The twentieth album by David Bowie, originally released in 1995. The album saw Bowie hook up with producer Brian Eno once again, creating a diverse and experimental album incorporating art rock, jazz, ambient, industrial and electronica. Inspired by Twin Peaks as well as outsider art and artists, the album has a concept following detective Nathan Adler's murder investigation in world where art crimes and concept muggings happen.

TRACK LISTING

Leon Takes Us Outside
Outside
The Hearts Filthy Lesson
A Small Plot Of Land
Baby Grace (A Horrid Cassette)" (segue)
Hallo Spaceboy
The Motel
I Have Not Been To Oxford Town
No Control
Algeria Touchshriek (segue)
The Voyeur Of Utter Destruction (as Beauty)
Ramona A. Stone/I Am With Name (segue)
Wishful Beginnings
We Prick You
Nathan Adler (segue)
I'm Deranged
Thru' These Architects Eyes
Nathan Adler (segue)
Strangers When We Meet

TWO SPECIAL VINYL RELEASES TO CELEBRATE THE 50th ANNIVERSARY OF ALADDIN SANE TO BE RELEASED 14th APRIL, 2023.

April 2023 marks the 50th anniversary of the release of David Bowie’s ALADDIN SANE, which was released only ten months after his breakthrough album THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS. The title track and songs such as ‘Panic In Detroit,' ‘Lady Grinning Soul’ and ‘Time’ marked a significant musical progression from its predecessor, adding brass, woodwind, soulful backing vocals and the distinctive piano playing of Mike Garson.

On 14th April, 2023, one week before its Golden Jubilee ALADDIN SANE will be issued as a limited edition 50th anniversary half-speed mastered LP pressed from the same master.

This new pressing of ALADDIN SANE was cut on a customised late Neumann VMS80 lathe with fully recapped electronics from 192kHz restored masters of the original master tapes, with no additional processing on transfer. The half-speed was cut by John Webber at AIR Studios.
The album was preceded by two singles ‘The Jean Genie’ and ‘Drive-In Saturday’, peaking in the U.K. singles chart at numbers 2 and 3 respectively, and was the first time he topped the U.K. album charts. It also marked Bowie’s debut on the U.S. charts reaching the top 20 album chart there, where an edited version of ‘Time’ was released as a single.

The cover of ALADDIN SANE has become one of the most striking and memorable images in rock n roll history and was rumoured to be the most expensive produced up to that point. The cover photograph was taken by Brian Duffy, who would also shoot the sleeves for 1979’s LODGER and 1980’s SCARY MONSTERS (AND SUPER CREEPS) and features Bowie with the iconic red and blue lightning bolt make-up, an image which has staked out an indelible spot in the planet’s cultural lexicon.

Bowie described ALADDIN SANE as ‘Ziggy Goes To Washington: Ziggy under the influence of America’. The album was to be Ziggy Stardust's last stand, and the persona was laid to rest three months after the album's release in July 1973 at the infamous final show with the Spiders From Mars at London’s Hammersmith Odeon.

TRACK LISTING

SIDE ONE
Watch That Man – 4:30
Aladdin Sane (1913-1938-197?) – 5:06
Drive-In Saturday – 4:33
Panic In Detroit – 4:25
Cracked Actor – 3:01
SIDE TWO
Time – 5.15
The Prettiest Star – 3:31
Let’s Spend The Night Together – 3:10
The Jean Genie – 4:07
Lady Grinning Soul – 3:45

"Black Tie White Noise" can now be seen as the album that helped David Bowie rediscover the inspiration of his earlier career and redefine his future one. After the abortive mismatch that was the Tin Machine this 1993 album was a breath of sophisticated, white-soul funk. Chic's Nile Rodgers and Bowie's co conspirator /partner in crime Reeves Gabrels gave an urgency and focus to the recording sessions and Bowie rose to the occassion by producing some of his best music of the 90s.

TRACK LISTING

The Wedding
You've Been Around
I Feel Free
Black Tie White Noise (featuring Al B. Sure!)
Jump They Say
Nite Flights
Pallas Athena
Miracle Goodnight
Don't Let Me Down & Down
Looking For Lester
I Know It's Gonna Happen Someday
The Wedding Song

Boys Keep Swinging 40th Anniversary limited edition, double-A side, 7” picture disc single will be released on 17th May 2019 and features I Pray, Olé on the AA side which is unreleased since the 1991 Lodger re-issue.

Written by Bowie and Brian Eno, ‘Boys Keep Swinging’ was the first single from the album ‘Lodger’ and became a top 10 hit in the UK.

TRACK LISTING

Side A
Boys Keep Swinging (2017 Tony Visconti Mix) (3.22)

Side AA
I Pray, Olé (3.59)

This follow up to David’s hugely successful first Best Of compilation CHANGESONEBOWIE, has not officially been available since the late 1980’s. Featuring iconic cover photography by Greg Gorman, it was first released in 1981 and was only briefly available on CD in 1985 but has long since been deleted.

Drawing on material spanning from HUNKY DORY (1971) to SCARY MONSTERS (AND SUPER CREEPS) (1980) it achieved gold status in the U.K. album chart in 1982. It will be reissued on the 13th April with all tracks remastered on CD in a digipak sleeve, high-resolution 192/24 and 96/24 digital and standard digital for streaming and download,

The 180gram vinyl edition will be available randomly on its initial limited manufacturing run in black and blue vinyl before reverting solely to black vinyl.

TRACK LISTING

Side One:
Aladdin Sane (1913-1938-197?)
Oh! You Pretty Things
Starman
1984
Ashes To Ashes*

Side Two:
Sound And Vision
Fashion*
Wild Is The Wind
John, I'm Only Dancing (Again) 1975
D.J.*

*Single Versions

Originally released on 29th June 1979, D.J. was the second and final single from Lodger in the UK and the follow up to Boys Keep Swinging. The Netherlands and Turkey would get Yassassin and the U.S. Look Back In Anger.

The A side of this D.J. picture disc features a previously unreleased single edit of the track from the Lodger (2017 Tony Visconti Mix) included in the A New Career In A New Town box set.

The previously unreleased version of Boys Keep Swinging recorded especially for The Kenny Everett Video Show features on the AA side. This take was recorded by Tony Visconti in Soho in London on the 9th April 1979 and features Sean Mayes on keyboards, Tony Visconti on bass, Simon House on violin, Andy Duncan on drums, Brian Robertson (of Thin Lizzy) on guitar and Ricky Hitchcock on guitar. The Kenny Everett Video Show was filmed on the following day and broadcast on 23rd April, 1979.

TRACK LISTING

Side A
D.J. (2017 Tony Visconti Mix - Single Edit)

Previously Unreleased
Produced By David Bowie & Tony Visconti Mixed By Tony Visconti At Human Studios, NYC, 2017

Side AA
Boys Keep Swinging (Kenny Everett Video Show Version)

Previously Unreleased.
Produced By David Bowie & Tony Visconti
Recorded At Good Earth Studio, Soho London, 9th April, 1979

This live album, was recorded during the Diamond Dogs tour. Although drawing of mostly Ziggy era songs, stylistically it sees Bowie moving from glam rock into a new Philly soul influenced direction.

TRACK LISTING

1 1984 
2 Rebel Rebel 
3 Moonage Daydream 
4 Sweet Thing/Candidate/Sweet Thing 
5 Changes 
6 Suffragette City 
7 Aladdin Sane 
8 All The Young Dudes 
9 Cracked Actor 
10 Rock 'N' Roll With Me 
11 Watch That Man 
12 Knock On Wood 
13 Here Today Gone Tomorrow 
14 Space Oddity 
15 Diamond Dogs 
16 Panic In Detroit 
17 Big Brother 
18 Time 
19 The Width Of A Circle 
20 The Jean Genie 
21 Rock 'N' Roll Suicide

It seems improbable that these classics can really be improved upon, but it would seem that with this latest remaster, they have done exactly that. 

What can be said about Diamond Dogs that hasn't already? It's an Orwellian odyssey of Bowian proportians. 

Beginning with the freaky scene-setting dystopian flanged monologue of 'Future Legends' which sets the scene nicely for the eponymous follower. 'Diamond Dogs' is essentially a blues riff but twisted into a snarling glamorous rock and roll number. 

You might be forgiven for thinking that 'Sweet Thing' is not playing properly, but then it grows ever so slowly into a gloomy sounding detuned refrain, complete with harmonised 'ooh's' and 'aah's' before giving the man himself a stage to pull out his legendary vocal flare. When the unison of 'Boys, it's a sweet thing' comes around, you have no doubt that it really is a sweet thing. 

'Rebel, Rebel' is probably one of the most recognisable riffs of all time, and when that kicks in, you know you've landed. Rocking, psychedelic and triumphantly anthemic. 

It's rarely that an album has quite such a high killer/filler ratio, and most of them are by David Bowie. This is no exception. 

STAFF COMMENTS

Barry says: 'Rebel, Rebel', 'We Are The Dead', 'Sweet Thing', an absolute plethora of seminal anthems on here, conceptually impeccable, beautifully produced and written and essential in more ways than one.

On 24th May, 2024, the exact day of its Golden Jubilee, Diamond Dogs will be issued as a limited edition 50th anniversary picture disc LP, pressed from the same master as the half speed version. The first single from the album, ‘Rebel Rebel’, reached number 5 in the UK and the album would also reach similar heights on both sides of the Atlantic reaching number 1 in the UK and number 5 in the USA.

This new pressing of Diamond Dogs was cut on a customised late Neumann VMS80 lathe with fully recapped electronics from 192kHz restored masters of the original master tapes, with no additional processing on transfer. The half-speed was cut by John Webber at AIR Studios

The writing of the album was influenced by Bowie not being able to secure the rights for a theatrical production of George Orwell’s 1984 and the work of William S. Burroughs, whom Bowie had interviewed for Rolling Stone in November 1973. The songs on the album created an urban apocalyptic scenario with Bowie appearing on the cover as a controversial half-man, half-dog hybrid painted by the Belgian artist Guy Peellaert from photos by the world-renowned photographer Terry O’Neill. Since its release, tracks from Diamond Dogs have been covered by artists such as Beck, Tina Turner, Duran Duran, Def Leppard, Joan As Police Woman, Dead Or Alive and The Struts. 

TRACK LISTING

SIDE ONE
Future Legend
Diamond Dogs
Sweet Thing
Candidate
Sweet Thing (Reprise)
Rebel Rebel

SIDE TWO
Rock ’n’ Roll With Me
We Are The Dead
1984
Big Brother
Chant Of The Ever Circling Skeletal Family 

Parlophone Records proudly announces DAVID BOWIE DIVINE SYMMETRY, a four-CD, one blu-ray box set. This collection celebrates the twelve months running up to the release of the album HUNKY DORY in December 1971 via home demos, BBC radio sessions and live and studio recordings.

DIVINE SYMMETRY contains 48 previously unreleased tracks/demos from the period, and new alternative mixes of HUNKY DORY tracks by original co-producer Ken Scott.

Two books accompany DIVINE SYMMETRY, a 100-page hardback book featuring exclusive memorabilia and photos alongside a 60-page replica composite of Bowie’s notebooks from the era featuring handwritten lyrics, costume drawings, recording notes and set lists. The sleeve notes have been written for the release by Bowie expert Tris Penna, along with contributions from HUNKY DORY co-producer Ken Scott, lifelong Bowie friends Geoff MacCormack and George Underwood, singer Dana Gillespie, guitarist Mark Pritchett, Friars Aylesbury promoter David Stopps, publisher Bob Grace and photographer Louanne Richards.

‘KOOKS’, recorded by Bowie and guitarist Mick Ronson for the BBC’s Sounds Of The 70s presented by Bob Harris is available now for download and streaming single. It was recorded at Kensington House, Shepherds Bush, London, Studio T1 for BBC Radio on 21st September, 1971 and broadcast on 4th October, 1971. 1971 was a pivotal year for Bowie. He signed a record deal with RCA, he met Andy Warhol, Lou Reed, and Iggy Pop while in New York, became a father and penned the song ‘KOOKS’ as a show of paternal pride, played live for the first time that June with Mick Ronson, Woody Woodmansey and Trevor Bolder, the band that would later be christened the Spiders From Mars and recorded the classic album HUNKY DORY.

TRACK LISTING

Tracklist 4CD
* PREVIOUSLY UNRELEASED
CD 1: THE SONGWRITING DEMOS PLUS
1 Tired Of My Life (demo) *
2 How Lucky You Are (aka Miss Peculiar) (demo) *
3 Shadow Man (demo)
4 Looking For A Friend (demo) *
5 Waiting For The Man (San Francisco Hotel Recording) *
6 Quicksand (San Francisco Hotel Recording) *
7 King Of The City (demo) *
8 Song For Bob Dylan (demo) *
9 Right On Mother (demo) *
10 Quicksand (demo)
11 Queen Bitch (demo) *
12 Kooks (demo) *
13 Amsterdam (demo) *
14 Life On Mars? (demo) *
Bonus Acetate Dubs:
15 Changes (demo) *
16 Bombers (demo) *

CD 2: BBC RADIO IN CONCERT: JOHN PEEL
David Bowie And Friends
(mono)
1 Queen Bitch *
2 Bombers
3 The Supermen *
4 Looking For A Friend
5 Almost Grown
6 Kooks
7 Song For Bob Dylan *
8 Andy Warhol *
9 It Ain't Easy
David Bowie And Friends (stereo)
10 Queen Bitch *
11 The Supermen *
12 Looking For A Friend *
13 Kooks *
14 Song For Bob Dylan *
15 Andy Warhol *
16 It Ain't Easy *

CD 3:
BBC RADIO SESSION AND LIVE
1 The Supermen
2 Oh! You Pretty Things
3 Eight Line Poem
4 Kooks *
5 Fill Your Heart *
6 Amsterdam *
7 Andy Warhol *
8 Introduction*
9 Fill Your Heart*
10 Buzz The Fuzz*
11 Space Oddity*
12 Amsterdam*
13 The Supermen*
14 Oh! You Pretty Things*
15 Eight Line Poem*
16 Changes*
17 Song For Bob Dylan*
18 Andy Warhol*
19 Looking For A Friend*
20 Round And Round*
21 Waiting For The Man*
Recorded Live To 2 Track Tape.

CD 4:
ALTERNATIVE MIXES, SINGLES AND VERSIONS
BOWPROMO Mixes
1 Oh! You Pretty Things
2 Eight Line Poem
3 Kooks
4 Queen Bitch
5 Quicksand
6 Bombers – Andy Warhol Intro. 
7 Lightning Frightening (aka The Man)*
8 Amsterdam (early Mix)
9 Changes (mono Single)
10 Andy Warhol (full Length Mono Single)
11 Amsterdam (single B-side Mix)
12 Life On Mars? (2016 Mix)
2021 Mixes
13 Changes (2021 Alternative Mix)
14 Life On Mars? (original Ending Version)*
15 Quicksand (2021 Mix – Early Version)*
16 Fill Your Heart (2021 Alternative Mix)*
17 Bombers (2021 Alternative Mix)*
18 Song For Bob Dylan (2021 Alternative Mix)*
19 The Bewlay Brothers (2021 Alternative Mix)*

Tracklist (Blu-ray Audio)
* PREVIOUSLY UNRELEASED
HUNKY DORY 2015 REMASTER
1 Changes
2 Oh! You Pretty Things
3 Eight Line Poem
4 Life On Mars?
5 Kooks
6 Quicksand
7 Fill Your Heart
8 Andy Warhol
9 Song For Bob Dylan
10 Queen Bitch
11 The Bewlay Brothers

A DIVINE SYMMETRY (AN ALTERNATIVE JOURNEY THROUGH HUNKY DORY)
1 Changes (2021 Alternative Mix)
2 Oh! You Pretty Things (BOWPROMO Mix)
3 Eight Line Poem (BOWPROMO Mix)
4 Life On Mars? (original Ending Version)*
5 Kooks (BOWPROMO Mix)
6 Quicksand (2021 Mix – Early Version)
7 Fill Your Heart (2021 Alternative Mix)*
8 Bombers (2021 Alternative Mix)*
9 Andy Warhol (original Mix)*
10 Song For Bob Dylan (2021 Alternative Mix)*
11 Queen Bitch (BOWPROMO Mix)
12 The Bewlay Brothers (2021 Alternative Mix)*
Bonus Mix
13 Life On Mars? (2016 Mix)

SOUNDS OF THE 70S: BOB HARRIS
14 The Supermen
15 Oh! You Pretty Things
16 Eight Line Poem
17 Kooks*
18 Fill Your Heart*
19 Amsterdam*
20 Andy Warhol*

'Earthling' was the 20th studio album by David Bowie, released in February 1997. The album showcases an electronica-influenced sound partly inspired by the industrial and drum & bass culture of the 1990s like Prodigy and Underworld. This was the first album Bowie self-produced since 1974. Recorded in just two and a half weeks right after returning from the 'Outside'  tour, the album is a snapshot of what Bowie was going through musically at the time. Making extensive use of sampling their own material on high BPMs, the album was the first Bowie album to be recorded digitally.

TRACK LISTING

Little Wonder
Looking For Satellites
Battle For Britain (The Letter)
Seven Years In Tibet
Dead Man Walking
Telling Lies
The Last Thing You Should Do
I'm Afraid Of Americans
Law (Earthlings On Fire)

The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

"Repeating the formula of Low's half-vocal/half-instrumental structure, Heroes develops and strengthens the sonic innovations David Bowie and Brian Eno explored on their first collaboration. The vocal songs are fuller, boasting harder rhythms and deeper layers of sound. Much of the harder-edged sound of Heroes is due to Robert Fripp's guitar, which provides a muscular foundation for the electronics, especially on the relatively conventional rock songs. Similarly, the instrumentals on Heroes are more detailed, this time showing a more explicit debt to German synth pop and European experimental rock. Essentially, the difference between Low and Heroes lies in the details, but the record is equally challenging and groundbreaking." - Allmusic.

Originally released on 14th October, 1977, “Heroes" was David Bowie’s eleventh studio album. To celebrate its 45th anniversary, Parlophone is proud to announce a special limited edition ‘bricks & mortar’ outlet-only grey vinyl pressing of the album.

"Heroes" was a commercial success, peaking at #3 in the U.K. and #35 in the U.S., with NME and Melody Maker both naming it album of the year. The title track is now widely recognised as a classic and as one of Bowie’s most beloved songs, having been used in the London 2012 Olympic opening ceremony and critically acclaimed films such as Moulin Rouge and Jojo Rabbit. It has also become one of Bowie’s most covered songs with interpretations by artists such as Prince, Coldplay, Motörhead, Depeche Mode, Lady Gaga, King Crimson and The Wallflowers.

