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The Beta Band

The Best Of The Beta Band

    2CD edition in 3-panel digipack with a 16-page poster booklet.

    Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996.

    Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.

    After acquiring the Beta Band’s catalogue last year, Because Music will reissue their releases, starting on September 14th with a double CD Best-Of compiling all their best hits and a live show recorded at the Shepherd’s Bush Empire (London) in 2004.

    Because Music will also celebrate at the same time the 20th anniversary of their 1998 compilation ‘The Three EPs’ by releasing a deluxe vinyl edition gathering in a slipcase the EPs ‘Champion Versions’, ‘The Patty Patty Sound’ and ‘Los Amigos Del Beta Bandidos’ with remastered tracks and coloured vinyls. 


    The Beta Band

    The Beta Band

      Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.

      Released in 1999, the album “The Beta Band” followed the critically acclaimed compilation “The Three E.P.'s” (1998). With high anticipation for The Beta Band, the band originally planned to record the album in four separate continents, but financial constraints slimmed the recording locations down; however, the album was still recorded in a variety of locations and pulling inspiration from sources as diverse as Jamaican reggae, Disney's movie “The Black Hole” and Bonnie Tyler's "Total Eclipse of the Heart".

      The band also originally intended the album to contain a bonus disc of two long form ambient pieces, ‘Happiness and Colour’ and ‘The Hut’, both of which lasted over 20 minutes and represented the band's desire to "make a record of sound as a description for something like happiness, where a distinct first part gives way to a distinct second part”. However, the band and label ultimately decided to remove these tracks from the album prior to release.


      FORMAT INFORMATION

      3xDeluxe LP Info: Deluxe 3LP+2CD edition with double black vinyl album in gatefold sleeve with printed inner-sleeves and CD included, plus a single black vinyl bonus EP in single sleeve with 3mm spine, printed inner-sleeve and CD included. Both vinyl sleeves are hold together with an obi strip.

      2xLtd LP Info: 2LP+CD edition with two black vinyl in gatefold sleeve with printed inner-sleeves. CD included.

      2xCD Info: 2CD edition in 3-panel digisleeve with 24-page stapled booklet.

      The Beta Band

      The Three EPs - 20th Anniversary Remaster (Deluxe Edition)

        Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.

        After acquiring the Beta Band’s catalogue last year, Because Music will reissue their releases, starting on September 14th with a deluxe vinyl edition gathering in a slipcase the EPs ‘Champion Versions’, ‘The Patty Patty Sound’ and ‘Los Amigos Del Beta Bandidos’ with remastered tracks and coloured vinyls, to celebrate the 20th anniversary of the 1998 compilation. Because Music will release at the same time a double CD Best-Of compiling all their best hits and a live show recorded at the Shepherd’s Bush Empire (London) in 2004. 


        FORMAT INFORMATION

        Ltd Box Set Info: 3x12” EP + CD.
        NUMBERED SLIPCASE featuring ‘Champion Versions’ EP (red vinyl 12” in single sleeve), ‘The Patty Patty Sound’ EP (double yellow 12” vinyl ) and ‘Los Amigos Del Beta Bandidos’ EP (blue 12” vinyl in single sleeve).
        CD included in clear plastic sleeve with flap (includes all tracks)

        The Beta Band

        The Three EPs (20th Anniversary Remaster)

          Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries.

          Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. 


          FORMAT INFORMATION

          2xLtd LP Info: 2LP+CD REISSUE.
          Includes the ‘Champion Versions’ EP, ‘The Patty Patty Sound’ EP and ‘Los Amigos Del Beta Bandidos’ EP. CD included in clear plastic sleeve with flap.

          The Beths from New Zealand occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard The Breeders/Jale/Veruca Salt..

          Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland’s rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. “Fronting this kind of band was a new experience for me,” says Stokes. “I never thought I had the right voice for it.”

          From the irresistible title track to future singles “Happy Unhappy” and “You Wouldn’t Like Me,” Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me’s dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the ‘60s, while inverting the trope of the “sad dude singer accompanied by a homogenous girl-sound.”

          All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that’s equal parts seasoned perfectionist and D.I.Y.

          “There’s a lot of sad sincerity in the lyrics,” she continues, “that relies on the music having a light heart and sense of humor to keep it from being too earnest.” Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. “That’s another New Zealand thing,” Stokes concludes with a laugh. “We’re putting our hearts on our sleeves—and then apologizing for it.” The result is nothing less than one of the standout records of 2018.


          STAFF COMMENTS

          David says: The antipodean onslaught continues with New Zealand's The Beths. 'Future Me Hates Me' is the shortest, sharpest most bittersweet collection of three minute pop songs we've heard this year.

          FORMAT INFORMATION

          Coloured LP Info: Transparent aqua coloured vinyl.

