as does Biz Markie on the light-hearted, full stomached old school hip hop of "Noisy Eater". The dusty sixties soul of "Harmony" leaps out the grooves in the middle of a succession of dreamy sketches (in a day-glo Dilla style) before the triple threat of "The Wozard Of Iz", "Over The Turnstyles" and "Sunshine" form the apex of an outstanding LP. "Kaleidoscopic Lovers" and "Stepkids" serve up a pair of pastoral love songs before the driving haze-gaze of "Saturday Night Inside Out" leads us off into the sunset with the widest smile of our lives. Against all odds and expectations, The Avalanches have done the impossible, following up an instant classic with a second album which is even better than the first. If we have to wait another sixteen years for the next one, at least we'll be waiting in the company of two flawless records. 

                                                                                  STAFF COMMENTS

                                                                                  Patrick says: In the words of hapless Sky Sports pundit Chris Kamara - 'unbelievable Jeff'. Somehow, The Avalanches pulled off the unprecedented achievement of following up a classic debut album with something even better! The fact that it took them sixteen years surely only makes it more remarkable. As it leads us from the crowded streets of the big city to the pastoral calm of the countryside, 'Wildflower' emerges as a dreamy collage of all the warmest bits of pop music, with the day-glo silliness of ‘Since I Left You’ still alive and well. Where their debut was defined by an unprecedented quantity of samples, ‘Wildflower’ sees Robbie Chater and Tony Diblasi enlist a close knit group of collaborators and vocalists to lend their sampledelic symphony a greater sense of togetherness and community, revealing the heart and soul beneath the psychedelic haze. It’s a wonderful thing, in the truest sense of the word.

                                                                                  Andy says: You might be thinking: Hey, this isn't Dad Rock! And you'd be right. But you'd also be wrong, as this reminds me of a dazzling trip in the sixties LA sunshine, with all those groovy psychedelic pop songs drifting through the air, where peace, love and melody were king, and people still believed in the power of music to TRANSFORM!

                                                                                  FORMAT INFORMATION

                                                                                  2xDeluxe LP Info: Deluxe quadruple gatefold sleeve, double 180g vinyl, poster.

                                                                                  Vinyl comes with CD version of the album enclosed.

                                                                                  Vinyl comes with CD version of the album enclosed.

                                                                                  Teo Azevedo

                                                                                  Grito Selvagem

                                                                                    Released in 1974, Téo Azevedo’s first album Grito Selvagem (“Wild Shout”) is an irresistible blend of soul and rock with an unmistakable Brazilian character. As many other lost gems of time past, the album found little commercial success, and still during the 70s Téo turned forever to the true Brazilian popular music – the forró, the roots of sertanejo and the rhythms and traditions of Brazil’s often forgotten countryside – becoming, from then on, a genuine cultural reference in Brazil not only as musician and composer, but also as a poet and researcher of popular folklore, being awarded the Grammy Latino prize in 2013. This career turn also contributed to push “Grito Selvagem” onto the dusty and forgetful shelves of time, until its rediscovery in recent years by DJs and record collectors. With lyrics reminiscent of the life in the city and the countryside, the album is one of Brazil’s forgotten treasures, with arrangements and production by Téo in partnership with maestro Daniel Salinas – producer / arranger very active in the Jovem Guarda movement, and known to collectors for his 1973 album Atlantis-, ten tracks which deliver the unmistakable groove you’ll only find in Brazilian records from the 70s. If you like Luiz Gonzaga, Tim Maia, Jackson do Pandeiro or Gilberto Gil, get ready to hear Téo Azevedo and his Grito Selvagem!

                                                                                    The Babies

                                                                                    The Wilds

                                                                                    LebensStrasse Records are very proud to present the EP "The Wilds" 7”, from the much loved and wildly band The Babies. In a limited and hand numbered edition of 500 copies.

                                                                                    The Babies are a New York adventure, comprising the Vivian Girls frontwoman Cassie Ramone, the bassist from Woods Kevin Morby, the Bossy’s drummer, Justin Sullivan and Nathanael Stark. With releases out already on Keep It Yours Records and Shrimper (their 2011 debut long player), there has been much excitement about this ultra-limited EP.