After releasing the ground-breaking Low in January 1977, Bowie toured and recorded playing keyboards in Iggy Pop’s band. He returned that summer to the Hansa Tonstudio in Berlin to begin work on a new album. Unlike the rest of the so-called ‘Berlin Trilogy’, “Heroes” was the only Bowie album recorded there in its entirety. Produced by Bowie and Tony Visconti, the central band from the Low album returned, this time joined by King Crimson guitarist Robert Fripp.

TRACK LISTING

SIDE 1
Beauty And The Beast
Joe The Lion
“Heroes”
Sons Of The Silent Age
Blackout
SIDE 2
V-2 Schneider
Sense Of Doubt
Moss Garden
Neuköln
The Secret Life Of Arabia

‘Hours...’ is the 21st studio album by David Bowie, released in 1999. It was the first complete album by a major artist available to download over the Internet, preceding the physical release by two weeks.

A lot of the material that ended up on ‘Hours...’ was originally used, in alternate versions, for the video game Omikron: The Nomad Soul, which also featured two characters based on Bowie, as well as one on his wife Iman, one on ‘Hours...’ collaborator Reeves Gabrels, and one on bassist Gail Ann Dorsey.

TRACK LISTING

Thursday's Child
Something In The Air
Survive
If I'm Dreaming My Life
Seven
What's Really Happening?
The Pretty Things Are Going To Hell
New Angels Of Promise
Brilliant Adventure
The Dreamers

David Bowie In Bertolt Brecht’s Baal features Bowie performing five songs that were written for German playwright Bertolt Brecht’s 1918 play “Baal.” Bowie recorded this EP with Visconti at Hansa Studios in Berlin in November 1981.

Recently, all five songs were re-released as part of the exclusive Re:Call 3 compilation that accompanied the boxed set, A New Career In A New Town (1977-1982). This new limited edition 10” vinyl reissue comes in a six-panel sleeve that replicates the original 1982 packaging and is available exclusively at “brick and mortar” retail stores. 

Limited to 350 numbered copies on mint coloured vinyl.

TRACK LISTING

Side 1
1. "Changes" (2:50)
2. "Rebel Rebel" (3:10)
3. "Ashes To Ashes" (4:53)
4. "Starman" (3:46)
5. "Fashion" (4:57)
Side 2
1. "Sound & Vision" (3:34)
2. "Ziggy Stardust" (3:44)
3. "Heroes" (4:40)
4. "The Jean Genie/Gloria" (8:08)

Recorded live at the Nassau Coliseum Uniondale, NY, U.S.A., 23rd March, 1976, the album is the official document of the Isolar/Station To Station tour.

Known to fans for many years as the Thin White Duke double album bootleg (among various other titles), the record didn’t get an official release for over thirty years, when it was finally issued as part of the Station To Station deluxe set in September, 2010.

It is now finally available a vinyl album in it's own right.

TRACK LISTING

Station To Station 
Suffragette City 
Fame
Word On A Wing 
Stay 
Waiting For The Man 
Queen Bitch 
Life On Mars? 
Five Years 
Panic In Detroit 
Changes 
TVC15 
Diamond Dogs 
Rebel Rebel 
The Jean Genie

The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

"On the surface, Lodger is the most accessible of the three Berlin-era records David Bowie made with Brian Eno, simply because there are no instrumentals and there are a handful of concise pop songs. Nevertheless, Lodger is still gnarled and twisted avant pop; what makes it different is how it incorporates such experimental tendencies into genuine songs, something that Low and Heroes purposely avoided. "D.J.," "Look Back in Anger," and "Boys Keep Swinging" have strong melodic hooks that are subverted and strengthened by the layered, dissonant productions, while the remainder of the record is divided between similarly effective avant pop and ambient instrumentals. Lodger has an edgier, more minimalistic bent than its two predecessors, which makes it more accessible for rock fans, as well as giving it a more immediate, emotional impact. It might not stretch the boundaries of rock like Low and Heroes, but it arguably utilizes those ideas in a more effective fashion." - Allmusic.

The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

The powerful reach of Bowie's masterpiece, the first part of the much feted 'Berlin Trilogy' created with the aid of Brian Eno, is still being felt strongly almost 30 years on. Air's wonderful four hour Essential Mix began with this album's opener "Speed of Life", Q Magazine rated the album #14 in it's Greatest British Albums Ever, and Pitchfork, the New Testament for the New Indie generation, recently decreed "Low" as the #1 album of the 1970's. Side A (or tracks 1-7 for those more familiar with the CD format) are classic Bowie ("Sound and Vision", "Be My Wife"), although dealing with the unfamiliar and slightly darker topics of lethargy, depression and estrangement, highlighting Bowie's overcoming of his cocaine addiction. Over on Side B the album's true colours really come through - four ambient tracks, originally rejected for the soundtrack to "The Man Who Fell To Earth" (the source of Low's iconic cover image), which see Bowie pay homage to Can, Neu! and Eno himself. The word 'timeless' was invented for such moments as these.

November 2020 sees the 50th Anniversary of the release of David Bowie’s The Man Who Sold The World in North America. The album marks the beginning of a collaboration with guitarist Mick Ronson that would last through classic works including Hunky Dory, Ziggy Stardust and Aladdin Sane - as well as the first in a 10-year series of indispensable albums stretching through 1980’s Scary Monsters…

Originally titled Metrobolist, the album's name was changed at the last minute to The Man Who Sold The World. The 2020 re-release of the album under its Metrobolist moniker has been remixed by original producer Tony Visconti, with the exception of the track ‘After All’ which Tony considered perfect as is, and is featured in its 2015 remaster incarnation.

The Metrobolist 50th anniversary artwork has been created by Mike Weller who was behind the historically controversial “dress” cover which Mercury Records refused to release.

TRACK LISTING

VINYL TRACKLISTING
Side A
The Width Of A Circle
All The Madmen
Black Country Rock
After All

Side B
Running Gun Blues
Saviour Machine
She Shook Me Cold
The Man Who Sold The World
The Supermen

CD TRACKLISTING
The Width Of A Circle
All The Madmen
Black Country Rock
After All
Running Gun Blues
Saviour Machine
She Shook Me Cold
The Man Who Sold The World
The Supermen 

The album companion to the critically acclaimed film by Brett Morgen. Featuring unheard versions, live tracks and mixes, created exclusively for the film. ***** The Guardian, ***** The Telegraph, ‘Astounding’ Vogue.

Moonage Daydream illuminates the life and genius of David Bowie, one of the most prolific and influential artists of our time. Told through sublime, kaleidoscopic, never-before-seen footage, performances and music, Brett Morgen’s (The Kid Stays in the Picture, Kurt Cobain: Montage of Heck, Jane) feature length experiential cinematic odyssey explores David Bowie’s creative, musical and spiritual journey. The film is guided by David Bowie’s own narration and is the first officially sanctioned film on the artist.

The companion album features songs from spanning Bowie’s career and includes previously unheard material, unique mixes created for the film and this release along with dialogue from Bowie himself. Highlights include a previously unreleased live medley of 'The Jean Genie / Love Me Do / The Jean Genie’ recorded live at the final Ziggy Stardust concert at Hammersmith Odeon in 1973, featuring Jeff Beck on guitar. Other rarities include an early version of the Hunky Dory favourite ‘Quicksand’ and a previously unreleased live version of ‘Rock ’n’ Roll With Me’ from the legendary 1974 ’Soul Tour’.

TRACK LISTING

CD1
“Time… One Of The Most Complex Expressions…”
Ian Fish U.K. Heir (Moonage Daydream Mix 1)
Hallo Spaceboy (Moonage Daydream Remix Edit)
Medley: Wild Eyed Boy From Freecloud / All The Young Dudes / Oh! You Pretty Things (Live)
Life On Mars? (2016 Mix Moonage Daydream Edit)
Moonage Daydream (Live)
The Jean Genie / Love Me Do / The Jean Genie (Live) (featuring Jeff Beck)
The Light (Excerpt)*
Warszawa (Live Moonage Daydream Edit)
Quicksand (Early Version 2021 Mix)
Medley: Future Legend / Diamonds Dogs Intro / Cracked Actor
Rock ‘n’ Roll With Me (Live In Buffalo 8th November 1974)
Aladdin Sane (Moonage Daydream Edit)
Subterraneans
Space Oddity (Moonage Daydream Mix)
V-2 Schneider

CD2
Sound And Vision (Moonage Daydream Mix)
A New Career In A New Town (Moonage Daydream Mix)
Word On A Wing (Moonage Daydream Excerpt)
“Heroes” (Live Moonage Daydream Edit)
D.J. (Moonage Daydream Mix)
Ashes To Ashes (Moonage Daydream Mix)
Move On (Moonage Daydream Acappella Mix Edit)
Moss Garden (Moonage Daydream Edit)
Cygnet Committee/Lazarus (Moonage Daydream Mix)
Memory Of A Free Festival (Harmonium Edit)
Modern Love (Moonage Daydream Mix)
Let’s Dance (Live Moonage Daydream Edit)
The Mysteries (Moonage Daydream Mix)
Rock ‘n’ Roll Suicide (Live Moonage Daydream Edit)
Ian Fish U.K. Heir (Moonage Daydream Mix 2)
Word On A Wing (Moonage Daydream Mix)
Hallo Spaceboy (live Moonage Daydream Mix)
I Have Not Been To Oxford Town (Moonage Daydream Acappella Mix Edit)
“Heroes": IV. Sons Of The Silent Age (Excerpt) *
˜

To celebrate what would have been the 74th birthday of David Bowie on the 8th January, two previously unreleased cover versions John Lennon’s MOTHER and Bob Dylan’s TRYIN’ TO GET TO HEAVEN will be released as a very special limited edition 7” single.

Originally recorded by Lennon for his 1970 album John Lennon/Plastic Ono Band, Bowie's version of MOTHER was produced by Tony Visconti in 1998 for a Lennon tribute that never came to fruition. Bob Dylan’s original TRYIN’ TO GET TO HEAVEN was released on his 1997 Album of the Year GRAMMY winning Time Out Of Mind. David’s version was recorded in February 1998 during the mixing sessions for the live album.

TRACK LISTING

A/ Mother
AA/Tryin’ To Get To Heaven (single Edit)

Never Let Me Down is the 17th studio album by David Bowie. Originally released on 20 April 1987, this vinyl edition is newly remastered.

TRACK LISTING

1. Day-In Day-Out
2. Time Will Crawl
3. Beat Of Your Drum
4. Never Let Me Down
5. Zeroes
6. Glass Spider
7. Shining Star (Makin’ My Love)
8. New York’s In Love
9. ’87 And Cry
10. Bang Bang

Featuring the three final David Bowie studio recordings made during the sessions for his 28th and final album, ★, the No Plan EP is now being made available as a CD and two special vinyl versions.

Previously released as the No Plan digital EP (and before that, available exclusively on the Lazarus Cast Album), the songs: “No Plan,” “Killing A Little Time” and “When I Met You”, along with Cast Album title track “Lazarus”, are now available for pre-order on special physical formats. This follows wishes from fans for CD and vinyl versions after the release of the digital EP.

The No Plan EP artwork has been designed by long-time Bowie collaborator Jonathan Barnbrook. Both vinyl configurations of the No Plan EP feature a special laser etching on side B.

TRACK LISTING

1. "Lazarus" 6:24
2. "No Plan" 3:40
3. "Killing A Little Time" 3:46
4. "When I Met You" 4:09

October 2023 marks the 50th anniversary of the release of David Bowie’s classic collection of cover songs, PIN UPS, originally released 19th October 1973 - a mere six months after the legendary ALADDIN SANE and three months after the infamous final Ziggy Stardust show at Hammersmith Odeon, where he put the Ziggy persona to rest along with The Spiders From Mars.

On 20th October 2023, one day after its Golden Jubilee PIN UPS will be issued as a limited edition 50th anniversary half-speed mastered LP. This new pressing of PIN UPS was cut on a customised late Neumann VMS80 lathe with fully recapped electronics from 192kHz restored masters of the original master tapes, with no additional processing on transfer. John Webber cut the half-speed at AIR Studios.

Recorded at Château d’Hérouville in France, where Bowie would later return to record the masterpiece LOW, PIN UPS was a collection of cover songs paying tribute to bands and artists that had inspired him and that he had seen at clubs such as The Marquee in London in the mid to late 60s. Artists he covered for the album included The Yardbirds, The Kinks, Pink Floyd, The Who, Pretty Things, The Easybeats and more. 

TRACK LISTING

SIDE ONE
Rosalyn – 2:27
Here Comes The Night – 3:09
I Wish You Would – 2:40
See Emily Play – 4:03
Everything’s Alright – 2:26
I Can’t Explain – 2:07
SIDE TWO
Friday On My Mind – 3:18
Sorrow – 2:48
Don't Bring Me Down – 2:01
Shapes Of Things – 2:47
Anyway, Anyhow, Anywhere – 3:04
Where Have All The Good Times Gone – 2:35 

Half-Speed Master Vinyl Edition
David Bowie’s Rock ‘n’ Roll Star! Charts Bowie’s journey to Ziggy Stardust. Starting with early home demos, through radio sessions and live performances, to session recordings, outtakes and alternate versions from the recording of The Rise and Fall of Ziggy Stardust album.

The 1LP half-speed master which accompanies the 5CD+BR version features alternative takes and mixes including an alternative version of ‘Lady Stardust’, an unheard version of the deep-cut classic ‘Shadow Man’ and an up-tempo take of The Who’s ‘I Can’t Explain’, which he would later slow down and cover for the PIN-UPS album. 

5CD + 1 Blue-Ray Edition
David Bowie’s Rock ‘n’ Roll Star! is a 5CD and 1 Blu-Ray Audio set that explores David Bowie’s journey from February 1971 through the creation of the Ziggy Stardust character, the recording of the iconic The Rise and Fall of Ziggy Stardust and the Spiders From Mars album, and captures the international mania that surrounded the Ziggy phenomenon in the form of UK radio sessions and TV performances, as well as live tracks from Ziggy and the Spiders’ 1st October 1972 show at the Boston Music Hall.

Rock ‘n’ Roll Star! contains 29 unreleased tracks, covers early songwriting demos, recordings from David’s band, The Arnold Corns, rehearsals at Bowie’s then-home, Haddon Hall, BBC sessions, singles, live performances, plus outtakes and alternative versions from the original album recording sessions, which have been newly mixed by original album producer, Ken Scott.

Unreleased highlights include an alternative version of ‘Lady Stardust’, an unheard version of the deep-cut classic ‘Shadow Man’ and an up-tempo take of The Who’s ‘I Can’t Explain’, which he would later slow down and cover for the PIN-UPS album.

The Blu-Ray includes a version of the Ziggy Stardust album called Waiting In The Sky (Before The Starman Came To Earth) taken from Trident Studio tapes dated 15th December 1971, which features an alternative running order and four songs that didn’t make the final album.

Rock ‘n’ Roll Star! also contains two books. The first is an extensive 112-page book with detailed liner notes, memorabilia, contemporary reviews and articles, rare photographs from Barrie Wentzel, Michael Putland, Mick Rock, Sukita and Alec Byrne, as well as brand-new notes and interviews with Ken Scott, Mark Carr Pritchett and David’s plugger from the time, Anya Wilson. Accompanying the main book is a 36-page compiled reproduction of David’s personal Ziggy Stardust era notebooks. 

TRACK LISTING

Half-Speed Master Vinyl Edition
Side 1
1. Hang On To Yourself (early Ziggy Session Take)
2. Star (Take 5 Alternative Version)
3. Lady Stardust (Take 1 Alternative Version)
4. Shadow Man (Ziggy Session Version)
5. The Supermen (Ziggy Session Version 2023 Mix)
6. Holy Holy (Ziggy Session Version Alternative Mix)
7. Round And Round (alternative Mix)
Side 2
1. Velvet Goldmine (Ziggy Sessions Outtake 2022 Mix)
2. Looking For A Friend (Ziggy Session Version)
3. It's Gonna Rain Again (Ziggy Sessions Outtake)
4. Sweet Head (Ziggy Sessions Outtake 2022 Mix)
5. Starman (Top Of The Pops Version 2022 Mix)
6. John, I'm Only Dancing (alternative Trident Studios Version)
7. I Can't Explain (Trident Studios Version)

CD/Blu-Ray Edition:
Disc 1
1. So Long 60s (San Francisco Hotel Recording) *
2. Hang On To Yourself (early Demo) *
3. Lady Stardust (demo)
4. Ziggy Stardust (demo)
5. Star (Aka Stars) (demo) *
6. Soul Love (demo And DB Spoken Notes) *
7. Starman (demo 1 Excerpt) *
8. Starman (demo 2) *
9. Moonage Daydream (The Arnold Corns Version)
10. Hang On To Yourself (The Arnold Corns Version)
11. Looking For A Friend (The Arnold Corns Version – Rough Mix) *
12. Haddon Hall Rehearsals Segue: Ziggy Stardust / Holy Holy / Soul Love *
13. Star (Aka Stars) (Haddon Hall Rehearsal) *
14. Sweet Head (Haddon Hall Rehearsal) *

Disc 2
Sounds Of The 70s: John Peel
Session Recorded On 11th January, 1972 And Broadcast On 28th January, 1972
1. Ziggy Stardust *
2. Queen Bitch *
3. Waiting For The Man *
4. Lady Stardust *
Sounds Of The 70s: Bob Harris
Session Recorded On 18th January, 1972 And Broadcast On 7th February, 1972
5. Hang On To Yourself
6. Ziggy Stardust
7. Queen Bitch
8. Waiting For The Man
9. Five Years
Old Grey Whistle Test Performance
Filmed On 7th February, 1972 And Broadcast On 8th February, 1972
Except ‘Oh! You Pretty Things’ Which Was Not Broadcast Until 1982.
10. Oh! You Pretty Things (take 1)
11. Queen Bitch
12. Five Years

Disc 3
Sounds Of The 70s: John Peel
Session Recorded On 16th May, 1972 And Broadcast On 23rd May, 1972
1. White Light/White Heat
2. Moonage Daydream
3. Hang On To Yourself
4. Suffragette City
5. Ziggy Stardust
Johnnie Walker Lunchtime Show
Session Recorded On 22nd May, 1972 And Broadcast From 5th – 9th June, 1972
6. Starman
7. Space Oddity
8. Changes
9. Oh! You Pretty Things
Sounds Of The 70s: Bob Harris
Session Recorded On 23rd May, 1972 And Broadcast On 19th June, 1972
10. Andy Warhol
11. Lady Stardust
12. White Light/White Heat
13. Rock ‘N’ Roll Suicide
Top Of The Pops Performance
Filmed On 5th July, 1972 And Broadcast On 6th July, 1972
14. Starman

Disc 4
1. Round And Round
2. The Supermen (Ziggy Session Version)
3. Holy Holy (Ziggy Session Version)
4. Velvet Goldmine (Ziggy Session Outtake)
5. Starman (original Single Mix)
6. John, I’m Only Dancing (original Single Version)
Recorded Live At The Music Hall, Boston.
Recorded On 1st October, 1972
7. The Supermen
8. Changes
9. Life On Mars?
10. My Death *
11. John, I’m Only Dancing

Disc 5
1. Looking For A Friend (The Arnold Corns Version 2022 Mix) *
2. Hang On To Yourself (early Ziggy Session Take) *
3. Star (take 5 Alternative Version) *
4. Lady Stardust (take 1 Alternative Version) *
5. Shadow Man (Ziggy Session Version) *
6. The Supermen (Ziggy Session Version 2023 Mix) *
7. Holy Holy (Ziggy Session Version Alternative Mix) *
8. Round And Round (alternative Mix)
9. It’s Gonna Rain Again (Ziggy Session Outtake) *
10. Looking For A Friend (Ziggy Session Version) *
11. Velvet Goldmine (Ziggy Sessions Outtake 2022 Mix) *
12. Sweet Head (Ziggy Sessions Outtake 2022 Mix) *
13. Starman (Top Of The Pops Version 2022 Mix)
14. John, I’m Only Dancing (alternative Trident Studios Version) *
15. I Can’t Explain (Trident Studios Version) * Bonus Mix
16. Moonage Daydream (2003 Instrumental Mix)

Blu Ray Audio
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Original Album Mix (96khz/24bit Stereo)

THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS AND EXTRAS
2003 5.1 Mixes (DTS-HD Master Audio 5.1 - 96khz/24bit)

WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH)
Early Ziggy Stardust Album Tracklisting – December 1971 (96khz/24bit PCM Stereo)

THE SINGLES
(96khz/24bit PCM Stereo)

OUTTAKES AND ALTERNATIVE VERSIONS
(96khz/24bit PCM Stereo) 

50th anniversary edition of Bowie’s seminal album featuring a brand new mix by original producer Tony Visconti, and a new die cut O-card.