          Coloured LP includes MP3 Download Code.

          The Beths

          Warm Blood

            First time available on vinyl, this EP is the prequel to their debut album Future Me Hates Me which is out now.

            The Beths’ Warm Blood is a strong contender for the catchiest record you’ve never heard. Formed when four jazz students at the University of Auckland bonded over their shared love of the pop-punk sounds of their youth, The Beths bring new energy to the genre. This 5-song debut EP, a deliriously pleasurable statement of purpose, comes crammed with enough blissful hooks to carry through most bands’ careers.

            Listeners for whom the tag “New Zealand indie rock” brings to mind the Flying Nun sound of bands like The Clean and The Chills may be surprised to find Warm Blood’s five unstoppable tunes landing closer to artists like Slant 6 and The Breeders. The nimble guitar work here moves from heavy riffing reminiscent of Sleater-Kinney to hazily bending lines that would make Stephen Malkmus and Mary Timony beam, while the joyous vocal harmonies from all four members bubble and swell to ecstatic crescendos that channel The Zombies’ Odessey and Oracle.

            With impeccable production from guitarist Jonathan Pearce and stellar musicianship across the board, Warm Blood is a non-stop delight. Tracks like leadoff track and first single “Whatever,” the ridiculously addictive standout “Idea/Intent,” and “Rush Hour 3,” a playful ode to romance in this era of download-and-chill franchise films, take delight in the challenge of breathing new energy into the limitations of the 3-minute pop song. 


            FORMAT INFORMATION

            Ltd 12" Info: Limited pink vinyl.

            Ltd 12" includes MP3 Download Code.

            The Bevis Frond

            Bevis Through The Looking Glass

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

              The main strength of the Bevis Frond is the exquisite songwriting, with pithy and poignant lyrics delivered in a very uncompromising English roots accent.” The Quietus. “Saloman has remained a niche concern amongst purist psych fiends these past 30 years” MOJO. Originally released in a signed limited-edition record of 500 copies, then reissued as a double-LP set on Reckless Records in 1988, this year’s Record Store Day sees the record reissued on double clear vinyl alongside ‘Triptych’ and ‘The Auntie Winnie Album’ as part of the 30th Anniversary. This historical collection of Bevis Frond songs includes ‘Rat In A Waistcoat’, ‘The Shrine’ and ‘I Can’t Get Into Your Scene’. Closing track includes ‘Alastair Jones’ recorded in 1967 when Nick was just 14 years old. A labour of love and fiercely independent, his prolific output has seen as many releases in as many years and an uncompromising vision under his own label Woronzow. Hailed as “a Hendrix devotee every bit as tough and contemporary as the serrated guitar chorales of Sonic Youth and Pixies” by Rolling Stone’s David Fricke, his immense psych-stoner-rock has seen him become a cult figure in his own right. The Bevis Frond’s legion of loyal fans includes Teenage Fanclub, Dinosaur Jr and Mary Lou Lord, who have all covered his music. 

              FORMAT INFORMATION

              2xColoured LP Info: Clear Vinyl, Download Card, 1000 only.

              The Bevis Frond

              The Auntie Winnie Album

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

                The Bevis Frond have successfully traversed the ‘traditional’ side of songwriting to produce a prolific and un-comparable body of genuinely beautiful, yet genre baiting songs that are hard to ignore” Louder Than War. Released on 12” purple coloured vinyl for Record Store Day 2017, ‘The Auntie Winnie Album’ will be reissued for Record Store Day alongside ‘Bevis Through The Looking Glass’ and ‘Triptych’ as part of the band’s 30th Anniversary. Initially released in 1988, the companion piece to ‘Bevis Through The Looking Glass’ comprises of unreleased material from the Woronzow archives. The last of his earlier releases that sees the influential multi-instrumentalist Nick Saloman perform solo throughout. A labour of love and fiercely independent, his prolific output has seen as many releases in as many years and an uncompromising vision under his own label Woronzow. Hailed as “a Hendrix devotee every bit as tough and contemporary as the serrated guitar chorales of Sonic Youth and Pixies” by Rolling Stone’s David Fricke, his immense psych-stoner-rock has seen him become a cult figure in his own right. The Bevis Frond’s legion of loyal fans includes Teenage Fanclub, Dinosaur Jr and Mary Lou Lord, who have all covered his music. 

                FORMAT INFORMATION

                2xColoured LP Info: Purple Vinyl, Download Card, 1000 only.