                                                                                    LebensStrasse say; 'Their songs portray, in a beautiful and intense way, the experience of those who, consciously or unconsciously, are facing the contradictions of a city, wanting to live there like in a house full of friends on the beach front. If they were a drawing, they would be a tattoo illustrating a trip, which departed, then with the skin covered by the dust of a desert road, sometimes with the hair covered by the wave’s foam in an endless and empty beach.'

                                                                                    The Babys

                                                                                    On The Edge

                                                                                    Often described as a 'turntable band' (played a lot but few sales) The Babys really were on their last legs by the time they recorded this 1980 album. There is so much quality in both songwriting and performance on thaes reissues it's hard to say what went wrong--most of it has to be down to bad timing, if you like hard tight rock licks this is the stuff for you.

                                                                                    The Bakelite Age


                                                                                    First in a new limited edition series of 7" only releases from hot new Melbourne label In-Fidelity (they release the Datsuns and Dirtbombs in Australia), and kicking it off is new Melbourne three piece the Bakelite Age. Clever, raw and melodic - like the Ramones meets the Lemonheads. Only 200 of each of this series being pressed to start with.

                                                                                    What do The Blackbyrds, Gil Scot Heron, Sly & The Family Stone and even The Steve Miller Band have in common? On "Avid Sounds" the brand new Baker Brothers album, these legendary acts get lots of love as Dan and Rich Baker and Chris Pedley lovingly revisit their favourite soul and jazz funk anthems and update them with the Baker Brothers twist and recruit a famous name or two to assist! The album opens with Vanessa Freemans' faultless vocals taking the spotlight on "Family Tree", then we are fired into orbit as the band stamp their own identity on the wonderful disco-jazz delight that is Manzel's "Space Funk". Hamish Stuart from legendary Scottish soul-funksters The Average White Band sings on The Baker Brothers version of Sly Stone's "If You Want Me To Stay". Steve Miller's soulful psyche-rock anthem "Fly Like An Eagle" is next up for a punchy Baker Brothers reworking, synthesizer and organ throb gleefully together as hornsman Matt McNaughton rests his brass and gives his tonsils a workout. with other covers including Gil's "John Coltrane And Lady Day" and Babe Ruth's b-boy favourite "The Mexican", this CD looks set for big things.

                                                                                    I Blame Society is the third album from New York trio The Ballet and their first for new label Fortuna POP! Unashamedly “sissy” and explicitly queer, The Ballet marry the DIY queer ethos of the Hidden Cameras with the wry poeticism of The Magnetic Fields to create literate, infectious pop gems.

                                                                                    I Blame Society is a continuation of the lyrical themes and songwriting style found in the band’s two previous self-released albums (Mattachine! [2006] and Bear Life! [2009]), though with slightly pared down arrangements and a nuanced production, which highlights songwriter Greg Goldberg’s strengths. Inspired by Stephin Merritt’s body of work, Goldberg draws from an array of pop artists and periods, from 60’s bubblegum to 80’s synthpop and 90’s indiepop, fusing these in sophisticated and novel ways which rewards repeat listening.

                                                                                    Avoiding autobiographical or confessional modes, Goldberg nonetheless mines his own psychological constitution and intellectual interests to craft songs whose overt musical prettiness is often contrasted by a dark and complex subtext. I Blame Society addresses a number of queer themes, offering a nuanced and refreshing perspective on contemporary queer issues, subtly balancing queer melancholy with self-deprecating humour and stubborn utopianism. While some queer musicians shy away from articulating a connection between their sexuality and musicianship, The Ballet have often contended the opposite: that they are “a bunch of queers who just happen to be in a band.”

                                                                                    Formed in 2005 by Greg Goldberg and Craig Willse (who are both professors and met whilst at graduate school) with Marina Miranda (who they met at a party), The Ballet are still going strong after eight years of pop magic, retaining their original line-up. That’s not to say they haven’t gone through some line-up changes over the years. Acquired bandmates Ginger Brooks Takahashi and Michael O'Neill left in 2007 to join JD Sampson in MEN. Indiepop luminaries such as Linton from The Aislers Set and Ramesh from Voxtrot have also made guest appearances on previous albums, as have Kaki King and Scott Matthew.