The vinyl will be randomly distributed worldwide with a mixture of hand-numbered labels; numbers 1 to 1969 on silver vinyl numbers and 1970 to 2019 on gold vinyl, with the remainder being black vinyl.

Originally released 14th November 1969, the sophomore effort from Bowie was a big turning point from his 1967 debut. The album most famously introduces the character of Major Tom in ‘Space Oddity’ which would go on to be one of his most enduring classics.

The new mix of the album now features the title track of the boxset ‘Conversation Piece’ restored to the track listing in its initially intended position before it was originally dropped due to time constraints of vinyl.

As part of the ongoing celebrations marking 50 years since David Bowie’s first hit, this a very special double 7” single of SPACE ODDITY features brand new mixes by Tony Visconti. The double 7” set will come in a box including a double-sided poster featuring an original Space Oddity print advertisement and a Ray Stevenson shot of David taken on stage at the ‘Save Rave ‘69’ concert at the London Palladium on 30th November, 1969, the backdrop featuring a N.A.S.A. astronaut. The set also includes an information card and a print featuring an alternative shot by Jojanneke Claassen from the Space Oddity promo single cover session.

The cover of the original mono single is the rare UK promotional picture sleeve which, along with the label, features the original Philips trademark specifically cleared for this 50th anniversary release. The single itself has been cut from the original analogue single master tape. The jacket housing the 2019 mixes by Tony Visconti is a new design featuring alternative Ray Stevenson shot from the ‘Save Rave ‘69’ concert to that on the poster.

First released as a 7-inch single on 11 July 1969, Space Oddity was also the opening track of David Bowie’s self titled second studio album, David Bowie. Initially inspired by Stanley Kubrick's film 2001: A Space Odyssey, the song gained huge popularity when it was adopted as the unofficial theme of the Apollo 11 Moon landing mission which launched five days after the single’s release.

TRACK LISTING

Single 1
Side A
SPACE ODDITY
(Original Mono Single Edit)

Side B
WILD EYED BOY FROM FREECLOUD
(Original Mono Single Version)

Single 2
Side A
SPACE ODDITY
(2019 Mix - Single Edit)
2019 Mix By Tony Visconti, March 2019.

Side B
WILD EYED BOY FROM FREECLOUD
(2019 Mix - Single Version)
2019 Mix By Tony Visconti, March 2019

With 2019 marking 50 years since David Bowie’s first hit, Space Oddity, Parlophone is set to release a 7" vinyl singles box set of nine previously unreleased recordings* from the era during which Space Oddity was first conceived.

The title ‘Spying Through A Keyhole’ is a lyric taken from the previously unknown song, Love All Around, and though most of the other titles are known, these versions have never been officially released until late last year. Most of the recordings are solo vocal and acoustic home demo performances, unless otherwise stated.

The design of each single label is presented to reflect the way David sent many of his demos to publishers and record companies, featuring his own handwritten song titles on EMIDISC acetate labels. The singles themselves are all mono and play at 45 r.p.m.

Due to the nature of some of the solo home demos where Bowie accompanied himself on acoustic guitar, the recording quality isn’t always of a usual studio fidelity. This is partly due to David’s enthusiastic strumming hitting the red on a couple of the tracks, along with the limitations of the original recording equipment and tape degradation. However, the historical importance of these songs and the fact that the selections are from an archive of tracks cleared for release by Bowie, overrides this shortcoming.

TRACK LISTING

Single 1
Side 1
Mother Grey (demo)
This Mid-tempo Tale Of A Fledgling Son Fleeing The Nest Features Multi-tracked Vocals, Guitars And Harmonica From David.

Side 2
In The Heat Of The Morning (demo)
A Well-known Early Bowie Song But Presented Here In Demo Form With Final Lyrics.

Single 2
Side 1
Goodbye 3d (Threepenny) Joe (demo)
A Charming Demo From 1968 Not To Be Confused With Threepenny Pierrot, A Song Performed By Bowie Captured For Posterity In The Scottish TV Production Of Pierrot In Turquoise Early In 1970.

Side 2
Love All Around (demo)
A Delightful Love Song From Whence The Title Of This Collection Came: “I See A Pop Tune Spying Through A Keyhole From The Other Room”.

Single 3
Side 1
London Bye, Ta-Ta (demo)
An Early Demo Version Of The Song With Completely Different Lyrics In A Couple Of The Verses Compared To Those Of The Later Full Band Versions.

Side 2
Angel Angel Grubby Face (demo Version 1)
The First And Only Previously Known Demo Of This Song.

Single 4
Side 1
1.Angel Angel Grubby Face (demo Version 2)
A Later Version Of The Same Song With Alternative Lyrics.

2. Space Oddity (demo Excerpt)
The Lyric And Arrangement Variations Lend Weight To The Theory That This Fragment Is Possibly The First Ever Recorded Demo Of One Of Bowie’s Most Famous Songs.

Side 2
Space Oddity (demo) With John ‘Hutch’ Hutchinson
Originally Conceived As A Song For A Duo To Perform, This Is The First Known Version To Feature John ‘Hutch’ Hutchinson Again With Lyric And Arrangement Variations.

"Taking the detached plastic soul of Young Americans to an elegant, robotic extreme, Station to Station is a transitional album that creates its own distinctive style. Abandoning any pretense of being a soulman, yet keeping rhythmic elements of soul, David Bowie positions himself as a cold, clinical crooner and explores a variety of styles. Everything from epic ballads and disco to synthesized avant pop is present on Station to Station, but what ties it together is Bowie's cocaine-induced paranoia and detached musical persona. At its heart, Station to Station is an avant-garde art-rock album, most explicitly on "TVC 15" and the epic sprawl of the title track, but also on the cool crooning of "Wild Is the Wind" and "Word on a Wing," as well as the disco stylings of "Golden Years." It's not an easy album to warm to, but its epic structure and clinical sound were an impressive, individualistic achievement, as well as a style that would prove enormously influential on post-punk" - Allmusic.

David Bowie's full-album soundtrack loosely related to a BBC TV serialisation of Hanif Kureishi's novel 'The Buddha of Suburbia' has always been one of the hidden gems of his vast and celebrated back catalogue. While only the title track actually made it into the series, the finished album was a smorgasbord of jazz, ambient and experimental influences incorporated into a wider pop and rock aesthetic.

TRACK LISTING

Buddha Of Suburbia
Sex And The Church
South Horizon
The Mysteries
Bleed Like A Craze, Dad
Strangers When We Meet
Dead Against It
Untitled No. 1
Ian Fish, U.K. Heir
Buddha Of Suburbia (featuring Lenny Kravitz On Guitar)

28th April 2022 marks the 50th anniversary of the release of David Bowie’s STARMAN, the first single from THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS. To celebrate, Parlophone Records is proud to announce release details to mark the album’s Golden Jubilee.

On 17th June 2022, 50 years and one day after the original U.K. release date, THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS will be issued as a limited edition 50th anniversary picture disc, featuring a half-speed master and a replica promotional poster for the album.

THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS is the breakthrough album that catapulted David Bowie into the international spotlight. Over the past 50 years it has remained a touchstone record, growing in stature with each passing year. It is now ingrained in popular culture, its undeniable influence spanning musicians from Arcade Fire to Lady Gaga, to Harry Styles’s androgynous fashion sense to Noel Fielding’s shirts on The Great British Bake-Off to Ziggy make-up challenges on Tik-Tok.

David Bowie laid to rest the Ziggy Stardust persona in July 1973 at his infamous last show with the Spiders From Mars at London’s Hammersmith Odeon, but Ziggy’s impact reverberates to this day.

TRACK LISTING

SIDE ONE
Five Years – 4:42
Soul Love – 3:34
Moonage Daydream – 4:40
Starman – 4:10 It Ain’t Easy – 2:58
SIDE TWO
Lady Stardust – 3:22
Star – 2:47
Hang On To Yourself – 2:40
Ziggy Stardust – 3:13
Suffragette City – 3:25
Rock ’n’ Roll Suicide - 2.58

This week sees the 50th anniversary of the original U.K. release of The Man Who Sold The World David Bowie’s landmark entry into the 1970s. The album not only began the collaboration with guitarist Mick Ronson that would continue with such Bowie classics as Hunky Dory, Ziggy Stardust and Aladdin Sane, it kicked off a 10-year run of indispensable albums stretching through 1980’s Scary Monsters.

The 2020 re-release of The Man Who Sold The World restored the album’s intended title Metrobolist, while featuring a new mix by original producer Tony Visconti. Taking its name from the album’s opening track, which was named after a painting by Bowie’s friend George Underwood, the new two-CD set The Width Of A Circle acts as a complementary piece to that album. Its 21 tracks feature non-album singles, a BBC In Concert l session, music for a TV play and further Visconti remixes wrapping up David’s recordings from 1970 and revealing the first sonic steps toward Hunky Dory.

TRACK LISTING

CD 1:
THE SUNDAY SHOW INTRODUCED BY JOHN PEEL
Recorded On 5th February, 1970 And Broadcast On 8th February, 1970
1. Amsterdam *
2. God Knows I’m Good *
3. Buzz The Fuzz
4. Karma Man
5. London Bye, Ta-Ta
6. An Occasional Dream
7. The Width Of A Circle*
8. Janine
9. Wild Eyed Boy From Freecloud
10. Unwashed And Somewhat Slightly Dazed*
11. Fill Your Heart
12. The Prettiest Star
13. Cygnet Committee*
14. Memory Of A Free Festival*

Performed By David Bowie And The Tony Visconti Trio (a.k.a. The Hype)

CD 2:
THE LOOKING GLASS MURDERS AKA PIERROT IN TURQUOISE:
1. When I Live My Dream
2. Columbine
3. The Mirror
4. Threepenny Pierrot
5. When I Live My Dream (Reprise)

SINGLES
6. The Prettiest Star (Alternative Mix)
Single Mix Released On 6th March, 1970 On Mercury Records MF 1135. This Is The Unreleased Alternative Mix Created For Promotion In The US Market.

7. London Bye, Ta-Ta*
Originally Recorded And Rejected As The Follow Up Single To ‘Space Oddity’. This Mono Mix Was Finally Released On The Sound & Vision Box Set In 1989.

8. London Bye, Ta-Ta (1970 Stereo Mix)*
This Stereo Mix Of The Above Remained Unreleased Until The Reformatted Reissue Of The Sound & Vision Box Set In 2003, Replacing The Mono Mix.

9.Memory Of A Free Festival (Single Version Part 1)*
10. Memory Of A Free Festival (Single Version Part 2)*
The Re-recorded Electric Version Of The Closing Track From The David Bowie (aka Space Oddity) Album Released As A Single On Mercury Records 6052 026 On 26th June, 1970.

11. Holy Holy*
This Non-album Single A Side, Backed By The Album Version Of ‘Black Country Rock’ From The Man Who Sold The World Album, Was Released On Mercury Records 6052 049 On 15th January, 1971.

SOUNDS OF THE 70’S: ANDY FERRIS SHOW
Recorded On 25th March, 1970 And Broadcast On The 6th April, 1970.

12. Waiting For The Man
13. The Width Of A Circle
14. The Wild Eyed Boy From Freecloud*
15. The Supermen (Bowie At The Beeb Vinyl Only)*
Performed By David Bowie And The Hype

2020 MIXES
16. The Prettiest Star (2020 Mix)
17. London Bye, Ta-Ta (2020 Mix)
18. Memory Of A Free Festival (Single Version - 2020 Mix)
19. All The Madmen (Single Edit 2020 Mix)
Holy Holy (2020 Mix)

(*denotes Previously Released) 

Tonight is the sixteenth studio album by David Bowie. Originally released on 29 September 1984, this vinyl edition is newly remastered.

TRACK LISTING

1. Loving The Alien
2. Don’t Look Down
3. God Only Knows
4. Tonight
5. Neighborhood Threat
6. Blue Jean
7. Tumble And Twirl
8. I Keep Forgettin’
9. Dancing With The Big Boys

'Toy' is a posthumously released album from David Bowie. Recorded in mid-2000 in New York with members of his touring band, with a mixture of new and unreleased old material rehearsed quickly for the purposes of what would have been a surprise album, it was shelved by Virgin/EMI, an act leading to Bowie's departure from the label.

TRACK LISTING

I Dig Everything
You've Got A Habit Of Leaving
The London Boys
Karma Man
Conversation Piece
Shadow Man
Let Me Sleep Beside You
Hole In The Ground
Baby Loves That Way
Can't Help Thinking About Me
Silly Boy Blue
Toy (Your Turn To Drive) 

Parlophone Records/ISO Records are proud to announce TOY:BOX. The previously unreleased TOY album will be released on 7th January 2022, the day before David Bowie’s birthday. Available in six 10” vinyl versions and 3CD, TOY:BOX is a special edition of the TOY album. The ‘capture the moment’ approach of the recording sessions are extended to the sleeve artwork designed by Bowie featuring a photo of him as a baby with a contemporary face. The package also contains a 16-page full-colour book featuring previously unseen photographs by Frank Ockenfels 3.

TOY was recorded following David's triumphant Glastonbury 2000 performance. Bowie entered the studio with his band, Mark Plati, Sterling Campbell, Gail Ann Dorsey, Earl Slick, Mike Garson, Holly Palmer and Emm Gryner, to record new interpretations of songs he’d first recorded from 1964-1971. David planned to record the album ‘old school’ with the band playing live, choose the best takes and then release it as soon as humanly possible in a remarkably prescient manner. Unfortunately, in 2001 the concept of the ‘surprise drop’ album release and the technology to support it were still quite a few years off, making it impossible to release TOY, as the album was now named, out to fans as instantly as David wanted. In the interim, David did what he did best; he moved on to something new, which began with a handful of new songs from the same sessions and ultimately became the album HEATHEN, released in 2002 and now acknowledged as one of his finest moments. 

TRACK LISTING

Vinyl Tracklisting:
10” No. 1
Side 1
I Dig Everything
You've Got A Habit Of Leaving
The London Boys
Side 2
Karma Man
Conversation Piece
Shadow Man

10” No. 2
Side 3
Let Me Sleep Beside You
Hole In The Ground
Baby Loves That Way
Side 4
Can't Help Thinking About Me
Silly Boy Blue
Toy (Your Turn To Drive)

10” No. 3
Side 5
Liza Jane
You've Got A Habit Of Leaving (alternative Mix)
Baby Loves That Way (alternative Mix)
Side 6
Can't Help Thinking About Me (alternative Mix)
I Dig Everything (alternative Mix)
The London Boys (alternative Version)

10” No. 4
Side 7
Silly Boy Blue (Tibet Version)
Let Me Sleep Beside You(alternative Mix)
In The Heat Of The Morning
Conversation Piece (alternative Mix)
Side 8
Hole In The Ground (alternative Mix)
Shadow Man (alternative Mix)
Toy (Your Turn To Drive) (alternative Mix)

10” No. 5
Side 9
In The Heat Of The Morning (Unplugged & Somewhat Slightly Electric Mix)
I Dig Everything (Unplugged & Somewhat Slightly Electric Mix)
You've Got A Habit Of Leaving (Unplugged & Somewhat Slightly Electric Mix)
Side 10
The London Boys (Unplugged & Somewhat Slightly Electric Mix)
Karma Man (Unplugged & Somewhat Slightly Electric Mix)
Conversation Piece(Unplugged & Somewhat Slightly Electric Mix)

10” No. 6
Side 11
Shadow Man (Unplugged & Somewhat Slightly Electric Mix)
Let Me Sleep Beside You (Unplugged & Somewhat Slightly Electric Mix)
Hole In The Ground (Unplugged & Somewhat Slightly Electric Mix)
Baby Loves That Way (Unplugged & Somewhat Slightly Electric Mix)
Side 12
Can't Help Thinking About Me (Unplugged & Somewhat Slightly Electric Mix)
Silly Boy Blue (Unplugged & Somewhat Slightly Electric Mix)
Toy (Your Turn To Drive) (Unplugged & Somewhat Slightly Electric Mix)

3 CD Tracklisting:
CD1 TOY
I Dig Everything
You've Got A Habit Of Leaving
The London Boys
Karma Man
Conversation Piece
Shadow Man
Let Me Sleep Beside You
Hole In The Ground
Baby Loves That Way
Can't Help Thinking About Me
Silly Boy Blue
Toy (Your Turn To Drive)

CD 2 TOY- Alternatives & Extras
Liza Jane
You've Got A Habit Of Leaving (alternative Mix) *
Baby Loves That Way (alternative Mix) *
Can't Help Thinking About Me (alternative Mix)
I Dig Everything (alternative Mix)
The London Boys (alternative Version)
Silly Boy Blue (Tibet Version)
Let Me Sleep Beside You (alternative Mix) *
In The Heat Of The Morning
Conversation Piece (alternative Mix) *
Hole In The Ground (alternative Mix)
Shadow Man (alternative Mix) *
Toy (Your Turn To Drive) (alternative Mix) *


CD 3 TOY - Unplugged & Somewhat Slightly Electric
In The Heat Of The Morning (Unplugged & Somewhat Slightly Electric Mix)
I Dig Everything (Unplugged & Somewhat Slightly Electric Mix)
You've Got A Habit Of Leaving (Unplugged & Somewhat Slightly Electric Mix)
The London Boys (Unplugged & Somewhat Slightly Electric Mix)
Karma Man (Unplugged & Somewhat Slightly Electric Mix)
Conversation Piece (Unplugged & Somewhat Slightly Electric Mix)
Shadow Man (Unplugged & Somewhat Slightly Electric Mix)
Let Me Sleep Beside You (Unplugged & Somewhat Slightly Electric Mix)
Hole In The Ground (Unplugged & Somewhat Slightly Electric Mix)
Baby Loves That Way (Unplugged & Somewhat Slightly Electric Mix)
Can't Help Thinking About Me (Unplugged & Somewhat Slightly Electric Mix)
Silly Boy Blue (Unplugged & Somewhat Slightly Electric Mix)
Toy (Your Turn To Drive) (Unplugged & Somewhat Slightly Electric Mix)

*Previously Unreleased

On the 23rd of August 1999, David Bowie played an intimate set for invited guests at The Manhattan Centre’s Grand Ballroom in New York for the VH1 Storytellers series. Ten years later in 2009 a CD/DVD/Download of the evening was released, and now 20 years on the most complete version available will be released as a strictly limited-edition double vinyl LP.