                The Bevis Frond

                Triptych

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

                  The Bevis Frond emerged fully-formed from the skull of British rock. A cult favourite” Pitchfork. Released on 12” white vinyl for Record Store Day 2017, ‘Triptych’ will get a special reissue for Record Store Day alongside ‘Bevis Through The Looking Glass’ and ‘The Auntie Winnie Album’ as part of the 30th Anniversary. The heavy third offering from Nick Saloman bursts with 60s-psych and includes epic track ""Tangerine Infringement Beak"" clocking in at nearly 20 minutes, ‘Into The Cryptic Mist’ and ‘Lights Are Changing’ a song that went on to be covered by Mary Lou Lord. A labour of love and fiercely independent, his prolific output has seen as many releases in as many years and an uncompromising vision under his own label Woronzow. Hailed as “a Hendrix devotee every bit as tough and contemporary as the serrated guitar chorales of Sonic Youth and Pixies” by Rolling Stone’s David Fricke, his immense psych-stoner-rock has seen him become a cult figure in his own right. The Bevis Frond’s legion of loyal fans includes Teenage Fanclub, Dinosaur Jr and Mary Lou Lord, who have all covered his music. 

                  FORMAT INFORMATION

                  2xColoured LP Info: White Vinyl, Download Card, 1000 only.

                  The Bid-On (Giuliano Sorgini)

                  Sorry Puppet

                    Reprint of the rare 1972 library LP by Maestro Giuliano Sorgini under the pseudonyms of Raskovich and The Bid-On. Originally released in just a few copies for a small label owned by a friend of Maestro Sorgini, this LP includes 12 really beautiful tracks with positive vibes. From jazz dance, bossa nova, funk, and some killer breaks, with lots of percussion, growling flute and honking sax.

                    Reissued with the original minimal artwork designed by Giuliano Sorgini drawn with chalk on a black sheet. Glossy Cinedelic cover. Limited to 600 copies.

                    The Big Moon

                    Take A Piece / Your Light

                      'The British gang arrived like a breath of fresh air with their Mercury Prize nominated debut album, Love In The 4th Dimension, back in April 2017. Fronted by Juliette Jackson, The Big Moon unleashed song after song fizzing with melody and charm.

                      The band are Juliette Jackson, Soph Nathan, Celia Archer and Fern Ford. 

                      The Big Moon

                      Walking Like We Do

                        The British gang arrived like a breath of fresh air with their Mercury Prize nominated debut album ‘Love In The 4th Dimension’ back in April 2017. Fronted by Juliette Jackson, The Big Moon unleashed song after song fizzing with melody and charm.

                        The forthcoming second album, Walking Like We Do, was recorded in Atlanta alongside Grammy Award winning US Producer Ben H. Allen III (M.I.A./Deerhunter/Bombay Bicycle Club).

                        The band are Juliette Jackson, Soph Nathan, Celia Archer and Fern Ford. 


                        FORMAT INFORMATION

                        LP Info: Black Heavyweight vinyl.
                        Gatefold with spine.
                        Download card.

                        The Big Net

                        Big Moon / Rufus

                          Taking inspiration from the original concept behind the founding of Saddle Creek, as an attempt to highlight our home city through music and art, we began the Document Series in 2017. Each release featured in the Document Series is comprised of an exclusive record featuring unreleased music from artists outside of the label's roster, along with a specially curated zine created by the artist. The tenth installment in the series comes from New York based The Big Net.

                          An exercise in simplicity, The Big Net is the musical project of Kevin Copeland (guitar, vocals) Andrew Emge (drums) and Logan Miley (bass). Attempting to maximize the emotive power of the trio, the band’s style drives down the highway somewhere between drone and country, folk and rock. With Corey Rubin on bass and secondary vocals, their first self-titled record explored more of those rock roots: recorded live in two days with minimal overdubs, trying to capture the freewheeling magnetism that can come alive in a room.

                          Released as part of Saddle Creek’s Document Series, the band’s two new songs - "Big Moon" and “Rufus" - were recorded that same weekend. The idea of The Big Net is and has always been immediacy, letting that tangible thing in the air be itself and tuning into “song” at its most genuine. Both songs make good on those aspirations. “Big Moon” is quite literal. Written during a particularly lonely period in Copeland’s life, he would sing so that he could fall asleep and from that process the song seemed to “float in all at once.” “Sometimes all you have is yourself, and the moon, or a guitar, or a bed, or the ground under your feet, and that's ok. Those things will always hold you,” Kevin says of the song.

                          Suitably, "Rufus" was tuned into to the same kind of frequency, pulled from the ether as if it had somehow always existed. “When our friend Corey was playing bass with us, most rehearsals before everyone’s gear was even set up; someone was off and everyone else would catch up,” Copeland says. “Somewhere in that soup, an idea would come through. I remember latching onto what became the verse of “Rufus” and, when Andrew and Corey were out getting some air, I just played it over and over and that melody seemed to float right in.”

                          The band have just finished recording a new, more exploratory LP, again captured in a single room over two days. With Copeland as the primary songwriter, the group continues to interpret earnest emotion in song through their hypnotic and dynamic sensibilities. For now, though, we have this new 7” single; an exercise in vulnerability, in trusting your impulses, in the magic that can be found within.