                                                                                    The Bamboos hail from Australia and picked up a huge amount of fans on the back of their first limited edition self funded 45. From this they released a single on Kenny Dope and Deb Darge's Kay Dee label which helped cement their reputation amongst the world's funk community. The album collects together the first single, as well as new versions of the Kay Dee releases, alongside new tracks. These include two cuts with Alice Russell, the funk bomb "Step It Up" and the cover version of Afronaught's broken beat classic "Transcend Me". Having toured as the backing band for the Quantic Soul Orchestra and Alice Russell in Australia, as well as in their own right, the one thing you can be guaranteed about The Bamboos is that musically they are supertight!

                                                                                    The Band In Heaven

                                                                                    The Boys Of Summer Of Sam

                                                                                      Summer is gone, friends, and with the cold bleak months that lie ahead of us in the Midwest, we're excited to unleash another unsettling dose of the band in heaven, churning forth two more direct hits of skull-softening Middle-Eastern tinged space rock destined to drain the fluids from your ears, while seductively stealing your valuable organs for the black market. Since our last release with this West Palm Beach, Florida unit, they've kept true to their style, creating a sinister apparitional vibe out of an inanimate round grooved object, and devolving into a pit of repetition, begging the question, is it heaven or hell? Mastered by Spacemen 3's Sonic Boom, you can't help but feel the soiled sordid psychedelic residue sticking to the dark corners of both tracks here, pulling together even more blackness from this Florida sunshine than ever previously imagined, and settling the tone for the worst case scenario.

                                                                                      From the fringes of it's echoing, searing riffs to the cold and unusually cruel rhythms eclipsed only by the penetrating repetition, the band in heaven is the answer to a question you still don't understand, and another reason to look past your outdated boundaries and dive head-first into the undulating abyss. Just as with their debut 7" EP, this new single traps you in a vertigo-inducing vortex of modern psychedelic reverberation, washing you over with waves of petrochemical pleasure, as it takes root deep in the farthest recesses of your mind. -

                                                                                      Recommended for fans of A Place To Bury Strangers, Soft Moon, Jesus & Mary Chain, Black Tambourine, Warlocks, Teepee, The Kills, Slowdive, Black Angels, Brian Jonestown Massacre

                                                                                      400 copies Black vinyl.

                                                                                      The Band

                                                                                      The Band

                                                                                        "The Band's first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes from the union worker in "King Harvest (Has Surely Come)" and the retired sailor in "Rockin' Chair" to, most famously, the Confederate Civil War observer Virgil Cane in "The Night They Drove Old Dixie Down." The album effectively mixed the kind of mournful songs that had dominated Music from Big Pink, here including "Whispering Pines" and "When You Awake" (both co-written by Richard Manuel), with rollicking uptempo numbers like "Rag Mama Rag" and "Up on Cripple Creek" (both sung by Levon Helm and released as singles, with "Up on Cripple Creek" making the Top 40). As had been true of the first album, it was The Band's sound that stood out the most, from Helm's (and occasionally Manuel's) propulsive drumming to Robertson's distinctive guitar fills and the endlessly inventive keyboard textures of Garth Hudson, all topped by the rough, expressive singing of Manuel, Helm, and Rick Danko that mixed leads with harmonies. The arrangements were simultaneously loose and assured, giving the songs a timeless appeal, while the lyrics continued to paint portraits of 19th century rural life (especially Southern life, as references to Tennessee and Virginia made clear), its sometimes less savory aspects treated with warmth and humor." - All Music.

                                                                                        STAFF COMMENTS

                                                                                        Andy says: Just as good as the first, maybe without the same impact. Includes the world-classic "The Night They Drove Old Whiskey Down".

                                                                                        FORMAT INFORMATION

                                                                                        LP Info: Back to black vinyl edition.

                                                                                        LP includes MP3 Download Code.

                                                                                        The Band

                                                                                        The Last Waltz (40th Anniversary Edition)

                                                                                        On Thanksgiving Day 1976, The Band took the stage for the very last time at the Winterland Theatre in San Francisco. The concert, aptly billed as The Last Waltz, has become one of the most revered performances of all time. For the show, Rick Danko, Levon Helm, Garth Hudson, Richard Manuel, and Robbie Robertson were joined by an all-star group of music pioneers, including Eric Clapton, Neil Diamond, Bob Dylan, Ronnie Hawkins, Dr. John, Joni Mitchell, Van Morrison, Muddy Waters, and Neil Young, among others. The evening was captured on film by director Martin Scorsese. Released theatrically in April 1978 to critical acclaim, The Last Waltz is still considered by many to be the greatest concert film ever made.