The Bowie set has long been regarded as one of the most memorable episodes in VH1 Storytellers history, with David delving deep in to his catalogue to perform tracks such as ‘Can’t Help Thinking About Me’ for the first time in 33 years, Aladdin Sane’s ‘Drive-In Saturday' which he had not performed since 1974 and ‘Word On A Wing’ which received its first outing in 23 years.

Bill Flanagan, Executive Producer of the VH1 Storytellers “We were used to dealing with legendary musicians. Still, landing David Bowie was more than a big booking. There's no way to say this without being corny: it was an honour. Bowie has a unique place in rock & roll. He is not only one of the most influential musicians of the era, he does nothing unless he is fully committed”.

TRACK LISTING

Side 1:
1. Life On Mars?
2. Rebel Rebel (truncated)
3. Thursday's Child

Side 2:
1. Can't Help Thinking About Me
2. China Girl
3. Seven

Side 3:
1. Drive-In Saturday
2. Word On A Wing
3. Survive*

Side 4:
1. I Can't Read*
2. Always Crashing In The Same Car*
3. If I'm Dreaming My Life*

*Bonus Recordings Not Included On The Original CD

Welcome To The Blackout (Live London ’78) originally released as a triple vinyl package for Record Store Day 2018 captures Bowie live during the ISOLAR II tour at Earls Court, London on the 30th June and 1st July 1978.

The album was recorded by Tony Visconti and was mixed by David and David Richards at Mountain Studios, Montreux in January 1979.

Initials copies of the CD are packaged in a six-panel digipak with rare photos from Sukita and Chris Walters before reverting to a brilliant case, it will also be released digitally for download and streaming in both standard and high-definition versions.

The zenith of David Bowie's flat-pack soul period, 1975's "Young Americans" is an incredible and frequently overlooked record. No other Bowie album had spelled out its market so cleanly and crisply in its title. This was an album to be bought at a time when young Americans, after years of mobilising, now had a little disposable income and were ready to party. It was all, supposedly, about 'emotional drive'. But the album came to represent so much more than that. It is an indirect product of many factors; soul music; politics, both personal and public; sex, drugs and dancing; of downtown New York and uptown Philadelphia.

STAFF COMMENTS

Barry says: What a beginning! 'Young Americans' really sets the scene for the rest of the album, swooning into the Pre-Balearic charms of 'Win' and the horny brilliance of 'Somebody up There Likes Me'. Dynamic, exciting and criminally overlooked, this is one of the greatest Bowie albums there is, and this is the essential version. Music achieved.

This special limited edition DAVID BOWIE 7" picture disc, is a double A-side of the radio edits of 2018 versions of ZEROES and BEAT OF YOUR DRUM. Both tracks are from NEVER LET ME DOWN (2018), a new version of the 1987 album featured in the forthcoming boxset LOVING THE ALIEN (1983-1988) which is released on 12th October.

NEVER LET ME DOWN (2018), is a new production of Bowie’s final ‘solo’ album of the ‘80s. Producer Mario McNulty worked on the tracks at Electric Lady Studios in New York with longtime Bowie musicians Sterling Campbell (Black Tie White Noise, Outside, ‘hours…’, Heathen, Reality and The Next Day) on drums, Reeves Gabrels (Tin Machine, Black Tie White Noise, Outside, Earthling and ‘hours...') & David Torn (Heathen, Reality and The Next Day) on guitars and Tim Lefebvre (Blackstar) on bass.

ZEROES, the lyrics of which reference Prince’s Little Red Corvette was Bowie’s salute to the ‘60s. He described it as “The ultimate happy-go-lucky rock tune, based in the nonsensical period of psychedelia”. Mario McNulty commented, "Stripping this song down to its core revealed a track that could have been right at home on Hunky Dory, I kept Peter Frampton’s sitar (which was originally owned by Jimi Hendrix) as it still fits against the new guitars from Reeves Gabrels”.

Of BEAT OF YOUR DRUM Mario McNulty says, “David Torn’s ambient guitars start the song that now lead into a much darker world than its shiny predecessor. David sang all the backing vocals on this which I have kept.”

TRACK LISTING

A-Side ZEROES (2018) (RADIO EDIT)
(David Bowie)
Produced By David Bowie, David Richards And Mario J McNulty
Mixed And Recorded By Mario J McNulty

AA-Side BEAT OF YOUR DRUM (2018) (RADIO EDIT)
(David Bowie)
Produced By David Bowie, David Richards And Mario J McNulty
Mixed And Recorded By Mario J McNulty

David Bowie retired Ziggy Stardust, his most famous alter-ego, in front of 5000 stunned fans at London’s Hammersmith Odeon. Now, the fully restored film and soundtrack will be released for the first time for the 50th anniversary of the show. Renowned filmmaker D.A. Pennebaker (Monterey Pop, Bob Dylan - Don’t Look Back, Depeche Mode - 101) captured the momentous event by filming Bowie and The Spiders From Mars backstage and onstage.

Although filmed 50 years ago, the film was not widely seen for over a decade. However, the film and its soundtrack have been newly remastered with the medley of ‘The Jean Genie/Love Me Do’ medley and ‘Round And Round’ featuring the late legendary Jeff Beck reinstated - the latter track making its very first appearance anywhere. Both performances were newly mixed by long-time Bowie collaborator Tony Visconti.

The show featured Bowie’s famous speech just before the final encore, ‘Rock ‘n’ Roll Suicide’, where he revealed that he was retiring the Ziggy Stardust persona. The shocking announcement came as a surprise to all in attendance – including members of his band and was the first proclamation of its kind in rock and roll.

TRACK LISTING

Side 1
Introduction
Hang On To Yourself
Ziggy Stardust
Watch That Man
Wild Eyed Boy From Freecloud
All The Young Dudes
Oh! You Pretty Things
Moonage Daydream
Side 2
Changes
Space Oddity
My Death
Cracked Actor
Time
Side 3
The Width Of A Circle
Let’s Spend The Night Together
Suffragette City
Side 4
White Light/White Heat
Medley: The Jean Genie / Love Me Do / The Jean Genie (feat. Jeff Beck)
Round And Round (feat. Jeff Beck)
Farewell Speech
Rock ‘n’ Roll Suicide

"Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of "Panic in Detroit," as well as on his oddly clueless cover of "Let's Spend the Night Together." For all the pleasures on Aladdin Sane, there's no distinctive sound or theme to make the album cohesive; it's Bowie riding the wake of Ziggy Stardust, which means there's a wealth of classic material here, but not enough focus to make the album itself a classic." - AllMusic.

The album, produced by Tony Visconti (bar "Space Oddity" itself which was produced by the late Gus Dudgeon), was a giant leap forward in terms of songwriting for Bowie compared to his eponymous debut, and can be considered as the first truly essential David Bowie album. Noted for a list of collaborators, including session players Herbie Flowers, Tim Renwick, Terry Cox and Rick Wakeman, the album delves into psychedelic folk-rock, as well as prog, with its genre-defying template creating a blueprint of what would become over the next decade and more, one of the most inimitable British artists.

TRACK LISTING

1 Space Oddity 5:11
2 Unwashed And Somewhat Slightly Dazed 6:12
3 (Don’t Sit Down) 0:44
4 Letter To Hermione 2:36
5 Cygnet Committee 9:35
6 Janine 3:25
7 An Occasional Dream 3:01
8 The Wild Eyed Boy From Freecloud 4:52
9 God Knows I’m Good 3:21
10 Memory Of A Free Festival 7:10

David Bowie's seventh album was his last to feature the famous "Spiders From Mars" band. It originally came out in November 1973 and is unique in that it is made up entirely of cover versions. In the original liner notes Bowie wrote that the original songs carried the flavour of "64 to '67 London" when he was first getting his band together. As such, it really does feel like a labour of love. Apart from enormo stars Pink Floyd, The Kinks and The Who, he also mastered tracks by The Merseys, Pretty Things and Easybeats. In short, a fine collection of classic songs given that indefatigable Bowie stamp.

TRACK LISTING

1. Rosalyn
2. Here Comes The Night
3. I Wish You Would
4. See Emily Play
5. Everything's Alright
6. I Can't Explain
7. Friday On My Mind
8. Sorrow
9. Don't Bring Me Down
10. Shapes Of Things
11. Anyway, Anyhow, Anywhere
12. Where Have All The Good Times Gone

"Even though it contained no hits, The Man Who Sold the World, for most intents and purposes, is the beginning of David Bowie's classic period. Working with guitarist Mick Ronson and producer Tony Visconti for the first time, Bowie developed a tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen. The mix is off-center, with the fuzz-bass dominating the compressed, razor-thin guitars and Bowie's strangled, affected voice. The sound of The Man Who Sold the World is odd, but the music is bizarre itself, with Bowie's bizarre, paranoid futuristic tales melded to Ronson's riffing and the band's relentless attack. Musically, there isn't much innovation on The Man Who Sold the World - it is almost all hard blues-rock or psychedelic folk-rock - but there's an unsettling edge to the band's performance, which makes the record one of Bowie's best albums." - Allmusic.

TRACK LISTING

The Width Of A Circle 8:07
All The Madmen 5:38
Black Country Rock 3:33
After All 3:52
Running Gun Blues 3:12
Saviour Machine 4:27
She Shook Me Cold 4:13
The Man Who Sold The World 3:58
The Supermen 3:39

Originally released through RCA Victor on 6th June 1972, Ziggy Stardust was David Bowie’s fifth album, co-produced by Bowie and Ken Scott. Incredibly, the album was written whilst Bowie was recording 1971’s Hunky Dory album, with recording beginning a couple of months before that album’s release. It was recorded at Trident Studios, London between 8th November 1971 and 4th February 1972, with the line up: Mick Ronson (guitar, piano, backing vocals, string arrangements), Trevor Bolder (bass), Mick Woodmansey (drums), Rick Wakeman (keyboards) and backing vocals on ‘It Ain’t Easy’ by Dana Gillespie. As well as performing vocals, Bowie also played acoustic guitar, saxophone and harpsichord on the album and was involved in the arrangements too.

The album eventually peaked at #5 on the UK Album Chart on 22nd July having entered the chart at #15 on 1st July. Key to the album’s rise in the UK were the two TV performances of “Starman” on Granada TV’s Lift Off With Ayshea and nationally on the BBC’s Top Of The Pops. The album’s influence is immeasurable – it converted legions of fans, becoming the zeitgeist and a major influence on the next generation, particular those who were involved in the punk movement – musicians, artists, designers – and the subsequent re-birth of rock and pop.

Famously Bowie killed Ziggy at his peak at London’s Hammersmith Odeon, on July 3rd, 1973, though Ziggy Stardust’s influence was to redefine popular culture forever: pop music was never the same again.

Limited edition US import!

New EP from these two esteemed Chicagoans featuring 5 massive cuts of rare disco, funky soul and house bangers sure to set any dancefloor on fire.

A side concentrates on the more organic end of the palette - hen's teeth disco and soul I haven't the faintest clue of its origins. Side B features two wigged-out pieces of Chi-town house voodoo - again, source unknown - but think somewhere between Risque III, Adonis and Ron Trent and you'll be on the right lines...

Essential for fans of Al-Tone, Mark Grusane & MR. K; five extended tweaks make this worthy addition to any working DJs record box whilst dancers will revel in the obscurity and the musicality of the sonics on show. Highly, highly recommended! 

STAFF COMMENTS

Matt says: Dion Bracken & Lloyd Dev do indeed, please the crowd with these Jamal Moss / Ron Hardy indebted disco edits and house tweaks. Just what the doctor ordered, Chi-town does it best!

TRACK LISTING

A1. 
A2.
A3.

B1. 
B2. 

Reissue of this cult 1972 album which featured on the infamous Nurse With Wound List.

Don Bradshaw-Leather is a mysterious cult artist active on the London scene in the early 1970s, releasing just the one ambitious double LP on his own label in 1972. There has been speculation as to who this guy was. Some saying he looks like Robert John Goddfrey of The Enid, and also because of similarity in the title and some of the music, it was touted that it could have been Adrian Wagner’s prequel to his “Distances Between Us” – both not true. Don Bradshaw-Leather was, in fact, his name, born as just Donald Bradshaw I believe, and (according to Jay who was a regular in the basement of Honest Johns, Rhythm Records in Camden Town) was seen around a lot in the area in the early 1970’s busking and at small gatherings and concerts. He would hock his records around the local stores just to cover his expenses, and never sought any proper distribution.

At least two versions exist of this, one with a laminated cover, the other standard matt card. In the late 1970’s it was still possible to find copies of this, in fact, Honest Johns in Goldhawk Road still had new ones in 1979. I and my brother Steve used to buy every copy we could find in Record & Tape Exchange’s various bargain basements in London, copies from as little as 10p, and we had dozens – but we never ever found a good pressing, even ones that were supposedly new! It’s a magical record really, if you can stand the usual record noise (a real annoyance when some parts are so spacious and close to silence), with just 4 tracks, each a slightly different mood, involving drums, percussion, piano, Mellotron, and voice, amongst sundry other things, lots of big reverb, clever layering / multi-tracking. Almost Krautrock in its attitude, it’s wanton abandon, and for the heck of it, experimentation makes it one that peels off the delights layer by layer, drawing the listener into the ritual.

Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer Frick, is set to release his second solo album for London imprint Erased Tapes on October 12th. Titled Channels, the new record follows the release of the London and Berlin based producer’s solo debut Eternal Something from 2017. The seven-track LP is Brandt’s biggest statement yet, with the album’s thrilling avant-garde framework interweaving chord-driven techno, orchestral flourishes, rich electronic textures and hints of dark cinematic pop. Following on from Eternal Something, which captured a contemplative kind of isolationism, with Channels Brandt set out to create an album that captures the essence of minimalism whilst lending it to a more playful context. After performing and recording Steve Reich’s Six Pianos in a group of six, Brandt began regularly composing long meditations on the piano, something that permeates the sound of the new record. Its frenetic energy and shape-shifting identity was also born out of touring with his new band Eternal Something — comprised of Brandt on piano, drums and synthesisers, Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire to translate both the sound and spiritual unity of their live shows in which musicians locked together to create an intriguing meld of expansive works. Intricate floor-filler and lead track ‘Flamingo’ synthesises the measured pacing of Detroit techno with an orchestral background. As with all of the tracks on Channels, ‘Flamingo’ began life as a sketch with very basic instrumentation, before taking it into the studio to rehearse with his band members, giving the album a live and visceral sound that sets it apart from his debut; “It was a great experience to do it this way as I have always wanted to have the chance to try out something in a live setting before recording it in the studio and not the other way round,” explains Daniel. “The actual typical rock band recording style that I never had the chance to do before.”

The album’s most immersive, club-ready track ‘Sailboats III’ is built with a vivid and pulsating bass line that takes inspiration from a Lichtenstein painting, as well as the UK bass scene and producers like Tessela and Lord Tusk. The blossoming cosmos of ‘Cherry Dream’ is informed by Tangerine Dream’s iconic soundtrack to the film Risky Business, a compelling reinterpretation of Love On A Real Train replete with darker, electronic elements and live orchestration. ‘Daze’, co-written with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a rhythmic percussive pulse, whilst the understated ‘Ltd’ was stylistically inspired by Steve Reich’s Electric Counterpoint as well as Daniel and his band’s live improvisations with orchestral collective Stargaze, whose founder and conductor André de Ridder contributed violin on the album. Title track ‘Channels’ melds instrumental ambient with melodramatic embellishments, whilst the record’s closer ‘Twentynine Palms’ takes its name from the vast Californian desert, and was written while Daniel was travelling there, evoking the widescreen and rapturous sound of open space and nature. With Brandt also being skilled as a filmmaker, directing and producing visuals for BBF and Eternal Something, much of the new album’s creative ideas reference a rich visual palette. He directed the video for ‘Flamingo’, a sideways glance at the art world that takes the concept behind John Cage’s 4’33” and turns it on its head. “The video for Flamingo is deliberately non performance — people sitting in a room and watching basically nothing, never really sure if anything is ever going to happen. It’s also a play on John Cage’s 4’33”, except in this instance there isn’t even a performer present.” — Daniel Brandt

Daniel’s passion for film even prompted him to kick start his own online television channel Strrr.tv in 2017 that since attracted a lot of attention with guest moderators including BBC Radio DJ Gilles Peterson, modular synth legend Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the most popular episodes.

Recorded between Berlin and London, Channels is a deeply enthralling listening experience, which sees Daniel Brandt build upon his distinctive percussive sound whilst exploring new and expansive horizons.

TRACK LISTING

1. Flamingo
2. Sailboats III
3. Cherry Dream
4. Daze
5. Ltd
6. Channels
7. Twentynine Palms

Daniel Brandt, co-founder of Germany’s electroacoustic ensemble Brandt Brauer Frick, joins the Erased Tapes family with his solo debut album Eternal Something.

What started off as a more simplistic idea soon evolved into something a lot more complex as the London and Berlin based music producer travelled across the world, experimenting with various other artists and different instruments. From his father’s cabin based in the German countryside with access to nothing but cymbals, to being surrounded by guitars in Joshua Tree, his unexpected journey soon progressed into what became his first solo album.

Daniel played nearly all instruments himself with the only exception being fellow musicians Florian Juncker on trombone, Manu Delago on hang drum and Andreas Voss on cello. Using his Berlin studio as his main base for recording, Brandt created an album that encapsulates the idea that despite setting out with a particular creative vision, external influences and environments will always shift the process, and create an Eternal Something.