                          The Bitter Springs

                          Firm Family Favourites EP

                          Hot on the heels of "That Sentimental Slush" the sixth critically acclaimed album in a row from Hampton's finest sons The Bitter Springs comes this brand new four track EP of "Firm Family Favourites".

                          This is the sound of a bad mescaline trip in the searing heat of the desert. It's the sound of 60s psychedelia reinvented through post-millennial angst. It's dangerous, it's dark and it's Texas-sized in scope. It's "Passover", the debut album from Austin's The Black Angels, and the sound they describe as Native American Drone 'n' Roll. Built on rumbling drums, searing guitars and an ever-present droning organ, "Passover" is a stunning, raw debut that's keen to address the big issues of the day.

                          We live in dangerous times. We are blinded by control vectors that separate us from reality. And The Black Dog returns with a viral antidote: an album of de-programming material which they’ve called "Nether/Neither".

                          This record continues the work they started with "Further Vexations" and "Radio Scarecrow". Burroughs was right: we are now living in a world that is nothing short of a total information war. We are neither one thing nor another, endlessly on the fence in the face of an onslaught of disinformation. Non-linear hypermedia systems are openly used to control us, their operation being totally exposed, mocking our impotence, yet complete in their power. We are all proles now; all are expected to maintain a mental state of "Neither/Neither", of uncertainty and inaction. Even in a world where anyone can be an instant expert on any subject in a single click, we find that all our knowledge is a mere replay of someone else’s script.

                          We are surrounded and occupied by systems of platitude generation that are empty and self-referential. All is surface and all is hollow. From the Tories’ election propaganda to David Icke, they’re all the same, all meaning filtered to nothing by a lack of substance, science and humanity. Falsehood becomes reason, no matter how ridiculous the proposition. They stand for nothing so they can have no questions to answer.

                          False prophets and the modern day snake oil salesmen parade their viral vampirism, grasping for our time, money and headspace. Even our ridicule becomes fuel for their trade as they turn ignorance and psychopathic exploitation into received wisdom and public opinion. Ask any sideshow psychic; repeat, pure Barnum bunkum enough times and you can seize the psychology of the masses. Rumours become truth then they become action and policy that in the cold light of the day make no-sense at all. No one’s sure where they heard it but they have. The spectral offer of change, which actually sustains the stasis of confusion. They spin us on a ball of confusion we live on continues to turn and as long as they have us in a state of "Neither/Neither" they will always maintain control. Fight Back! 


                          The Black Fire

                          Cream

                            'Cream' by The Black Fire is a nearly impossible to find Italian LP from 1973. A Library album that mix several themes including sexy and psychedelic whispered scat vocals, space synth lounge, lazy bossa with harpsichord, fender rhodes and a lot of congas, bongos and insane flutes; it also includes the killer wah-wah funk tune “Alcoholic” used years later as the opening song of the kung fu movie Operation Cobra aka Squadra Omicidi Chiama Cobra.

                            Original colourful artwork by the painter G. Pinna in a glossy Cinedelic cover. Limited to 600 copies.


                            Pazy (real name Joseph Etinagbedia) started playing music in the Fire Flies in the city of Warri in Nigeria in 1973. The area was in the midst of an oil boom, and like most bands on that scene, the Fire Flies played American and European pop hits mixed with Jazz and Highlife for the largely expat audiences in local clubs. Along with an influx of foreigners, the oil boom also gave rise to an emerging Nigerian youth market, and soon Pazy formed the Black Hippies to play the uniquely African style of hard rock that was favored by this new audience.

                            They quickly found success and were appearing alongside other Warri-based artists such as Tony Grey. In short time, they came to the attention of EMI and their legendary producer Odion Iruoje, who recorded this album. By the time it was released in 1977, though, Disco and Funk were starting to take over and the hard fuzzy rock of The Black Hippies first album was somewhat behind the times. As a result, the album was barely released and is now virtually unfindable, unseen by all but a few of the most hardcore collectors. Pazy would go on to form a new line up of the Black Hippies that played mostly Reggae but this remains by far the best album.

                            Featuring whiplash funk drumming, searing fuzz guitar, raw vocals and that uniquely West African organ sound, The Black Hippies first album is a definitive classic of the genre.

                            Beautifully remastered with restored artwork, this release stands alongside our Ofege and Psychedelic Aliens releases as restored gems from a largely unknown but incredibly vital Rock scene in 70's West Africa.