                                                                                        Robertson will be busy during The Last Waltz 40th anniversary. On November 15, he will release Testimony (Crown Archetype), a new memoir in which he finally tells his own spellbinding story of the band that changed music history, his extraordinary personal journey, and his creative friendships with some of the greatest artists of the last half-century. 

                                                                                        FORMAT INFORMATION

                                                                                        2xCD Info: This 40th Anniversary Edition 2CD set houses the original soundtrack with newly remastered audio from the original master tapes.

                                                                                        6xLP Box Set Info: This 40th Anniversary Edition 6LP set is packaged in a lift-top box with jackets in black poly sleeves and features a 12-page booklet, with newly-penned liner notes written by revered music journalists David Fricke. This is the first time the full Last Waltz music offering has been available on vinyl and features all 54 tracks, including the entire concert, as well as rehearsals and outtakes.

                                                                                        On The Baptist Generals’ sophomore album, the word ‘heart’ repeats eight times. The Denton, TX band, known for their haunting, claustrophobic take on drunken folk, needed ten full years to bare their hearts - one of which is in the album title, ‘Jackleg Devotional To The Heart’, a name that songwriter Chris Flemmons conjured shortly after he recorded, and then trashed, the album’s first attempt in 2005.

                                                                                        Flemmons goes so far as to call this his ‘love album’, and it’s an apt description - though love through The Baptist Generals’ eyes is plenty complicated.

                                                                                        The band’s vibraphones, guitarrons and ambient feedback combine like a mess of ventricles, aortas and veins - not to mention, from the sound of it, all of the blood spilled while ‘Jackleg…’ lurched for years toward an eventual finish line.

                                                                                        Call it a love record, then. It’s the kind of love Flemmons had to figure out in the ten years since The Baptist Generals’ critically-acclaimed 2003 full-length debut ‘No Silver / No Gold’, a period in which he admits he’s fallen in love with a wild spectrum of music - the ‘Éthiopiques’ series, saxophonist Archie Shepp, film scorer Meredith Willson, and plenty more. That wide spectrum only befits ‘Jackleg…’s repeated need to buck genre; in fact, the 2005 version of the album hit the trash heap because “it sounded like any other indie rock-type band,” Flemmons admits.

                                                                                        Co-produced by Stuart Sikes (Loretta Lynn, Cat Power, The Walkmen, Modest Mouse, The White Stripes) and the band’s Jason Reimer, ‘Jackleg Devotional To The Heart’ sounds like exactly no one else.

                                                                                        Tomas Barfod Feat. Gruff Rhys

                                                                                        True To You / Happy

                                                                                          THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                                          A brand new exclusive track - ‘True To You’, featuring Gruff Rhys, recorded during the sessions for Tomas Barfod’s upcoming album on Secretly Canadian.

                                                                                          This track is exclusive to this 7” and will not be available for download.

                                                                                          The B-side features the track ‘Happy’, featuring Eddie Chacon of Charles & Eddie fame and is the only version available physically.

                                                                                          Limited to 200 copies for the UK and Ireland.

                                                                                          Tomas Barfod’s first album, ‘Salton Sea’, was one of the most lauded electronic debuts, with Pitchfork, Dazed and GvsB giving it accolades. Now he releases his second album, ‘Love Me’, his debut for Secretly Canadian.

                                                                                          Featuring guest vocals from Luke Temple, Sleep Party People, Night Beds and a stunning collaboration on a number of songs with Swedish singer Nina K, the album is gaining plaudits internationally.

                                                                                          ‘Love Me’ straddles the divide between songwriting, electronic dance and out and out pop music perfectly. The soundtrack to your Summer.

                                                                                          The Bark Haze is primarily a guitar duo of GOWN (nom de plume of one Andrew Macgregor) and Thurston Moore (Sonic Youth etfuckingcetera). Auxiliary members have been know to include Pete Nolan (Magik Markers, Virgin Eye Blood Brothers, Cops et al). Their name came from a mis-hearing of the radical early 70s R+B group the Bar-Kays and from that moment the concept of mis-hearing and allegiance to presenting the mis-hearing as some open-ended musical course became The Bark Haze's identity. So far all concerts have taken place in Western Massachusetts and once in the confines of Cambridge, MA's Twisted Village record emporium. They anxiously await their debut gig in the UK at the Nightmare Before Christmas event curated by Moore.