Words from Daniel, January 2017:
“The initial idea was to make a cymbal album. I wanted to surround myself with all types of cymbals. I locked myself into my father’s cabin in the woods for three days. That was the moment I realised it was not possible for me to make an album just with cymbals because other ideas and instruments imposed themselves on me. I had a clear sense of what I wanted to do now. The intention was to let the songs evolve by themselves and not edit too much, keep it raw and have an explosion-like energy to them. I wanted to create a different sound, songs that build up like dance tunes but don't feel like club music at all. Travelling around in California for two months gave me the possibility to deeply get into this concept outside my normal environment. Robert Raths, who served as a great motivator throughout the whole process (I guess he had listened to the record more than I ever had) came up with the perfect order for the songs. This record is about failing to make the original plan happen, but then the discovery of something I couldn't even think of before.”

Prior to being enlisted to create the album artwork, Iranian artist Shaz Madani coincidentally had also planned a trip to Joshua Tree where she documented her own experience of Eternal Something, forming the visual counterpart to the record.

TRACK LISTING

1. Chaparral Mesa
2. FSG
3. The White Of The Eye
4. Turn Over
5. Kale Me
6. Eternal Something
7. Casa Fiesta
8. On The Move 

After three albums as School of Language, David Brewis’s next contribution to the ever-expanding Field Music universe is this jazz-inflected acoustic record. It will also be the second album release on Field Music’s newly formed Daylight Saving Records label, intended as the home for the Brewis brothers’ extra-curricular projects.

The Soft Struggles veers away from Field Music’s eclectic palette and instead leans into the luminous spontaneity of Van Morrison’s Astral Weeks and the breathy, string-laden chamber pop of Colin Blunstone’s One Year. Several of the tracks were built around a single day of live recording at Field Music’s studio in Sunderland, with David’s brother Peter on drums, Sarah Hayes (Admiral Fallow, You Tell Me) on piano and flute and Faye MacCalman (Archipelago) on clarinet and saxophone.

“There’s something a bit magical about a bunch of musicians together in a room being thrown in at the deep end,” says David, “So many of my favourite records were made quickly by musicians sitting a few feet from each other, playing songs they’d never even heard before the session began. That’s what I tried to do with this album. A chord sheet, a set of lyrics, a brief chat about tempo and then, okay comrades, see you at the other side.”

The soft struggles of the songs themselves touch on weariness and loss, disappointments allayed or accepted, anxieties overcome or temporarily elbowed aside, sometimes grasping for romantic, or parental, wisdom, and when wisdom isn’t quite in reach, there are songs of consolation and wry hopefulness.

The album also features contributions from singer Eve Cole, trombones by David Smith and Craig Hissett, saxophones on The Last Day by Pete Fraser, and strings courtesy of regular Field Music collaborators Ed Cross, Jo Montgomery, Chrissie Slater and Ele Leckie.

TRACK LISTING

Can We Put It In The Diary
Surface Noise
Tomorrow
When You First Meet
It Takes A Long Time
Start Over
Keeping Up With Jessica
High Time
The Last Day
The King Of Growing Up

If you collect vintage 70’s soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together.

Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70’s to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee’s career with her debut album ‘Afro Blue’. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

‘Afro Blue’ features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of ‘People Make The World Go Round’, ‘Love From The Sun’, and ‘Afro Blue’. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

TRACK LISTING

Afro Blue
Love Vibrations
Blues Medley (Everyday I Have The Blues / Stormy Monday Blues)
Little B’s Poem 
Raindrops Keep Fallin’ On My Head
Love From The Sun
People Make The World Go Round

Recorded while pregnant with her second child, Dee Dee's "Just Family" features a stellar line up of musicians - Stanley Clarke, George Duke, Chick Corea and Alphonso Johnson amongst them.

"Atrocity Exhibition" is an album of Danny Brown’s typically vigorous rap, paired with challenging production inspired by the work of Talking Heads and Joy Division. It sounds like nothing else from the past or present. Brown began work on "Atrocity Exhibition" in the summer of 2014, linking up with producer and frequent collaborator Paul White on the bulk of the album’s cuts. Other contributions come from producers like Evian Christ, Petite Noir (who also lends vocals to the world weary clang of ‘Rolling Stone’), Black Milk and the Alchemist, who lays down the beats for the masterful "Really Doe". Joined by Kendrick, Ab-Soul and Earl Sweatshirt, Brown goes wild over a killer rhythm track, resulting in the LP's stand out moment. 

TRACK LISTING

Downward Spiral
Tell Me What I Don’t Know
Rolling Stone (featuring Petite Noir)
Really Doe (featuring Kendrick Lamar, Ab-Soul & Earl Sweatshirt)
Lost
Ain’t It Funny
Goldust
White Lines
Pneumonia
Dance In The Water
From The Ground (featuring Kelela)
When It Rain
Today
Get Hi (featuring B-Real)
Hell For It

Epitomizing the very best of their hometown’s unparalleled musical heritage, Detroit’s Dames Brown are the vocal trio you may not yet know by name but are sure to know by voice. Lending their exquisite range to a number of modern house essentials, including Sophie Lloyd’s ‘Calling Out’, The Vision featuring Andreya Triana ‘Heaven’ and David Penn’s ‘Nobody’ in recent years, Athena Johnson, Teresa Marbury and LaRae Starr now release ‘What Would You Do?’ on a limited 7” package. Produced by long-time collaborator of the group and fellow Motor City native Amp Fiddler and Mahogani Music regular Andrés, this slick, funk-filled and typically soulful vinyl release features the exceptional original version as well as Lyon house superstar Folamour’s remix, with his signature groove a perfect match for the Dames mesmerizing vocal. Don’t sleep!

STAFF COMMENTS

Matt says: Massive massive massive! Andres and Amp Fiddler on production! Bumps hard, kicks like a mule. With a bassline that'll cause ceilings to collapse.

TRACK LISTING

A. What Would You Do?
B. What Would You Do? (Folamour Remix)

Detroit spitter Danny Brown is a fan favourite for a reason. Few MCs have taken true-blue lyrical ferocity and draped it in a persona as arresting as Danny’s. By the time he released breakout album XXX, he was spearheading a movement of avant-garde internet hip-hop that we still live in the shadow of today.

“Quaranta”, Brown’s sixth studio album, peels back the curtain to unveil the inner monologues of an artist who’s mystified fans for over a decade. According to Brown, Quaranta is the spiritual sequel to XXX (2011), that infamously catalogued a life lived on the edge at thirty. Quaranta’s core mission statement is of growth, pain, progression, and the view from atop the hill.

Fresh from a tour with JPEGMAFIA promoting their collaborative album “Scaring the Hoes,” coupled with a period of personal growth, this experience points to heightened productivity that shows no signs of slowing down.

STAFF COMMENTS

Liam says: Another outstanding outing from Detroit MC master Danny Brown, 'Quaranta' is a more introspective expedition into Brown's psyche. The flows are as superb as ever, the production is sublime and Brown's lyrics are at some of his best - don't sleep on this!!!

TRACK LISTING

1. Quaranta
2. Tantor
3. Ain't My Concern
4. Dark Sword Angel
5. Y.B.P. Feat. Bruiser Wolf
6. Jenn’s Terrific Vacation Feat. Kassa Overall
7. Down Wit It
8. Celibate Feat. MIKE
9. Shakedown
10. Hanami
11. Bass Jam

In the ten years since Danny Brown’s magnum opus XXX was released, he has permeated both underground and mainstream music culture with an authentic and ever-evolving persona and a sound wholly his own, transcending genres and any parameters the world around him might impose. He set the blueprint for many of today’s critical darlings and opened doors for so many following his personally audacious start. Today, Brown announces his long awaited and much anticipated return with his fifth studio album uknowhatimsayin¿, slated for a physical release on November 8th via WARP. Executive production is from the iconic rapper and producer Q-Tip of A Tribe Called Quest. Q-Tip’s involvement in uknowhatimsayin¿ marks the first time the legendary artist has executive produced an album since Mobb Deep’s The Infamous. Brown’s lyrics balance earnest storytelling with laugh-out-loud one-liners, especially apparent on “Dirty Laundry” as Danny raps about his sexual exploits and reminisces on his rocky path to stardom. Brown’s star turn as an artist and individual are both clearly demonstrated on uknowhatimsayin¿, the next stop on Brown’s journey and one that solidifies his reputation as an innovator and hip-hop’s favorite curiosity. In the truest sense, it is a modern classic that defies genre and reimagines what a hip-hop album can and should be in 2019.

STAFF COMMENTS

Matt says: One of the most recognizable voices in modern rap, and a flag bearer for Detroit, comes through with a new album. A tasty bunch of collaborators, Q-tip (!!) on production duties plus Brown's completely unique lyrical style mean this'll be a last minute entry to rap albums of the year. Check!

TRACK LISTING

01. Change Up
02. Theme Song
03. Dirty Laundry
04. 3 Tearz (feat. Run The Jewels)
05. Belly Of The Beast (feat. Obongjayar)
06. Savage Nomad
07. Best Life
08. Uknowhatimsayin¿ (feat. Obongjayar)
09. Negro Spiritual (feat. JPEGMAFIA)
10. Shine (feat. Blood Orange)
11. Combat

Dennis Brown's roots classic "Milk and Honey" freshly remastered, complete with Clive Hunt's original "Bitter Sweet" dub (under his Azul moniker) on the A Side On the B side, Jay Glass Dubs unfolds a skewed and deconstructed contemporary dub. Strictly limited- edition white label vinyl. Once it's gone its gone.

STAFF COMMENTS

Matt says: More fat modern dubs for your subs! An all star cast graces this one on Wise, and the hype is high!

TRACK LISTING

1. Dennis Brown - Milk And Honey
2. Azul - Bitter Sweet
3. Jay Glass Dubs - Milk And Honey Dub

Now ain't this summat spesh.... A re-vamped selection of Dennis Brown songs recorded and produced at Jammy's and now remixed and remastered with a selection of new vocalists, deejays and toasters adding ad-libed lines and improvisations to the original compositions!

The A-list selection of vocalists includes Protoje, Dre Island, Alborosie, Romain Virgo, Agent Sasco and more (no Chronix though?! - ed). Some of Dennis Brown’s finest performances for King Jammys, remixed and refreshed with 21st century flavor, the album also includes a newly remastered solo feature for Dennis Brown, “You Satisfy My Soul” (a King Jammy personal favorite). The vinyl LP includes the special bonus addition of the Damian ‘Jr. Gong’ Marley feature "Can’t Keep (A Good Man Down)" backed with "Can’t Keep Version".

King Jammy is one of reggae’s most prolific and innovative producers, with "Tracks Of Life" he shows himself strong once again. Part tribute and part greatest hits, this album will win new listeners and inspire fans to dig into the original songs. The album is a blend of raw and vibrant vocal performances revisiting vintage Dennis Brown from the King Jammy catalogue.

STAFF COMMENTS

Matt says: One of my favourite reggae producers of the 80's, maybe ever, shines a light on the incredible vocal talent currently spearheading Jamaica's roots n culture renaissance.

TRACK LISTING

1. High Grade Morning Feat. Protoje
2. Gun Town Feat. Dre Island
3. Wash Dem Away Feat. Agent Sasco
4. Love And Live Feat. Alborosie
5. Back To Africa Feat. DYCR & Tristan Palma
6. Give Love A Try Feat. Projexx
7. Real Love Feat. Aza Lineage
8. Run The Track Feat. Romain Virgo
9. The Magic Touch Feat. Jesse Royal
10. You Satisfy My Soul
11. Can't Keep Feat. Damian "Jr. Gong" Marley
12. Can't Keep (Jammys Version)

Dana Buoy has spent the better part of the last decade as the percussionist for Akron/Family.

Dana Buoy’s debut album, Summer Bodies, is a rhythmic and vibrant dedication to the joyous feelings of summer love.

What started as hopeful love notes left on an answering machine in Oregon were later crafted into an album in a bungalow near a jungle lagoon in Thailand. Armed with nothing more than a laptop, an MPC1000, and the enchantment of the paradise found there, the songs began to take shape, mimicking the tropic forms that surrounded them.

The record was completed months later in Brooklyn and was fleshed out almost solely by Buoy with live drumming, guitar, thumb piano, and samples built from omnichords, analog synthesizers and iPad apps. During the recording, Buoy and his engineer weathered an earthquake, followed by Hurricane Irene - neglecting to evacuate and maintaining days of isolation brought on by the tropical storm.

The result is Summer Bodies, the culmination of over a year of songwriting and travelling. A dream pop record combining elements of Afro beats, synth pop, and what Buoy refers to as “Tropicore”. The songs connect the dots between Paul Simon and Drake, providing a sonic spaceship ride from the beach party to the after party.

STAFF COMMENTS

Ryan says: As the percussionist for Akron/Family, you can expect many similar melodies & harmonies from Dana Bouy, overall this is a stunning release. Akron/Family fans, give it a try!

TRACK LISTING

1. The Anatomy Of Now
2. Call To Be
3. So Lucky
4. Satellite Ozone
5. Come My Side
6. Untitled 1
7. Delicate Suitor
8. Hand Over Hand
9. Futures Part
10. Best Around
11. We On The Sea

One of the finest groups of the late 50s, the Jazz Lab was co-led by the inimitable horn players Gigi Gryce and Donald Byrd. Although the group worked extensively from February to September of 1957 it broke up shortly after. However, all their albums together have become jazz classics, among them the group's first LP, presented here.

"Gigi Gryce and Donald Byrd's innovative, but unfortunately short-lived Jazz Lab Quintet recorded several sides during 1957, seven of which were released on this excellent LP. Jazz Lab makes for an excellent introduction to the hard bop catalogue." - 4.5 STARS AllMusic (Stephen Cook)

TRACK LISTING

1. Speculation
2. Over The Rainbow
3. Nica's Tempo
4. Blue Concept
5. Little
6. Niles
7. Sans Souci
8. I Remember Clifford
9. Smoke Signal

Donald Byrd presented A New Perspective with his magnificent 1963 album for band and voices which wove the essence of spirituals into modern jazz with arrangements by Duke Pearson and contributions from Hank Mobley, Herbie Hancock, Kenny Burrell, and others. Highlights include the stunning ‘Cristo Redentor’, spirited ‘Elijah’ and soulful ‘Chant’. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

TRACK LISTING

Side A
1. Elijah
2. Beast Of Burden

Side B
1. Cristo Redentor
2. Black Disciple
3. Chant

Recorded over two years largely at Water Music in Hoboken, NJ, the album is a collaboration in the truest sense of the word, with Byrne and St. Vincent (aka Annie Clark) co-writing ten of the album’s twelve tracks, and each artist penning one song individually.

The album centres around an explosive brass band and is propelled by John Congleton’s drum programming.

“There was no delineating what the roles were,” explains Clark. “It’s a collaboration I’m truly proud of.” The duo also split lyrical and vocal duties on the record which, despite eschewing a traditional guitar / bass / drums line-up in favour of idiosyncratic horn arrangements, presents itself as infectious and modern hook-laden rock.

Byrne and Clark spin their intriguingly enigmatic tales, by turns whimsical and dark, backed by a large brass band in lieu of a traditional rock lineup. There is a magical urbanity to ‘Love This Giant’: It’s as if they’re dancing in the streets, their voices soaring over the rhythms, the melodies, the barely contained cacophony of the city.

Though Byrne and Clark each have an unmistakable sound and persona that have made them such compelling performers on their own, their voices manage to blend naturally, effortlessly, here. Sometimes they trade verses, at others they sing in unison. Like friends who can finish each other’s sentences, when one takes the spotlight alone, it’s often with words that the other provided. The brass lends the songs an appealing theatrical sheen while programmed percussion provides a contemporary feel.

Byrne and Clark met in 2009 at the ‘Dark Was The Night’ benefit at Radio City Music Hall and were approached shortly after by the Housing Works Bookstore to collaborate on a night of music. They began composing remotely, trading song ideas and structures online while Clark toured and it quickly became apparent that they had more than just one night of music in them. Byrne performed with Clark at her ‘American Songbook’ show at Lincoln Center in 2010, and Clark contributed vocals to Byrne’s ‘Here Lies Love’ album, released the same year.

"Here Lies Love" is a double-disc song cycle, improbably poignant, decidedly surreal, surprisingly thought provoking - about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to light-hearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Roisin Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on "American Troglodyte", a send-up that wouldn't have seemed out of places in Talking Heads' "True Stories".

TRACK LISTING

Disc 1
1. Here Lies Love - Feat. Florence Welch (Florence & The Machine)
2. Every Drop Of Rain - Feat. Candie Payne & St. Vincent
3. You'll Be Taken Care Of - Feat. Tori Amos
4. The Rose Of Tacloban - Feat. Martha Wainwright
5. How Are You? - Feat. Nellie McKay
6. A Perfect Hand - Feat. Steve Earle
7. Eleven Days - Feat. Cyndi Lauper
8. When She Passed By - Feat. Allison Moorer
9. Walk Like A Woman - Feat. Charmaine Clamor
10. Don't You Agree? - Feat. Roisin Murphy
11. Pretty Face - Feat. Camille
12. Ladies In Blue - Theresa Andersson

Disc 2
1. Dancing Together - Feat. Sharon Jones
2. Men Will Do Anything - Feat. Alice Russell
3. The Whole Man - Feat. Kate Pierson
4. Never So Big - Feat. Sia
5. Please Don't - Feat. Santi White (Santigold)
6. American Troglodyte
7. Solano Avenue - Feat. Nicole Atkins
8. Order 1081 - Natalie Merchant
9. Seven Years - Feat. Shara Worden (My Brightest Diamond)
10. Why Don't You Love Me? - Feat. Tori Amos & Cyndi Lauper

DVD
1. Eleven Days - Feat. Cyndi Lauper
2. When She Passed By - Feat. Allison Moorer
3. Don't You Agree? - Feat. Roisin Murphy
4. Dancing Together - Feat. Sharon Jones
5. Please Don't - Feat. Santi White (Santigold)
6. Order 1081 - Feat Natalie Merchant

David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.

Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).

Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.

Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.