                            The Black Keys

                            Chulahoma

                              The Black Keys need no introduction; taking the world by storm in recent years and delivering some of the finest music around with releases like "Rubber Factory", "Thickfreakness" and "The Big Come Up". Recorded by the band in their own Akron, OH studio The Black Keys epitomize DIY. "Chulahoma" is a collection of songs that were originally written by the late Junior Kimbrough, reworked and recorded. The Keys capture the very essence of Junior's style better than any other musician today. Roomy and sparse in production the drums/guitar duo fill out every inch of these songs with distorted guitar, drums, and Dan's soulful vocals.

                              The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” 

                              “Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”

                              Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’

                              Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.

                              Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:
                              Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.

                              Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

                              STAFF COMMENTS

                              Barry says: Having always epitomised the fuzzy groove-led party vibe, it's no surprise that their latest is the most danceable and head-nodding instalment yet, but here it is. Bluesy, sleazy and heavy but crisp and beautifully presented. Black Keys do it again!

                              FORMAT INFORMATION

                              Ltd LP Info: Heavyweight 140 gram high-performance vinyl.

                              In early 2006, The Black Keys returned to their basement to record "Magic Potion", their fourth full-length album. Despite its title, "Magic Potion" is ironically the sound of The Black Keys getting their signature sound down to a science — it's the band at their heaviest, grittiest and most powerfully stripped down. From the nasty, sweaty strut of "Your Touch" to the sublimely narcotic devotional ballad "You're The One" on down to the stomping, house-rocking call to arms "Modern Times" The Black Keys have made another fantastic album.

                              The Black Keys

                              Rubber Factory

                                Fantastic album from the acclaimed guitar and drum, Delta blues-infused rock duo from Akron, Ohio, The Black Keys. The album takes a few listens to get into - mainly down to the fact that the songs are, in general, quite understated rather than big catchy blues numbers, that grab you on first listen, but you're bored of within a week. You imagine that if Jack White could possibly get himself off the rock 'n' roll treadmill he'd love to kick back and make albums like this!!! A swaggering blues rock masterpiece!!

                                The Black Keys

                                Thickfreakness

                                  Raw, soulful blues-rock from this duo from Akron, Ohio. This is the awesome second album (their first in the UK) from Dan Auerbach and Patrick Carney. With a stripped back guitar, drums and vocal line up this is top notch blues, set apart by Auerbach's distinctive fuzz guitar. Recommended.

                                  FORMAT INFORMATION

                                  LP Info: 180g vinyl pressing.

                                  Produced by Danger Mouse, Dan Auerbach and Patrick Carney, 'Turn Blue' features 11 new tracks including the first single, ‘Fever’, which can now be heard at theblackkeys.com, YouTube and Soundcloud.

                                  'Turn Blue' was recorded at Sunset Sound in Hollywood during the summer of 2013 with additional recording done at the Key Club in Benton Harbor, MI and Auerbach’s Easy Eye Sound in Nashville in early 2014.

                                  Carney comments, “We are always trying to push ourselves when we make a record – not repeat our previous work but not abandon it either. On this record, we let the songs breathe and explored moods, textures and sounds. We’re excited for the world to hear Turn Blue.”

                                  This is the eighth full-length album from the duo and follows 2011’s critically and commercially acclaimed El Camino, which is now certified RIAA Platinum. Internationally, El Camino is Gold in Belgium, Spain, Italy and Holland; Platinum in Ireland, France and the U.K.; and double Platinum in Australia, Canada and New Zealand. The record also resulted in three awards at the 55th annual Grammy Awards – Best Rock Performance, Best Rock Song, and Best Rock Album. The band now has a total of six Grammy Awards including three in 2010 for their breakout, RIAA Platinum album, Brothers.

                                  STAFF COMMENTS

                                  David says: What happens when a blues man separates from his wife whilst recording his new album? The answer, 'Turn Blue', is their darkest, most melancholic album to date. It finds the band taking a detour from their traditional blues rock, heading down a psychedelic, swamp of a side road, to great effect.

                                  The Black Seeds

                                  Into The Dojo

                                    Similar to Fat Freddy's Drop, The Black Seeds are already superstars in their home country of New Zealand. The eight piece band, who have been active for nearly 10 years, have gold and double platinum status at home. Finally, with the release of their third album "Into The Dojo", it's now time to introduce The Black Seeds to people further afield.

                                    The Black Velvets

                                    3345

                                    "3345" is a rousing, pounding, foot stomping anthem written in honour of the bar on Liverpool's Parr Street that the band have developed a love / hate relationship with.

                                    FORMAT INFORMATION

                                    10" Info: Limited edition plectrum shaped picture disc 10" backed with the track "Soul Saviour".