                                                                                          "Portal Nou" is the much-anticipated third album by renowned British musician Ted Barnes and the debut release on Ted's own label Mornington Records. Written and recorded between his home on the Kent coast and time spent on the Regents Canal in London, and inspired by the recent birth of his son, the record marks a new phase in Barnes' personal and musical life. Although it still displays some of the melancholia of his previous work, "Portal Nou", which is Spanish for 'new gateway', is lighter and appropriately buoyant. Coming after the widely critically acclaimed and characteristically dark second album, "Underbelly", the new record offers a more optimistic outlook and brings with it elements of humour and a playfulness. Somewhat of a departure for Barnes, the album is also the first to include songs for which he has written lyrics ("All That's Real", "Dreams & Hopes"), alongside a body of instrumental tracks. It also features an impressive array of guest lyricists and vocalists, many with whom he is a long-term collaborator, including Beth Orton, Gavin Clark (Sunhouse / Clayhill / Unkle), Francoiz Breut (Calexico / Yan Tierson), Dan Michaelson (Absentee) and Kathryn Williams. Restrained yet incredibly powerful, Barnes treats the voice as another instrument rather than the overriding force of a song, and manages to create a hypnotic and absorbing continuity throughout the album.

                                                                                          The Barr Brothers

                                                                                          Queens Of The Breakers

                                                                                            “Queens of the Breakers” is The Barr Brothers’ finest work yet, a collection of 11 hypnotically fluid songs that speak to the raw, elemental power of reflection, forgiveness, loss, and growing up. The record finds the band, featuring brothers Brad (guitar) and Andrew Barr (drums), and Sarah Pagé (harp), further on their thrilling path of exploring the outer limits of folk, blues, rock and Americana made north of the American border.

                                                                                            STAFF COMMENTS

                                                                                            Andy says: Stunning, dreamy, groovy Americana with some brilliant song-writing.

                                                                                            The Basement

                                                                                            I Just Caught A Face

                                                                                            They've been a bit quiet for a couple of years, but now, The Basement return with the first taster from their long overdue debut album, "Illicit Hugs And Playground Thugs". "I Just Caught A Face" is a great Byrds-ish jangler, with hooks a plenty. A great return.

                                                                                            FORMAT INFORMATION

                                                                                            CDS Info: The CD single includes "Close The Door", "Say Goodbye Tonight" and the video for "I Just Caught A Face".

                                                                                            Mondo is proud to present Tyler Bates bombastic score to this summer's equally bombastic and hilarious film Deadpool 2. Coming off hot from his previous collaborations with director David Leitch, composer Tyler Bates (Atomic Blonde, John Wick) has joined forces with Leitch once more bring his impeccable skills to the enormous and meta world of the merc with a mouth. Epic in scope, but willing to be in on the joke, Bates' score practically interacts with the plot of the film - bouncing from fast paced action set pieces, choruses proclaiming "Holy Shit Balls," to tender, and sincere moments of clarity. Much like the filmmaking on display, it is harder than it sounds to perfect this balance of tone.

                                                                                            STAFF COMMENTS

                                                                                            Barry says: If you've never seen Deadpool, it's a huge, bombastic journey filled with quick one-liners, ridiculous action and tense, atmospheric highs. Bates' score fits so perfectly into the films (having also produced the soundtracks to films like Guardians of the galaxy and Watchmen, he's no stranger to atmosphere), that it's almost inseparable from the on-screen action. It's surprising then that every inch of the emotional heft is felt sans-images. A beautiful journey all-round.

                                                                                            FORMAT INFORMATION

                                                                                            Coloured LP Info: 180g red and black vinyl.

                                                                                            The Bats (US)

                                                                                            Popgun / Tell Me Why

                                                                                              “That THE BATS came from that era and didn’t suck is an amazing fact du jour. And, for the record, these Bats came and went long before the like-named New Zealand group even formed (and then fluttered into their own cave of obscurity). The Bats from New Haven, CT comprised three songwriters and this near perfect single that melded New Wave, Ventures noodling, well-meaning but misplaced prog and, best of all, catchy, beautiful pop. What's on the vinyl is well-crafted, if youthful power pop. This group is only a trio, and from their looks quite young but manages to project a full, powerful sound. Though on a small label the sound is crisp and professional. To those who wake up every morning to well worn copies of the Raspberries' "Go All the Way," this one's for you.”—Billboard October 2, 1982.