The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”

TRACK LISTING

Disc 1: Side A
1. Here Lies Love – David Byrne & Fatboy Slim Feat. Florence Welch (Florence & The Machine)
2. Every Drop Of Rain – David Byrne & Fatboy Slim Feat. Candie Payne & St. Vincent
3. You'll Be Taken Care Of – David Byrne & Fatboy Slim Feat. Tori Amos
4. The Rose Of Tacloban – David Byrne & Fatboy Slim Feat. Martha Wainwright
5. A Perfect Hand – David Byrne & Fatboy Slim Feat. Steve Earle
Disc 1: Side B
1. Eleven Days – David Byrne & Fatboy Slim Feat. Cyndi Lauper
2. When She Passed By – David Byrne & Fatboy Slim Feat. Allison Moorer
3. Walk Like A Woman – David Byrne & Fatboy Slim Feat. Charmaine Clamor
4. Don't You Agree? – David Byrne & Fatboy Slim Feat. Róisín Murphy
5. Pretty Face – David Byrne & Fatboy Slim Feat. Camille
6. Ladies In Blue – David Byrne & Fatboy Slim Feat. Theresa Andersson
Disc 2: Side A
1. Dancing Together – David Byrne & Fatboy Slim Feat. Sharon Jones
2. How Are You? – David Byrne & Fatboy Slim Feat. Nellie McKay
3. Men Will Do Anything – David Byrne & Fatboy Slim Feat. Alice Russell
4. The Whole Man – David Byrne & Fatboy Slim Feat. Kate Pierson
5. Never So Big – David Byrne & Fatboy Slim Feat. Sia
6. Please Don't – David Byrne & Fatboy Slim Feat. Santi White [Santigold]
Disc 2: Side B
1. American Troglodyte – David Byrne & Fatboy Slim
2. Solano Avenue – David Byrne & Fatboy Slim Feat. Nicole Atkins
3. Order 1081 – David Byrne & Fatboy Slim Feat. Natalie Merchant
4. Seven Years – David Byrne & Fatboy Slim Feat. Shara Worden (My Brightest Diamond)
5. Why Don't You Love Me? – David Byrne & Fatboy Slim Feat. Tori Amos & Cyndi Lauper

American Utopia fits hand-in-hand with Byrne’s vision for his series ‘Reasons To Be Cheerful’ - an ongoing series curated by Byrne of hopeful writings, photos, music, and lectures – named for the song by the late Ian Dury. Over the last year, Byrne has been collecting stories, news, ideas, and other items that all either embody or identify examples of things that inspire optimism, such as a tech breakthrough, a musical act, a new idea in urban planning or transportation – something seen, heard, or tasted. Just as the album questions the current state of society while offering solace through song, the content of the series recognizes the darkness and complexity of today while showcasing alternatives to the despair that threatens us. 

While David Byrne has collaborated on joint releases with Eno, Norman Cook (aka Fatboy Slim), and most recently St. Vincent over the past decade, American Utopia is Byrne’s first solo album since, 2004’s Grown Backwards, also on Nonesuch. American Utopia morphed during the writing and recording process, beginning with longtime collaborator Eno, and eventually growing to include collaboration with producer Rodaidh McDonald (The xx, King Krule, Sampha, Savages) alongside a diverse cast of creative contributors including Daniel Lopatin (aka Oneohtrix Point Never), Jam City, Thomas Bartlett (St. Vincent producer, aka Doveman), Jack Peñate, and others. The album was recorded in New York City at David’s home studio, Reservoir Studios, Oscilloscope, XL Studios, and Crowdspacer Studio and in London at Livingston Studio 1.

Speaking about the album, Byrne said:
Is this meant ironically? Is it a joke? Do I mean this seriously? In what way? Am I referring to the past or the future? Is it personal or political?

These songs don’t describe an imaginary or possibly impossible place but rather attempt to depict the world we live in now. Many of us, I suspect, are not satisfied with that world – the world we have made for ourselves. We look around and we ask ourselves – well, does it have to be like this? Is there another way? These songs are about that looking and that asking.

This album is indirectly about those aspirational impulses. Sometimes to describe is to reveal, to see other possibilities. To ask a question is to begin the process of looking for an answer. To be descriptive is also to be prescriptive, in a way. The act of asking is a big step. The songs are sincere – the title is not ironic. The title refers not to a specific utopia, but rather to our longing, frustration, aspirations, fears, and hopes regarding what could be possible, what else is possible. The description, the discontent and the desire – I have a feeling that is what these songs touch on.

I have no prescriptions or surefire answers, but I sense that I am not the only one looking and asking, wondering and still holding onto some tiny bit of hope, unwilling to succumb entirely to despair or cynicism.

It’s not easy, but music helps. Music is a kind of model – it often tells us or points us toward how we can be.

STAFF COMMENTS

Barry says: From what I garner from reading Byrne's comments on his newest release, he is commenting (possibly) sarcastically on the duality of American life... or possibly he wasn't. What is less ambiguous is just listening to the album, taking in the excellently written songs and the latent, wry politicism peppered throughout. It's wonderful, that's all you need to know.

TRACK LISTING

1. I Dance Like This
2. Gasoline And Dirty Sheets
3. Every Day Is A Miracle
4. Dog’s Mind
5. This Is That
6. It’s Not Dark Up Here
7. Bullet
8. Doing The Right Thing
9. Everybody’s Coming To My House
10. Here

Nonesuch releases the cast album for the critically acclaimed Broadway production of David Byrne’s American Utopia, with music and lyrics by David Byrne. American Utopia began as an album, also released by Nonesuch, which received a Grammy nomination and was the first by Byrne to reach #1 on the Album Chart; it was also his first to reach the Top Five on the Billboard 200 chart. The concert tour in support of American Utopia, which inspired the Broadway show, included songs from the new album along with music from Talking Heads and Byrne’s solo career. Byrne and the ensemble performed more than 150 dates in twenty-seven countries over nine months. The NME said it ‘may just be the best live show of all time.’

David Byrne’s American Utopia features David Byrne with Jacquelene Acevedo, Gustavo Di Dalva, Daniel Freedman, Chris Giarmo, Tim Keiper, Tendayi Kuumba, Karl Mansfield, Mauro Refosco, Stéphane San Juan, Angie Swan, and Bobby Wooten III; Davi Viera also performs on the album. The show’s design team includes Rob Sinclair (lighting) and Pete Keppler (sound). Karl Mansfield and Mauro Refosco are Musical Directors. Choreography and Musical Staging is by Annie-B Parson. Alex Timbers serves as Production Consultant.

Fresh off a pre-Broadway engagement at Boston’s Emerson Colonial Theatre, David Byrne’s American Utopia began performances on October 4 at the intimate Hudson Theatre on Broadway and celebrated opening night on October 20. Byrne and company perform six times a week through January 19, 2020.

David Byrne’s American Utopia is the once-in-a-lifetime Broadway event that delivers ‘an experience unlike anything else’ (Billboard) and marks a major cultural milestone in the worlds of music and theatre. Innovative pop/rock icon David Byrne (Talking Heads, Here Lies Love) shares the spotlight with a diverse ensemble of eleven musical artists from around the globe to deliver ‘a marvel of staging and motion’ (Chicago Tribune) that’s a ‘thought-provoking example of the power of live music’ (Forbes).

David Byrne's Nonesuch Records debut album, Grown Backwards, first released in 2004, makes its vinyl debut almost fifteen years later. The vinyl edition comprises the original album plus six previously unreleased tracks, including a duet with Caetano Veloso on their song ‘Dreamworld’. The double LP was mastered for vinyl by Greg Calbi at Sterling Sound and pressed on 140g vinyl at Record Industry in the Netherlands and comes in a metallic sleeve.

‘It fits alongside the best of his career and adds another solid release to a solo catalog which will hopefully become more cherished in time,’ said Pitchfork in its review in 2004.

‘In 20 years, as we straighten our faces with botulism, braces, and stem cells, the album will stand up’. Mojo gave Grown Backwards four stars, finding that ‘some of Byrne's most deliciously quirky lyrics ensure an event-packed listen.’ The Guardian called the album ‘one of Byrne's most rewarding experiments yet. These are wonderful exercises in songcraft.’ The Daily Telegraph said: ‘This must surely be Byrne's most satisfying album. An unexpected delight.’ Uncut named it among the Albums of the Year, and the Sunday Times declared: ‘Really rather wonderful.’

In conjunction with The Criterion Collection’s special-edition DVD and Blu-ray release of David Byrne’s 1986 film True Stories, Nonesuch and Todomundo Records release a comprehensive soundtrack, collected for the first time in one package and in film sequence: True Stories, A Film by David Byrne: The Complete Soundtrack. David Byrne was inspired by tabloid headlines to make his sole foray into feature-film directing, an ode to the extraordinariness of ordinary American life and a distillation of what was in his own idiosyncratic mind. Byrne plays a visitor to Virgil, Texas, who introduces us to the citizens of the town during preparations for its Celebration of Specialness. As shot by cinematographer Ed Lachman, Texas becomes a hyper-realistic late-capitalist landscape of endless vistas, shopping malls, and prefab metal buildings.

In True Stories, Byrne uses his songs to stitch together pop iconography, voodoo rituals, and a singular variety show. Byrne calls the record “an immersive audio voyage into the little town of Virgil, Texas, in the mid-eighties.” He continues, “I always imagined that the music written for True Stories should be heard as it is in the film. It makes the most sense this way. Me singing the song that was written for John Goodman’s character, Louis Fine, always felt weird to me. It was written for that character, not for me.”

Uniquely of the many acts which came to public awareness through the lauded C86 compilation, David Lance Callahan has pursued a career of consistent brilliance and stark originality. After a run of fine albums with The Wolfhounds, outstanding work with Moonshake and collaborations with members of Stereolab and PJ Harvey (among others), Callahan has outdone himself on this long-awaited solo album, the results of which merit the sort of deep dive best explained with with ample time and a quality turntable. Whether English Primitive I is a product of the past year's isolation or of a long-simmering brew only now ready for dissemination is something Callahan has yet to reveal. Whatever its origins, English Primitive I is the work of a massive talent.

Wolfhoundian riffage offered enough ramshackle charm to somewhat obscure Callahan's darker, more penetrating writing. Likewise, Moonshake's musically bi-polar approach disguised his underlying political impulse. Here Callahan's lyricism finally, indelibly, proves him to be among the finest British pop craftsmen. This is his masterwork, a mélange of what has been called "mutant Eastern, West African, folk, blues and post-punk influences" . . . an improbable cross-cultural gumbo, yet one which coalesced into a swirling, kaleidoscopic psychedelia of emotion unlike any other record in this era. As with any recording favouring the avant-garde –works like Balaklava, Brian Jones Presents The Pipes of Pan at Joujouka, and The Heart Of The Congos– one might expect that the impact of English Primitive I will be revealed slowly, over a much longer span of time than the the too-often workaday product of today's independent music scene. With this album, Callahan takes his place alongside cult heroes Robert Wyatt, Scott Walker and Cathal Coughlan as a prime example of seemingly limitless artistic expression.

TRACK LISTING

1. Born Of The Welfare State Was I 
2. Goatman 
3. Foxboy 
4. She's The King Of My Life 
5. She Passes Through The Night 
6. One Rainy September 
7. Always

The follow-up to last year’s first volume, English Primitive II continues the themes introduced previously in a harder, more electric and psychedelic style.

The songs were mostly recorded during the same sessions but, if EP I showcased the ‘songs of innocence’, this new set comprises ‘songs of experience’. Callahan's lyrical themes here are frequently the sleaze and corruption of our ‘betters’, the intentional and unintentional brutality meted out on those weaker and the sometimes perverse ways in which this happens. There are moments of reflection among the broken mirrors, but they allow scant solace or reassurance. Dressed in another of Scottish artist Pinkie McClure’s witty and detailed stained glass creations and recorded at home and under a railway arch, EPII rises above its origins and invades the wider world, in all its colour, gritand glory. Each song serves as a monument to its internal tale – in fact, the whole LP is as much a collection of musical short stories as it is an album of songs. Opening with Invisible Man, the impression of a regular person with hidden grievances, biding his time and waiting to lash out is given. Waves of distant samples ebb and fall as the warped guitars swell and crash behind the main themes. We don’t know when this explosion will happen – we only know it will.

A sleazy celebration of Britain’s position as the laundering capital of the world follows in the form of Beautiful Launderette. It’s good that we keep everything nice and clean for the whole planet, isn’t it? Business as usual, keeping the globe turning – that’s our role and we love it. The Parrot rocks like only a prolonged evisceration of governmental mouthpieces and their court stenographers can. It’s a thankless task making sure that the powers that be retain their authority in all things and patrolling the borders of what is allowed to be said and believed, but somebody’s got to do it. If you’re providing a service, you’ll need to present a united front against the grievances of the public, so you’ll need The Scapegoat. Mistakes and accidents can’t be the company’s fault, so you’ll need to pay someone to be publicly and repeatedly sacked to make it appear as if you’re solving problems and getting better. Lessons will be learned, going forward. The disturbing tale of Bear Factory begins side two and is the real-life story of the murder of one of the singer’s primary-school classmates in the 1970s, and true in every detail. The victim’s body was never found but the killer justifiably imprisoned for life. A more ancient scent of death pervades The Burnet Rose. This ground-hugging plant covers the graves of the victims in a seventeenth-century plague village on the Yorkshire coast to this day, commemorating their sacrifices when all around have forgotten. It’s this particular songwriter’s favourite flower. Orgy of the Ancients describes the intimate intricacies of ageing politicians and the press as they decide whether to go to war. In grotesque scenarios worthy of Caligula, they decide the fates of our children. And it’s not even half the truth. To finish, the songwriter looks back to an admired predecessor, when he sets William Blake’s famous poem London in a groovier setting than we’re used to – in the form of London by Blakelight. If London swings, it’s from the Tyburn tree. 

TRACK LISTING

Invisible Man
Beautiful Launderette
The Parrot
The Scapegoat
Bear Factory
The Burnet Rose
Orgy Of The Ancients
London By Blakelight

Derek Carr is a shining light in the world techno. Born and raised on a diet of soulful machine music, this Irish artist has honed his sound over decades. It is this wealth of knowledge and experience that forms the backdrop of Arrival.

Carr is greatly influenced by the complex, yet warm, style that characterised UK techno in the 1990s. This inspiration flows through the LP, a ten-track trip that begins with the understated elegance of the title piece. And elegance is an undoubted quality of this album. Drums are bold and melodies delicate in “Alaska Blue” with “Lunar Cycles” tracing a journey back to the halcyon days of deep electronics. The skies above, or the heavens, are a definite creative source for Carr. “Anoat System,” with its soaring strings, and “Droid World,” whose sparks of electro grow to a superb brightness, tell of a fictional fascination with space. The parred back grandeur of “Apollo” tells another story. From a base of brittle beats and static rinses, orbiting notes bend and reflect as a measured musical epic unfolds. Across the album, an unrivalled sense of balance is achieved. The bolder kicks of “Haemoglobin” give space for cascading, fragile keys. That same bedrock proves fertile ground for the crafted textures and smooth harmonies of “Inside Out.” The closer, “MCR”, brings another element to the proceedings. A raft of drum patterns and a liquid bassline give rise to a final foray into the stars, twinkling notes ebbing to twilight.

“Arrival” is emblematic of Derek Carr’s talent. Travelling across ten tracks, this audio journey explores the splendours of this world, and beyond, through lovingly crafted compositions. Timeless electronics from a modern-day master.

TRACK LISTING

1. Arrival
2. Alaska Blue
3. Lunar Cycles
4 Anoat System
5. Venus Impact
6. Haemoglobin
7. Droid World
8. Apollo
9. Inside Out
10. MCR

The first ever reissue of the work of American composer Dorothy Carter, master of the hammered dulcimer, zither, and other instruments of the hammer chord zither/ psalterium family. A true musical vagabond, Dorothy was born in New York in 1935, though her spiritual pursuit of an expansive musical knowledge would take her to monasteries in Mexico, conservatories in France and London, and the founding of the Central Maine Power Music Company (CMPMC), with new-age/minimalist luminaries such as Constance Demby and Robert Rutman.

Dorothy Carter was many things - a virtuoso player, storyteller,historian of Celtic and Appalachian folk music, avid lifelong busker, avant-garde musician, and itinerant troubadour, laying a framework for music that existed both within and outside of standard folk idioms - never better represented than on her 1978 masterwork, Waillee Wailee . Underscored by Bob Rutman's cavernous bowing of the steel cello, the richness of Waillee Waillee's sound produces an album unlike any other in her discography. In particular, its two side-ending pieces, "Summer Rhapsody" and "Tree of Life,'' glide with the shimmering filigree of hammered dulcimer and Dorothy Carter's ephemeral voice floating over Rutman's droning buzz of the steel cello. The elements of these two tracks suggest something akin to a transcendental appalachian raga or whirling cosmic folk music, an effortless combination that serves to add additional substance to the remaining tracks on the album.

The title track is one of her most enduring compositions, often performed in stripped down versions throughout her career, and one of her sole recordings featuring a full band, with the contrapuntal interplay of tremulous flute, vibrating steel cello, bass and drums. Lyrically and tonally, her voice would never sound as stirring and refined as on this, her most outwardly accessible song.

She counted musical colleagues as diverse as Constance Demby, Einstürzende Neubauten and Laraaji, as well as her lifelong artistic partner and friend Bob Rutman, whose imprint is felt throughout the grooves of this record. The master tapes for this recording were fortuitously discovered in Rutman's Berlin studio, many, many years later. As recounted in Laraaji's contribution to the liner notes, Dorothy was "someone who really influenced my early zither exploration and vocabulary and inspired my shift toward hammered zither performance and recording," after encountering him busking on the sidewalk one day in the 1970s. Later, when living in Berlin in the early 1990s, Dorothy would begin work on manuscripts detailing the history of the dulcimer family and providing extensive sheet music, selected material of which is reproduced in the twelvepage booklet included with this release. Dorothy would find later success touring and performing in the late 90s with the ensemble Mediæval Bæbes, which she led with British musician Katherine Blake, playing a prominent role on their first four albums.

The recording of Waillee Waillee would mark the end of an era for Dorothy: leaving behind the familiar confines of the northeast, she embarked to New Orleans, settling with her family there. An outsider more so in a city known for its rich musical tradition in jazz and zydeco, Dorothy continued to busk - performing on corners, Mississippi riverboats, and more. She immersed herself in the city such that after suddenly and unexpectedly passing in 2003, the church played "Tree of Life" (this album's final track) at her memorial service, the community revelling in her wondrous life. "Tree of Life" would remain a composition that Dorothy Carter returned to many times throughout her life, appearing in a much more stripped down version on an earlier album, Troubadour . Its deep meaning and significance informed Dorothy's life and ineffable spirituality in ways that provide insight into her music, writings and expression of sound, heard remarkably through her songs and mastery of dulcimer and zither playing.