                                    The Black Watch

                                    Brilliant Failures

                                      “One of music’s most perfect and unheralded rock outfits” – Magnet Magazine John Andrew Fredrick has written and released seventeen the black watch albums of sparkling, literate, jangly-distorted indie rock since the LA band’s inception in 1988 (as well as four works of comedic literary fiction and one book on the early films of Wes Anderson). For this record Fredrick had the idea of letting producer-friends Scott Campbell, Rob Campanella (producer for The Brian Jonestown Massacre, Beachwood Sparks, Dead Meadow) and Andy Creighton be his band and record the album. “I have had, I think, too much control, musically speaking, in the past.’ Fredrick says, “And the thought of experimenting this way was really thrilling.” The result was far from a failure, in fact this approach may have yielded TBW’s best album in years.

                                      "The Creation band Alan McGee never signed!"--Stereoembers “Should’ve become a household name a long time ago” – USA Today "Bright but with dark undercurrents, brainy but not pretentious, the music here on the new album from The Black Watch is proof that some Americans have a knack for this sort of thing. Full of big and bold music, The Gospel According to John is a record of luminous beauty in spots."--A Pessimist is Never Disappointed “Sounds like the holy union of Guided By Voices, The Wedding Present and any number of New Zealand pop heroes. In other words, it sounds truly indie: immediate, honest and just-enough lovingly rough” – Buzzbands L.A.

                                      FORMAT INFORMATION

                                      LP includes MP3 Download Code.

                                      Tim Blake

                                      New Jerusalem

                                        This is Blake’s first studio release after the 70’s experience with Gong and the Crystal Machine live duo with Patrice Warrener. Recorded between Sussex and the Barclay Studio in Paris, “Blake’s New Jerusalem” is a masterpiece of the drug culture of the 1970s. It comes with a whole bonus LP filled with bonus tracks from the same sessions! 

                                        The Blakes

                                        The Blakes

                                          The band formed when brothers Snow and Garnet Keim moved from Vancouver Island to Seattle and met up with Bob Husak – the trio then moved to Los Angeles (all staying in one cheap hotel room till they'd written a bunch of songs), started gigging and came to the attention of influential US label Light In The Attic who signed them up. Dirty, nasty, blues-rock'n'roll!

                                          The Bleachés, pronounced ‘bleeshays’, formed in Manchester in 2016. One of their early shows were described by The Afterword as “Clearly in thrall to the Brian Jonestown Massacre, they’re a bit ramshackle but in a good way... they get a proper psychedelic, garagey racket going and they whip up some nice choppy guitar riffs that should stand them in good stead. I like them.” After supporting a number of touring bands such as Os Mutantes, Elephant Stone, Tracy Bryant and Flyying Colours, The Bleachés recorded and released their debut EP – “Easter Island” digitally in May 2018. The six track EP was recorded across two studios in Manchester by two friends Billy Morley & Alex Burnett-Scott. The tracks blend between hazy, melodic jams to upbeat garage rock, with Chloe’s soothing vocals entwined throughout. Easter Island was reviewed by Local Sound Focus shortly after its release: “There are hints of West Coast psychedelic pop, psych, a haze of dream pop, hints of 4AD bands like the Cocteau Twins, bits of strange freaky 60s European pop and that sort of post rave slightly fuzzy danceable rock… The best I can do is to say that if you like music made with care, music that takes you to a great place, music with a groove, music that takes a whole load of influences and puts them together in a way you’ve not heard before, then try this, you won’t be disappointed.”


                                          Macadam Mambo put pay to any misty memories of the season of goodwill with their first release of 2017, a very special EP of radical dance music by the German band The Blech revisited by Hamburg's Wosto. Working industriously and industrially between 1985 and 1996, The Blech released 6 fizzing LPs of the dark wired sound. These cult recordings have become a treasure-trove of extravagant, groovy dancefloor artistry, at once hypnotic, irritating and erotic. Here, Hamburg's Wosto (one half of Fallbeil) selects two tracks from 1987's "Zip Zip" LP, "Nichts Wie Vorher" and "Zip Zip", and "Die Einame Trane" from 1989's "Ich Wollte Meine Schuhe Zerschneiden", and transforms them into bristling metal dance cuts. "Die Einsame Trane" dives off at the NDW deep-end in search of rusty industrial wreckage. Churning bass, squealing horrorscore synth-strings and guttural vocals set a queasy tone, occasionally punctured by brief outbursts of metallic percussion. The steady intro of "Nichts Wie Vorher" grows from post punk dirge into a weird and warped mutant disco cut, alive with undead orchestral samples, snapping drum rolls and arabesque vocals. It's already an unhinged winner, but you'll be punching the ceiling and stomping like a berserker when Wosto drops the 303! The B-side belongs to Wosto's "Power Dance Mix" of "Zip Zip", a teutonic technoid slammer which sees tough beats punctuated by cut and paste sampler work, yelped German vocals and dreamy synth work. If Yello had pursued a career in the scuzzy world of the new beat underground, then this would be their "Oh Yeah". All hailz the Dark Wired Sound...