                                                                                              Any Sacred Rhythm release demands a certain amount of pant wetting excitement, but a double LP from Joe's Bayara Citizens alias should come with a warning sticker about spare trousers. The LP begins life in suitably deep fashion via the shoulder rolling groove of "Freedom Suite (Setting Ourselves Free)", an irresistible assault of polyrhythms and tribal touches topped with a spoken vocal mantra - power! Next up "Zainabu (Spirit Dancer)" sees Joe switch into full Body & Soul spiritual house mode, laying delicate kora melodies over a nuanced club 4/4. Wailing vocals add a mystical quality up top, while the dexterous and jazzy bass works your feet from below. "Sonkofa (We Are A Powerful People)" closes out the A-side with a subtle twist on the opener, marrying deep house stabs, skipping rhythms and soaring synths with a politicised vocal. Flip the first disc and prepare to feel the force of one of Joe's longest running secret weapons, the long version of "Mofo Congoietric", previously only available on a 2015 7". Enjoy funked out organ chords, hypnotic bass and detailed percussion for dayzzz as Claussell harnesses the soul and energy of an African People's Choice into a proper house banger. Next up, "Thembia" the B-side from that 2015 7" gets another run out, treating us to cosmic synth licks, jazz keys, swampy ambience and a killer rolling groove. Practically Balearic and totally dreamy, this should get loads of play in the warm up or cool down.

                                                                                              And now for the main event...The C-side brings us the finest moment in the whole of the Joe Claussell catalogue, the insane, uncompromising and fucking epic power of "Bambara" in its "Tribes Of Distortion Dub" form. Originally released on a limited (and now impossible to find) 12" back in 2011, this 12 minute monster builds from a deep and moody bassline, growing with each percussive hit and queasy synth tone into the mind altering, life changing bomb we've all been looking for. FX spit and snarl like a engine revving into life, nudging us ever closer to the exultant vocals and wild keyboard solo which follows. And then it's gone, dropping us into a chasm of reverb, echo, disjointed bass tones and chopped vocals which lasts a FULL two beatless minutes, and then we're back - deep, nasty and techy as it gets shaking the walls till the very end. Phew! Thankfully the classic Afro-jazz action of "Ju Ru Music" (here in a slightly different mix to its 2006 release) is on hand to offer a breather and some gentle sunkissed grooving.

                                                                                              Making our way onto the final side, we get the warm, sunny and sublime "Diamonds", a daytime delight of a house workout, perfect for your next terrace set before waving goodbye via the uplifting Afrobeat of "Hillbilly Africa", as joyous a gem you're ever likely to hear.

                                                                                              And now for the fun part...inside each LP package lurks a special individualized download code, which will lead to one of 10 individually mixed versions of a track from the album, which will be mixed specific only to the code found. Also amongst the 300 records produced there will exist only 25 unique codes. The prize for whom ever finds one of the 25 codes will be a specially made personalized mix that will be pressed on a 10 “Acetate and sent directly to the consumer. HAPPY HUNTING...

                                                                                              FORMAT INFORMATION

                                                                                              2xLtd LP Info: Gatefold double LP.
                                                                                              Limited copies contain a code to claim a special 10" Acetate.

                                                                                              The Bayara Citizens


                                                                                                Previously only available in Japan, the Bayara Citizens are Joe Claussell's new project on Spiritual Life sister-label Sacred Rhythm Music. Gathering a tight band, he embarks on some live spiritual house playing with layers of scope. Amongst the extra bits is a version of Mental Remedy's "Obatala" recorded live in Japan before an appreciative crowd. Long out of print, and available now in very limited quantities, this is your chance to own a true spiritual house classic.

                                                                                                The Beach Boys

                                                                                                Beach Boys Party! / Stack-O-Tracks

                                                                                                In between all the dated crap are some amazing songs and seeing as there are 30 tracks on this you can't fail to find some brilliant moments (including 3 covers of Beatles tracks--funny that the Beatles never covered any of their songs).

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