TRACK LISTING

1. The Squirrel Is A Funny Thing...
2. Dulcimer Medley - Robin M'aime
3. Along The River
4. Summer Rhapsody
5. Waillee, Waillee
6. Celtic Medley
7. Autumn Song
8. Tree Of Life

Filed neatly and undisturbed within the micro-genre of 1970′s Italian artsploitation, amongst films soundtracks such as Girl With The Crystal Plumage, A Quiet Place In The Country and House With The Laughing Windows, this obscure library LP is one of the few fully formed concept albums from the recently reappraised discography of Rome’s most versatile and adventurous female production-music composer Daniela Casa. Once destined for a shelf life within the storage rooms of defunct TV studios and educational facilities Daniela’s previously strictly commercially unavailable music has in recent years been given new focus at the hands of open-minded disc detectives and sonic salvage hunters earning Casa’s distinctive feminine take on experimental instrumental mood and movie compositions a place next to her widely respected masculine counterparts such as Alessandro Alessandroni, AR Luciani, Pierro Umiliani, Morricone and Nicolai.

Sharing tight studio space and strict syndication schedules with all of the aforementioned artists Daniela Casa embraced a liberating wind change in affordable music technology which opened doors for uninhabited solo compositions in home studios taking advantage of communal recording consoles and domestic synthesisers which nurtured a lesser-documented creative family tree (or rather secret society) and paved the way for individualistic projects from the likes of Magnetic System’s Fabio Frizzi and Goblin’s Claudio Simonetti.Here, on this repress of the impossibly rare, one-time subscription-only album, Arte Moderna, we find Daniela at her versatile best creating a wide thematic suite (based on paintings and sculptures in an abstract art gallery) for which she would deploy mostly organic and acoustic instruments to construct a set of unorthodox compositions straddling avant garde, free jazz and Giallo tension (with some brief moments of brooding electronics and italian pop). Veering from her stylistic pop interests (which clearly included a fondness for the music of Black Sabbath and Led Zeppelin) Daniela Casa’s Arte Moderna saw her adopt a less era specific approach combining neo-classical elements and piano improvisations akin to the likes of France’s Francois Tusques or Burton Greene, or America’s Mal Waldron without compromising her strong narrative personality for this unique abstracted picture music.

Unintentionally but profoundly political in her prolific existence Daniela Casa’s contribution to a predominantly male industry earned her a small clutch of inspired idiosyncratic Italian female bedfellows such as Nora Orlandi, Giullia De Muittis (aka Kema), Fiorella Fratini, Emma De Angelis and Maria Teresa Luciani, who, with faceless anti-celebrity as its essence, never benefitted the wider critical focus that much of this music now duly commands on the collectors circuit. Finders Keepers Records in continued collaboration with the Di Barri company, with the Casa/Ducros family blessing, are now proud to shine new light on this sonic sculptures and provide a fresh context where educated music listeners are ready to fill the gaps between Delia Derbyshire, Ennio Morricone, Suzanne Ciani and Harry Partch and patronise a very welcome considered alternative to the recent rise in popularity of Italian Giallo soundtracks from a seldom savoured feminine creative vantage point. Daniela’s musical paintings can now be unveiled to the public for the first time, with Modern Art sounding as contemporary as it did when it was recorded forty years ago. The gallery is now open for limited sittings, discerning ears and open minds.

Out of print for many years and regarded as one of the greatest music books ever written, My Magpie Eyes are Hungry for the Prize: The Creation Records Story is the definitive account of the iconic British record label, republished for the label's 40th anniversary.

'The greatest book ever written on British independent music' Guardian 'One of the best British music books of the last ten years' Mojo

Founded by Alan McGee in 1983, Creation Records achieved notoriety as the home of Primal Scream, the Jesus and Mary Chain and other anti-Establishment acts. During the Britpop boom of the mid-90s, the astonishing success of Oasis brought Creation fame on the world stage. In 1999, however, McGee announced his shock departure as his label's influence over a generation of British music came to a confusing and disappointing end. Containing interviews with Creation musicians, employees, supporters and detractors, this is the inside story of Creation Records - and of British music since the 1980s.

Caz Plak İstanbul proudly presents..One of jazz's all time greats playing Turkish rhythms!

Don Cherry delves into Turkish rhythms, accompanied by his long-time Don Cherry Trio members: Turkish drummer Okay Temiz and South African bassist Johnny Dyani.

The vinyl LP is manufactured in Istanbul under the guidance of Mr. Okay Temiz, the only living member of this iteration of the Don Cherry Trio. The LP has been remastered from original material housed in BYG Records' vaults by Okay Temiz & Mert Ucer and licensed from BYG Records, France.

This LP features the recording by the Don Cherry Trio in Paris 1971 for the Sound and Vision program at the legendary ORTF studios in Paris 1971. Serving as the second chapter of our Turkish Jazz Trilogy, it follows Okay Temiz's magnum opus, 'Okay Temiz's Oriental Wind at Montreux Jazz Festival 1982' LP. 

This release also stands as one of the most important recordings prior to Don Cherry's legendary "Organic Music Society" album in 1973, in which Okay Temiz also plays drums.

'In the spring of 1971, while we were playing as the Don Cherry Trio in Paris, Don (Cherry) seamlessly flowed from the trumpet to the piano, with improvisation as the lighthouse of the melody. This approach opened up a realm of boundless freedom for Johnny and me. It is to be observed as a melody within a melody. From the Organic Music Society album we recorded a year after this concert, up until the ECM album we recorded before Don's final departure from this planet, this principle has been the gravitational force of the Don Cherry universe.
That, indeed, is the true legacy of the Don Cherry Trio.'

Excerpt from the liner notes by Okay Temiz and Haluk Damar

TRACK LISTING

A1. Okay's (Okay Temiz's) Tune
B1. Dollar's (Dollar Brand's) Tune

In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki’s aphorism “the stage is home and home is a stage.” By 1972, they had given name to a concept that united Don’s music, Moki’s art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don’s extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician and represents the start of his communal “mystical” period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky’s The Holy Mountain.

The musicians in Don Cherry’s New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band—Don and Moki Cherry, Christer Bothén, Gérard “Doudou” Gouirand, and Naná Vasconcelos— performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki’s carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta “Dha Dhin Na, Dha Tin Na,” and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance—including pieces that would later appear on Don’s albums Organic Music Society and Home Boy (Sister Out)—all punctuated by outbursts of possessed glossolalia from the puppeteers. “Relativity Suite, Part 1” notably spotlights Bothén on donso ngoni, a Malian hunter’s guitar, prior to Vasconcelos taking an extended solo on berimbau.

A vortex of wah-like microtonal rattling, Vasconcelos’s masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble’s achingly tender rendition of Jim Pepper’s oft-covered beacon of spiritual optimism, “Witchi Tai To,” lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert’s laid back, communal vibe feels like an attempt by the Cherrys to show Don’s jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride. With liner notes by Magnus Nygren. Released as part of Organic Music Societies, a Blank Forms project that also includes a book, art exhibition, and performance series devoted to Don & Moki Cherry's collaborative practice

TRACK LISTING

1. Intro: Dha Dhin Na, Dha Tin Na
2. Butterfly Friend
3. Elixir
4. Amazwe
5. Interlude With Puppets
6. Ganesh
7. Elixir Reprise / Witchi Tai To
8. Resa
9. Relativity Suite, Part 1
10. Berimbau Solo
11. Interlude / North Brazilian Ceremonial Hymn
12. Elixir Reprise / Ganesh
13. Ntsikana's Bell / Traditional Melody

Don Cherry's downtown Paris funk masterwork produced in 1985 by Ramuntcho Matta and originally released by Barclay in France only, finally gets a worldwide release on Wewantsounds. The album features French post punk muse Elli Medeiros (Stinky Toys, Elli & Jacno), avant garde poet Brion Gysin and cult Senegalese drummer Abdoulaye Prosper Niang (from the mythical group Xalam). Newly Remastered, the album is augmented by five bonus tracks culled from Matta's vauts and including the superb "Kick" featuring Gysin.

TRACK LISTING

1. Call Me
2. Treat Your Lady Right
3. Butterfly Friend
4. I Walk
5. Art Deco
6. Rappin' Recipe
7. Reggae To The High Tower
8. Alphabet City
9. Bamako Love
10. Kick (Single Version) [feat. Brion Gysin]
11. Rappin' Recipe (Instrumental)
12. Benoego
13. Initiation (Demo)
14. Treat Your Lady Right (Bim Bam Bom)

In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman’s classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers’ Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don’s classic Organic Music Society and Eternal Now LPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months’ workshops into practice. Long relegated to the status of a mysterious footnote in Don’s sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.

On July 20, the musicians gathered at Freese’s summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don’s Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don’s turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don’s budding pursuit of “collage music,” a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry’s earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. 

TRACK LISTING

Side 1
1. The Summer House Sessions (part 1) (23:59)
Side 2
1. The Summer House Sessions (part 2) (23:26)

After 29 years with British indie/garage/beat/punk/psych-pop collective Comet Gain, singer/ mastermind and main fireraiser David Christian thought, "Why not do a solo album?" After all, some of his favourite records are also solo records by people from bands; John Cale, Gene Clark, Julian Cope, Stephen Duffy, Mike Nesmith, Curtis Mayfield, Neil Young... under the sun of his new home in the South of France, exchanged for Brexit London, a timeless folkrock album was created with the kind help of numerous friends on numerous instruments. The verve and snottiness of the Comet Gain sound can also be found here, but "For Those We Met On The Way" sounds more dandy, somehow more southern French. If you like listening to "Robespierre's Velvet Basement" by the Jacobites AND the electric songs of Bob Dylan's "Bringing it All Back Home" AND Comet Gain... then "For Those We Met On The Way" is perfect for you!

Fleeing screaming from the group gulag after 29 years of maintaining sweet failure at all costs with his group Comet Gain (a mix of post punk, garage punk, northern soul, freakbeat/psych, early creation records, indie pop, folk rock and other such messes all churned together with films, books, left wing politics-all THAT stuff falling out of a bin onto a pile of records) songwriter and singer and oldest bastard in the gang David Christian (sometimes known as Feck) escaped to the french woods by the ocean when Boris and his rabid disgusting crew weren't looking. After a while of picking up pinecones he decided he simply had to EXPRESS HIS INNER SOUL. “Fuck it, i might as well make a solo record". Some of his favourite records were solo lps from people in bands – John Cale, Gene Clark, Julian Cope, Stephen Duffy, Mike Nesmith, Neil Young, Mark Eitzel, Sandy Denny, Curtis Mayfield, etc – and there were all those great solo solo ones from Jimmy Camel, Bill Fay etc and it seemed like everybody was looking back or inward due to that plague thing, a connection to what you loved or who you missed in order to make sense of the nonsensical world of Brexit and plague and all that shit. The LP was made in the middle of the french countryside in a barn/farm owned by Mike and Allison Targett of Heist fame where along with old comrade and wonderful drummer Cosmic Neman (Zombie/Zombie, Herman Dune) they cut the record while cows grazed with Mike producing and both Targetts adding vocals,pianos etc. Then later, the group of friends known as The Pinecone Orchestra; James Horsey and Alasdair MacLean (The Clientele), Ben Phillipson (18th Day Of May/Trimdon Grange Explosion/Comet Gain), Gerry Love (Teenage Fan Club/Lightships), Anne-Laure Guillain (Comet Gain/Cinema Red And Blue) and Joe-Harvey Whyte (Hanging Stars) coloured everything in with guitars, vocals, bass, pedal steel etc.

So David’s rules for the LP were off to a good start. Get some good dudes to play with you, also... it's a solo record so be honest bad or good, don’t listen to any records before and rip anything off (very difficult after years of "ooh-i'll have that riff!"). Part of the weird process of looking back or trying to diary a life full of holes is that it's best managed through friends, places, records. But mainly the people you knew – good or bad – those fleeting best friends forevers whose faces you now struggle to recall, the crushes that crushed you until you wonder 'well i wonder how their life turned out'. Moving country makes you go through boxes and find memorials – letters, photos, all kinds of mementos and some tug at you preciously so the title of the record was in tribute to these half remembered and faded folks - 'the ones that burst into your heart and are then lost forever' but you can navigate your way to who you were or where or what by their psychic presence-maps to a gone you. The plan was to inhabit the songs with these moments, people, places, etc and then banish them sweetly – or as sung in "Goodbye Teenage Blue": "you've got to break the taboo by singing goodbye teenage blue" to exorcise your ghost suitcase weight – so there are songs about the future ("On The Last Day (We Spend Together)"), the present ("In My Hermit Hours", "Dream A Better Me" and the past (most of the others) and "Mum's and Dad's and Other Ghosts" which holds to the past while giving a message to a future.

When a record has just YOUR name on it you try to make it good. No shadows to hide in, even your mum might hear it. Solo records are (technically) written by songwriters, so might as well try and write some songs. So that's what David tried and he thinks he did ok. There are broken ballads, long winding songs, short pop songs, and things in between. Acoustic guitars, pianos, pedal steels, harmonies, wonderful drumming… There are alcoholic skinheads, forest hermits, californian dudes, holloway sweethearts, bruised mods in the upstairs room, strange boys being hit by a car, painters who can’t paint no more, friends and ghosts and lovers and losers.

TRACK LISTING

1. In My Hermit Hours
2. Goodbye Teenage Blue
3. Holloway Sweethearts
4. When I Called Their Names They'd Faded Away
5. Dream A Better Me
6. On The Last Day (We Spend Together)
7. Lockets, Drop-outs And Dragnets
8. Pay Me. Later, Coco + Dee
9. See You In Almost Sunshine
10. I Used To Make Drawings
11. The Ballad For The Button-downs
12. Mum's And Dad's And Other Ghosts

Devon Church is a singer-songwriter hailing from Winnipeg, Manitoba and based in New York City. He was, for many years, a multiinstrumentalist, co-writer and producer of the dreampop duo Exitmusic, whose album, Passage (Secretly Canadian), Pitchfork described as “insurgent, cinematic, and sometimes brilliant.” In 2018, the same year that Exitmusic released it’s swan song, The Recognitions (felte), Church released his solo debut, We Are Inextricable (felte), which employed the textural electronic elements he had harnessed during the Exitmusic years in the service of a songwriting style rooted in the folk rock tradition, with deep nods to Cohen and Dylan. The results, according to Allmusic, were both “affecting and musically inventive.” Having gigged throughout the US in 2019 (opening for the likes of Orville Peck, Adam Green, Kirin J Callinan and Black Marble) Church set to work recording his latest offering, Strange Strangers, while seeking refuge from the global pandemic in a barn in rural Pennsylvania.

The album’s opening track, “This is Paradise (But Not For Us),” is an ironic complaint sung by an itinerant Adam & Eve to their absent father, a kind of gnostic protest ballad in waltz time. It sounds as if Apollo-era Eno had wrested the controls (and the handgun) from Phil Spector halfway through the recording of Death of a Ladies Man. The atmospheric elements of Church’s past productions are sublimated throughout the album, put into the service of tape-saturated vocals, combo organs and guitars. His voice, grown more confident and understated since his debut, still ranges from a laconic Lee Hazelwood hangover to a smoky Tom Waits growl, but it smooths out nicely on tracks like the intensely melodic and propulsive ”Flash of Lightning in a Clear Blue Sky.” Angelic backing vocals by Church’s partner, the artist Ada Roth (who also co-directed two delightfully strange videos for the album) lend an aura of dreamlike lightness in contrast to the baritone of the album's world weary narrator. When, in hushed tones reminiscent of Hope Sandoval, Roth comes to the front of the mix to deliver a lyric like “We’re so bored of the apocalypse,” things take a subtly menacing turn toward pop surrealism.

A sense of cosmic black-humor has crept into Church’s lyrics, which deal with a sort of bewildered pilgrim’s progress through various spiritual and material Bardo states. "Jesus was a genius," sings the Adam character in This is Paradise, "but I prefer his early stuff." On ”What is Consciousness?/St Teresa,” a suite featuring arpeggiated analog synths and slide guitar by indie rock virtuoso Delicate Steve, Church answers the question, "What is consciousness?" with the wry formulation of the Tibetan crazy wisdom teacher Chögyam Trungpa: "Mostly your bad habits." And on the languidly psychedelic ”Slouching Toward Bethlehem,” in the midst of a string section and what sounds like a choir of monks, Church reflects lysergically on selfhood itself:

Slouching toward Bethlehem
Giving birth to myself again
Wondering where my body begins
And where the bacteria ends

Strange Strangers borrows its title from the eco-philosopher Timothy Morton: ‘The strangeness of strange strangers is itself strange, meaning the more we know about an entity the stranger it becomes.’ On Ephemera, Church seems to lament the mysterious unknowability of these objects of our deepest desires and fears, but he does so with defiant exuberance, his ecstatically strummed acoustic guitar threatening to go off the rails. “I was weary and you took me in your arms," he sings to the other (a lover, a god?). "I couldn’t see you, but you held me like the light holds the dark.”

RIYL: Mark Lanegan, Tom Waits, Crooked Fingers, The National, Lee Hazlewood, Atlas Sound, Scott Walker, Leonard Cohen, Chad VanGaalen.

TRACK LISTING

01. Slouching Toward Bethlehem
02. This Is Paradise (But Not For Us)
03. Bored Of The Apocalypse
04. All Is Holy (A432)
05. Flash Of Lightning In A Clear Blue Sky
06. Ephemera
07. Winter’s Come
08. Since I Fell
09. Deer Park

Further Afield Recordings....

Hunting in search of sound food in remote, isolated and sometimes dangerous locations. Audio is taken as original sound source material for the foundation of sound collages and compositions. Field recordings as sound ingredients like natural ingredients in a carton of orange juice. Location recordings are re-fabricated e.g. rhythms created from dry snapped twigs or water pumps. The transformation of gentle splashes of sea water into harmonic layers of celestial sound. The sounds are processed, mangled, untangled, enhanced, collaborated with unnatural sounds and instrumentation, like painting with a palette of electronic colours. These turn out as further afield from the original sound source.

Following previously exploring faded seaside towns and fairgrounds, Dave Clarkson has investigated a number of isolated, unpopulated and obscure locations and applied the Further Afield production technique to the results. Some tracks are melodic and rhythmic while others are more desolate, capturing the unique atmosphere of the locations.

TRACK LISTING

1. Piel Island Quicksands And Fast Tides 09:04
2. Woodland Sanctuary 02:40
3. Ghosts Of Norfolk Coast 03:44
4. Traeth Porthor (Whistling Sands) 05:14
5. Limestone 03:36
6. Rollercoaster Ghost (Live) 08:34
7. Rendlesham (Live) 06:28
8. Clear Well (Live) 13:44

Diane Cluck co-produced her eighth album alongside multi-instrumentalist Colin Killalea. “It’s the first album I’ve recorded in my adopted hometown of Charlottesville, Virginia, and I let sounds of the region influence its making and bend my songwriting. I wanted to collaborate, and to focus on deep emotion including golden-yellow joyful. I wanted to make an album that honored my family and could resonate with young and old.” Spaciously arranged instrumentation highlights the strength of Diane’s lyricism and signature vocal style, described by NPR as “turning a pitch wheel with one hand and a tone knob with the other.” The album features an array of accompanying musicians including longtime collaborator Isabel Castellvi on cello, John D’earth on flugelhorn, Michelle Oliva on bass clarinet, John Ashley Murphy on harmonica, Brian Caputo on drums and Curtis Fye on bass. Diane and co-producer Colin Killalea each play piano, guitar, drums and percussion. Common Wealth deftly weaves disparate elements of old-time music, classical, folk, jazz improvisation and church hymn into something uniquely vibrant.