                                          STAFF COMMENTS

                                          Patrick says: Hamburg's Wosto gets 2017 underway for Macadam Mambo with three dark dancefloor treatments of NDW heroes The Blech.

                                          The Blind Shake, three intense men from Minneapolis creating dense, mystical music: in 1974, Bernie Taupin, feeling on top of the world as Elton John’s “Rocket Man” soared up the charts in 1972, suffered a sudden sense of vertigo outside the Spanish villa where he was vacationing. In a beam of black light he saw and heard the future of the future, a loud vision of The Blind Shake, making music that made Elton John’s “starman as everyman” song seem like so much pastel tissue paper, wet and dissolving in a pretty porcelain toilet.

                                          The real deal, Celebrate Your Worth is an intense web of connections of bands and sounds unknown to Taupin, strange sounds from Chrome through Bailter Space through Michael Yonkers and John Reis and with tendrils extending throughout an incredible universe of fantastic unknown bands and sounds. “What the hell am I doing?” Taupin cries, now on his knees, staring at the sky. Witness the Blind Shake in all their mystical, wonderful strangeness and energy.

                                          FORMAT INFORMATION

                                          LP includes MP3 Download Code.

                                          Doncaster bred and Manchester based, The Blinders are Thomas Haywood (guitar, vocals, word), Charlie McGough (bass guitar), Matthew Neale (drums, backing vocals). Influenced as much by the daily news as music, their impact, even at this early stage, cannot be over stated.

                                          Out 3rd May, ‘L’etat C’est Moi’ is the new single from Manchester based trio The Blinders and the second track to be taken from their forthcoming debut album. Described by the band as “A self-proclaimed war-dance told by the Idiot King himself. The first-person perspective of a madman, and his obsessive fantasies for power over all, and insolence from none.” The quote is attributed to Louis XIV declaring “I am the state” at the end of the 18th century.

                                          The track is the follow up to ‘Gotta Get Through’ which has been featured heavily on 6 Music (they played their first session for the station last week on Steve Lamacq’s show who described them as "the fastest emerging UK band at the moment") and hit the number 1 slot on Amazing Radio. The band have been playing several shows since the start of the year including many sold out dates. The have a busy summer planned live with headline shows in Manchester and London and festivals, many more of which are to be announced.

                                          The track was produced by Gavin Monaghan at Magic Garden Studios in Wolverhampton and is released on Modern Sky UK.


                                          STAFF COMMENTS

                                          Barry says: Manchester's Blinders bring the classic rock vibes with their debut outing, Columbia. Brimming with Arctic Monkeys swagger but imbued with a subtle psychedelic edge and semi-spoken lyrical fire, these young upstarts have set a great precedent for things to come. In the meantime, this should definitely sit well in your collection.

                                          The Blinders

                                          Fantasies Of A Stay At Home Psychopath

                                            The Blinders have announced their new album, 'Fantasies Of A Stay At Home Psychopath' via Modern Sky UK.

                                            The follow-up to their critically acclaimed debut album, Columbia, released in 2018, the album explores existential despair, mental health and society’s ills in a time of planetary crisis, and is both a riposte to, and commentary on, the rise of populist ideology. Delivering a blistering collection of powerful tracks, Fantasies Of A Stay At Home Psychopath is imbued with the visceral energy of IDLES, the twisted melodies of solo-era Lennon and the darkness of the Bad Seeds.

                                            In the shadow of Brexit and the climate crisis, The Blinders return with their unique brand of outspoken anthemicism and a sensational album to rouse awareness and inject vital energy into a bleak 2020. Combined with their blistering live energy, get ready for The Blinders to accelerate furiously into the limelight. 

                                            FORMAT INFORMATION

                                            Dinked Edition LP Info: Exclusive Deep Red vinyl.
                                            Numbered & Signed 12"x12" Art print.
                                            500 only.

                                            Coloured LP Info: Clear vinyl edition.

                                            The Blinders

                                            Live At The Ritz

                                              The Blinders: Live at The Ritz

                                              Exclusive live recording of The Blinders from the Ritz Manchester on a limited edition double LP.


                                              The Blood Tub Orchestra, set to be 2015’s most interesting and innovative outfit, are delighting and enthralling listeners with their wholly unique idea. Unearthing Victorian and Edwardian music gems from often long-forgotten artists, The Blood Tub Orchestra evolve the pieces into fully-formed 21st century creations that still possess the characteristics and soul of the original historic works. The ghost is firmly spooking the machinery.

                                              When we look into our histories, we often do so with a rose-tinted and fantastical idealism of what entailed in those previous years, belying the actual truth whilst embracing the myths. This music most certanly isnt that! With the cosy mothball whiff of fancy dress nostalgia removed, a straight bare knuckle fight between the song and the performers is left to find its place creating the most mouthwatering proposition since The Rolling Stones re-introduced Blues to America. Great Britain, this means you!