TRACK LISTING

1. The Power Of Allowing And Receiving
2. Float A Cuppa Tea
3. Jenny
4. To Love You This Much
5. Mama, Mom
6. Grandma Say
7. Red August
8. Pull Out The Bad Bone
9. The Smile
10. Lie Quiet With Me
11. Learn To Lose
12. Peace (hymn Adaptation)

Deborah Coleman is unquestionably one of the blues most exciting young talents. "Livin' On Love" is her best yet, her guitar playing is by turns ferocious and understated and her voice more supple and expressive than ever.

Daweh Congo has propelled himself to the forefront of conscious roots reggae with this album "Human Rights & Justice" originally released in 2000.

"Human Rights & Justice" personifies the essence of Jah today. Daweh's voice and his righteous livications for Rastafari and Marcus Garvey often result in him being compared to the legendary Burning Spear.

On "Human Rights & Justice", Daweh exalts his spirituality with such incantations as "Jah Is My Shepherd", "Wilderness", "Drums" and "Jah Mercy Seat". His cries for a better world can be heard on "One World", "Earth Running" and the title track. Daweh Congo recruited the formidable talents of Roots Radics, Jamaica’s premier in house studio band to lay the riddims that can be heard throughout this album. The heavy drum and bass lines from Style Scott and Flabba Holt, along with Daweh Congo’s mesmerizing voice have catapulted "Human Rights and Justice" to the number one position on IREGGAE.COM’s top ten albums for the month of May 2000.

Born Rohan Graham in 1969, Daweh's father cut sides for Joe Gibbs and Lee Perry. Daweh recorded his first song "Breadwinner" for Alton Ellis. In 1995, he teamed up with Ocho Rios based producer and managing director Barry O'Hare, to record his first hit singles "Study Garvey" and "Coconut Chalice".

Daweh Congo continues his spiritually charged and uplifting lyrics on "Human Rights & Justice". Produced by Gaylard Bravo, this album features 45 minutes of pure conscious reasonings that are sure to uplift the hearts and souls of roots music lovers all over the world.

Thanks to Daniel from Ireggae.com for the liner notes.

STAFF COMMENTS

Matt says: Real tasty modern roots reggae record from Daweh Congo who pairs his unique vocal delivery with some heavy instrumentals. The message lands hard, and the grooves are rocking - this is primo grade tackle.

TRACK LISTING

A1. Human Rights & Justice
A2. Big Bad Sound
A3. Mercy Seat
A4. Wilderness
A5. One World

B1. Earth Runnings
B2. Jah Is My Sheperd
B3. Drums
B4. Another Day
B5. Herb Tree

The sumptuous 'Fools', Dan's fourth album, follows 2020's 'Grand Plan', a critical hit which captured his early experiences of life in LA and effortlessly exchanged his synth-pop of the past for sepia-tinged folk rock with Laurel Canyon leanings.

It jumps forward, through Covid to the end of an intense three year relationship, the death of Dan's grandmother back in Britain and rare trips home as restrictions lifted. Sonically it spreads its net wider -– country, disco and woozy psychedelics join the Carole King and James Taylor nods on Grand Plan.

A death, a pandemic and a break-up could have made for a sombre sounding album, but Dan took a different route, finding beauty where he could and poking fun at his own foolishness.

Both albums were recorded largely live at the legendary Spacebomb Studios in Richmond, Virginia with Matthew E. White (Natalie Prass, Flo Morrissey, Slow Club) and his four-piece house band. This time, Dan co-produced, tinkering with sounds late into the night to add his own stamp to the record.

First single received coverage from DIY, Clash, Mystic Sons, Various Small Flames, #BrandNew, Original Rock, Thank Folk For That, Music on the Rox and more.

TRACK LISTING

Slip Away 
Talk To You 
Friend Of Mine 
Red And The Green 
Sunshine 
Second Guess 
Fools 
Piece Of The Action 
Stephen 
How Close We Came

Singer-songwriter David Crosby’s solo debut, If I Could Only Remember My Name, was dismissed by critics when it came out in 1971. Over the years, however, appreciation has grown for the album’s adventurous aesthetic, stacked harmonies and haunting lyrics about loss and confusion. Billed as Crosby’s solo debut, the album was anything but a one-man project. Instead, it was one of his most collaborative efforts, featuring an all-star cast of players that included members of the Grateful Dead, Jefferson Airplane, and Santana, along with Graham Nash, Joni Mitchell, Neil Young, and others.

Vinyl Details:
If I Could Only Remember My Name turned 50 earlier this year and Rhino is celebrating with a 1LP 180g vinyl that includes the album lovingly remastered from the original analog tapes. The new remaster was overseen by original album engineer Stephen Barncard with restoration and speed correction using Plangent Processes. 

2CD Details:
If I Could Only Remember My Name turned 50 earlier this year and Rhino is celebrating with a 2CD set that includes the album lovingly remastered from the original analog tapes, accompanied by a bonus disc that features a dozen unreleased demos, outtakes, and alternative versions. The new remaster was overseen by original album engineer Stephen Barncard with restoration and speed correction using Plangent Processes. The liner notes that accompany the collection were written by Steve Silberman, co-author of Skeleton Key: A Dictionary for Deadheads.

TRACK LISTING

CD Tracklisting:
Disc One: Original Album
“Music Is Love”
“Cowboy Movie”
“Tamalpais High (At About 3)”
“Laughing”
“What Are Their Names”
“Traction In The Rain”
“Song With No Words (Tree With No Leaves)”
“Orleans”
“I’d Swear There Was Somebody Here”
Bonus Track
“Kids And Dogs”

Disc Two: Bonus Tracks
Demos
“Riff 1” – Demo *
“Tamalpais High (At About 3)” – Demo *
“Kids And Dogs” – Demo *
“The Wall Song” – Demo *
“Games” – Demo *
“Laughing” – Demo *
“Song With No Words (Tree With No Leaves)” – Demo
“Where Will I Be” – Demo *
Sessions
“Cowboy Movie” – Alternate Version *
“Bach Mode” – Pre-Critical Mass *
“Coast Road” *
“Dancer” *
“Fugue” *
* Previously Unreleased

Vinyl Tracklisting:
1. “Music Is Love”
2. “Cowboy Movie”
3. “Tamalpais High (At About 3)”
4. “Laughing”
5. “What Are Their Names”
6. “Traction In The Rain”
7. “Song With No Words (Tree With No Leaves)”
8. “Orleans”
9. “I’d Swear There Was Somebody Here”

Rat-a-Tat-Tat! Is that the sound of the reaper knocking on your door to collect your soul or Dale Crover hammering out another distinctive drum fill? There are pretty good odds it's the latter; between 36 years (and about as many full-lengths and EPs) as drummer/bassist for the Melvins and his contributions to acts as varied as Altamont, Peeping Tom, Redd Kross, Shrinebuilder, and a little band called Nirvana, he's built quite the body of work. In 2017, he added a proper solo album to his extensive catalog, Fickle Finger of Fate. Now he's followed that with Rat-a-Tat-Tat! Crover takes the solo thing seriously: he wrote the album while on the road and provided vocals, drums, guitars, vibraphone, and miscellaneous percussion. Just like the last album, recording took place over at Toshi Kasai's Sound of Sirens Studio in beautiful Sun Valley, CA. Kasai recorded and mixed it again, as well as co-producing it with Crover under the sobriquet Deaf Nephews. Celebrated graphic designer (and regular Melvins cover artist) Mackie Osborne created the striking album art, just as she did for Fickle Finger. So what's different this time around? Crover assembled an actual band to help him out. Redd Kross bassist Steve McDonald asked Crover to open for Redd Kross, Crover asked McDonald to play bass for him, and the rest is history. It'd be difficult for even the multi-talented Crover to put on a live show by himself without one of those one-man-band contraptions. In addition to McDonald, Kasai (ex-Big Business, Plan D) helps with keyboards, synths, jawharp, and backing vocals. Mindee Jorgensen (Dangerously Sleazy) sits behind the kit live and contributes additional drumming and some sweet saxophone skills here.

His former Altamont bandmate Dan Southwick plays bass on 'Tougher,' a track Crover cowrote with Kasai. Some pieces of the songs may sound familiar to the 127 completists who grabbed the limited-run lathe cut record Piso Mojado, a collection of experimental drum weirdness. Although insanity certainly abounds on Rat-a-Tat-Tat!, there are also some surprisingly poppy moments. Crover claims 'Shark Like Overbite' may be the poppiest song he's ever written. It's also the puppiest: it was inspired by the three dogs he's had over the years. A few tunes ('I Can't Help You There,' 'Kiss Proof World') harken back to his Pacific Northwest lineage. That said, 'Tougher,' 'Supine is How I Found Him,' and 'New Pharaoh' careen right off the dial. It's an eclectic mix, one that draws on song fragments he's had for years. It still feels cohesive and uniquely Dale Crover. But then, who would expect anything other than the unexpected? The opportunity knocks to hear more Dale Crover jams; be sure to answer

TRACK LISTING

1. Moclips
2 I Can’t Help You There
3 Tougher
4 Stumbler
5 Shark Like Overbite
6 Supine Is How I Found Him
7 I’ll Never Say
8 New Pharaoh
9 Untrue Crime
10 The Bowie Mix
11 Piso Mojado
12 Kiss Proof World

David Cunningham was born in Ireland in 1954. His work ranges from pop music to gallery installations including several collaborations with visual artists. His first significant commercial success came with The Flying Lizards' single "Money," an international hit in 1979.

Originally released in 1976, Cunningham's first solo album Grey Scale has become a landmark statement of DIY minimalist composition – continuing in the vein of the wild explosion of arthouse experimentation from the early '70s. Cunningham, then a student at the Maidstone College of Art in Kent, drafted fellow student non-musicians and (using whatever instruments available) crafted an endlessly shifting sonic palette with an improvisor's keen sensitivity to space, texture and tone.

As Cunningham states in the liner notes, his approach was to "pursue something (which may appear trivial or meaningless) so rigorously or relentlessly to the point that it reveals something new."

Cunningham was influenced by live performances he was attending at the time by English composers Cornelius Cardew, Gavin Bryars and Michael Nyman as well as free improvisors Evan Parker, Derek Bailey, David Toop and Paul Burwell.

The inaugural release on Cunningham's own Piano label, Grey Scale was indeed "something new" in 1976. The artist quickly integrated his experimental sensibilities to produce art-rock pioneers This Heat, whose debut appeared on Piano in 1979. His popular success performing as The Flying Lizards (with two electro-punk albums on Virgin during the New Wave era) was presaged by this seminal work of fascinating sound collage and tonal freedom. First-time reissue.

TRACK LISTING

A1. Error System (BAGFGAB)
A2. Error System (C Pulse Solo Recording)
A3. Error System (C Pulse Group Recording)
A4. Error System (E Based Group Recording)
A5. Error System (EFGA)
B1. Ecuador
B2. Water Systemised
B3. Venezuela 1
B4. Guitar Systemised
B5. Venezuela 2
B6. Bolivia

'Melt My Eyez See Your Future' arrives as Denzel Curry’s most mature and ambitious album to date. Recorded over the course of the pandemic, Denzel shows his growth as both an artist and person. Born from a wealth of influences, the tracks highlight his versality and broad tastes, taking in everything from drum’n’bass to trap. To support this vision and show the breadth of his artistry, Denzel has enlisted a wide range of collaborators and firmly plants his flag in the ground as one of the most groundbreaking rappers in the game.

As featured in Fact magazine’s 'The greatest techno albums you’ve never heard', and originally released way back in 1994, "The Silicon Dawn" was one of the first full lengths released on Peacefrog during a period which turned out to be remarkably fruitful for techno. Tracks such as "Parallel" and "Population 2" kissed the same patch of sky as Black Dog or “Icon” -era Derek May but Dan’s unique ability to mix melodies and harmonic layers around complex percussion proved to be a compelling innovation from the techno norm. Richly harmonic, expressionist techno in the grandest Detroit style from Dan Curtin. Repressed with love from Peacefrog and sounding as good as ever.... top stuff!

It was at DMZ that Soulja first heard "Ongie Bongie". Several months later the track becomes the the kick-off riddim for "D1 V3", D1's latest double-pack offering from Tempa. Sounding out the way ahead with the latest sonar technology, "Ongie Bongie" begins at a cautious speed whilst familiarising itself with this new territory and then picks up pace with a funky propulsion that saw it light-up underwater dance, DMZ. Following on from this peak-time dancefloor energy, "Joy" swells progressively, in waves of euphoric chords pieced together with steadily stuttering congas. The second plate is headed by "Cave", a deeply hollowed-out production, heavily sub-led and a current regular in Youngsta sets, whilst anchor track "BG" employs infectious, cascading bass-stabs, which envelop the accompanying trumpet to create the kind of skank out riddim which wouldn't be out of place on a Jammin' era Bingo Beats release.

Ourtime returns with 3 tracks from Dave’s archive - A stunning Ep of soulful techno, emotive melodies and lopsided club grooves.

"Moments” and “Fall” take us on melancholic deep techno journeys to the outer realms & beyond before finally closing with "IAM Pro” a minimal claustrophobic techno track to jam your box 

Ex Harmonia member, and Cluster/Eno collaborator presents his first new album in over seven years. Pure electronic current abstracted into riffs and textural sound poems - unpredictably cutting edge!

The debut by Deutsch-Amerikanische Freundschaft was a feat of musical pioneering. Later to find global fame as a duo, DAF's 1979 line-up of Robert Gorl, Wolfgang Spelmans, Kurt Dahlke (Pyrolator) and Michael Kemner created what was quite possibly the worlds first noise-rock album. Radical, brutish, instrumental.

Originally released in 1979 on Warning Records (later Ata Tak)

Reissue in digipak with liner notes, rare photos and memorabilia.

True DAF connoisseurs will, of course, be aware of the early phase of the Dusseldorf-Wuppertal combo. But most fans of the subsequently world famous duo may well be taken aback when confronted with their debut album: forceful synth bass sounds, snappy rhythms, Gabi Delgado and leather all conspicuously absent. In their place, pure instrumental, unstructured noise-rock, played by long-haired and moustachioed types! A band can barely have undergone a more extreme metamorphosis. Gabi Delgado joined the band before the band discarded the name of YOU and christened themselves Deutsch- Amerikanische Freundschaft. A tape machine and two microphones were set up in Wolfgang Spelmans living room and ten days of unbounded improvisation ensued. And thus it was completed, Produkt der Deutsch- Amerikanischen Freundschaft ; 22 tracks, ranging from 19 seconds to three minutes in length. The influence of Can is clearly audible. Considering the fact that other prominent noise-rock bands such as Chrome, Flipper or even Sonic Youth recorded similar music at a much later date, this 'product of Deutsch-Amerikanische Freundschaf¨ should certainly be recognized as a pioneering work. Possibly even the first noise-rock album.

Produced by the team at Machines With Magnets who have worked with Lightning Bolt, Clap Your Hands, Say Yeah, Fang Island and Battles

When Castlemaine’s Oliver Hugh Perry released his self-recorded debut EP, ‘Tropical Oceans’, D.D Dumbo was born. Led by the spooky strut of the title-track, the lo-fi four song-set of blues-laced, deconstructed pop announced Perry as an exciting newcomer fluent in a language all his own. People took notice and soon he was performing solo with a 12-string electric guitar, two drums and a bunch of effect pedals and on tour with the likes of Daughter, Iron & Wine, Jungle, St Vincent, Tame Impala, tUnE-yArDs and Warpaint.

‘Utopia Defeated’ is his debut album, an epic, sprawling opus sprung from Oliver’s imagination, written and performed almost entirely by him. Based in the 4AD Studios in London, the album was recorded, engineered and produced by Perry and 4AD’s resident engineer Fabian Prynn.

Featuring the singles ‘Satan’ and ‘Walrus’, the tentrack album hurdles effortlessly over the expectations set by his intriguing debut EP. In an early review, Uncut magazine heralded it as “a looping, globally attuned 2016 update of Jeff Buckley’s ‘Grace’.”

TRACK LISTING

Walrus
Satan
In The Water
Cortisol
Alihukwe
King Franco Picasso
The Day I First Found God
Toxic City
Brother
Oyster

D.O.A., Canada’s punk pioneers know when to take a stand against bullshit. So that’s why they have come up with their new instant single Fucked Up Donald. Joey Shithead, the godfather of hardcore recently said "It did not take too long to realize that Donald Trump, with his anti-Mexican, anti-women, antipeople message was just too much. You can dress a pig up, but in the end you realize it’s really just Donald Trump".

So D.O.A. arranged a quick recording session. It’s a vitriolic take off of a big part of D.O.A’s history from the 80’s. The now released video has 3 million hits and counting.

So as a grand way of celebrating the 40th anniversary of War On 45, it is reissued here with bonus material. Firstly there is a 12 page booklet of unique photos, posters and an extensive history of D.O.A. at the time, written by Canada's godfather of punk, Joey Shithead.

All 8 tracks from the 1982 release are on side A of the album, and Side B has all the pre War war on 45 demos. So you have the Montgomery Brothers, Biscuits and Dimwit, two of the greatest drummers of all time, on the same LP.

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

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

TRACK LISTING

A - Her Dreams (Richard Dorfmeister & Stefan Obermaier Remix)
B - Screaming Silence (Howie B Retouch)

In case you haven’t heard, D’Angelo is back. The prodigal son of soul and funk dropped his new album online in December 2014, with no fanfare, no hype and no upfront announcement. The soulternet lit up like a Christmas tree. For one so talented 15 years seems like too long a time to wait between albums (we've had to wait so long 'Black Messiah' has been described as “the black 'SMiLE'”), but D'Angelo had demons to slay, issues to resolve, yada yada yada... (for 15 years!?). Anyway, he's back now, reborn, refreshed and sounding as wonderful as ever. The album cooks up a gumbo of the greats - a dash of Marvin, a sprinkle of Minneapolis, some P-funk pepper and Sly salt, all simmered together to make 'Black Messiah' the tastiest real-soul stew around right now. Essential!

TRACK LISTING

Side A
1. Ain't That Easy
2. 1000 Deaths
3. The Charade
4. Sugah Daddy
5. Really Love

Side B
6. Back To The Future (Part I)
7. Till It's Done (Tutu)
8. Prayer
9. Betray My Heart
10. The Door
11. Back To The Future (Part II)
12. Another Life