                                              The songs on this EP are selected for their timeless relevance and irreverance, We’re Glad You’ve Got A Gun, of which no known original recordings exist, is a chilling call to arms propaganda song aimed at the popular music markets of it’s day. The Modern Mephistopheles is a damning a bitter whimsical mocking version of a song about poverty and ‘domestic bliss’ that was popular in its day.

                                              The Blood Tub Orchestra is comprised of a ragtag assortment of musical waistrels. Tim Whelan (Transglobal Underground, Furniture etc), Ashley Davies (Project Dark, London Dirthole Company etc), Kirsten Reynolds (Project Dark, LDC etc), Rob Lewis (Pulkas, LDC etc), Debbie Smith (Echobelly, Ye Nuns etc) plus various guests

                                              The Bloodthirsty Lovers

                                              The Bloodthirsty Lovers

                                              An atmospheric, arty mix of punk, prog and glam-rock from this three piece featuring Grifters and Those Bastard Souls main man David Shouse.

                                              The Bloody Hollies

                                              Yours Until The Bitter End

                                              “Yours Until the Bitter End ” is The Bloody Hollies follow up to the highly praised “Who to Trust, Who to Kill, Who to Love” which was released in 2007 on Alive Naturalsound. Many who are familiar with the band’s sound know them by their trademark murder-themed blues/rock anthems that remind listeners of the 60’s and 70’s golden age of rock & roll. The new album still embraces the dark side of raw garage punk, but comes armed with a more eclectic array of songwriting and musicianship. But don’t let the touches of organ, violin, and xylophone fool you, the band’s hybrid of blues and rock & roll continue to shine more impressively than ever.

                                              The Bloody Hollies recorded in San Diego, but enlisted the expertise of Jim Diamond in Detroit, a familiar friend of the band’s that helped bring the sound of this record to its full potential. “Yours Until the Bitter End” is a work that reflects a lengthy career that fully embraces The Bloody Hollies’ vast influences while at the same time maintaining the band’s unique sound of explosive, over-driven mayhem balanced with intelligently thought-out songwriting. What is most impressive about The Bloody Hollies, however, is the diversity of their strengths, ranging from 70’s classic rock, Americana blues, to an even power-pop songwriting style. Wesley Doyle’s voice is stronger than ever and continues to shine, complimenting Joseph Horgen’s unique slide blues guitar style. The rhythm section of Matthew Bennett (drums) and Erik Noorgard (bass guitar) are as solid as ever and work together perfectly on this record which will go down as The Bloody Hollies’ most impressive to date.


                                              The Blow

                                              The Concussive Caress, Or, Casey Caught Her Mom Singing Along With The Vacuum

                                              Khaela Maricich is the Blow, also a member of the Dub Narcotic studio gang. Khaela recorded this entire album on the Dub Narcotic 16 track tape deck, producing it herself, with guest appearances by a few friends: Susan Ploetz, Anna Oxygen, Mirah, Nora Danielson, Jason Anderson and Jenn Kliese. Like secret mantras, these are adult versions of children's rhymes adapted for more complicated situations, songs people want to sing for their loved ones, but probably never will.

                                              The Blueprint

                                              Zero*Zero*One

                                              Impeccable credentials, The Blueprint are made up ex-members of Pitchshifter, Earthtone9 and Consumed. It's a six track mini album that's heavy, heavy, heavy. Probably the most exciting thing to have emerged from Nottingham for quite a while.

                                              The Bluetones

                                              Expecting To Fly (2CD 20th Anniversary Edition)

                                              On 12th February 1996, The Bluetones released their debut album, “Expecting To Fly.” It knocked Oasis’ ‘What’s The Story Morning Glory’ off the top of the charts in the week the Mancunians scooped an armful of BRIT Awards and signaled the start of a hugely successful career. The Number 1, platinum album is now re-issued with a second disc featuring 13 previously unreleased tracks including demos, live and session tracks. The demos are from the Proper Demo Thing cassette that got the band signed to A&M Records and taken from a copy recently found in drummer Eds’ archives.

                                              There is a complete concert of the band playing one of their earliest gigs. Supporting Supergrass in March 1995 at the LA2 in London, the small sister venue of the legendary Astoria venue, this recording captures the vibrant energy and spirit of a band taking the first steps on a hugely successful career. The seven track set features the songs that would go on to become some of their most famous tracks. Also included are each band member's favourite b-side from the era plus the stand-alone single ‘Are You Blue Or Are You Blind?’, the band’s first hit single, making this a fitting package to celebrate the 20th anniversary of the album. The 2CD comes in a tri-fold sleeve with new artwork and sleevenotes from guitarist Adam Devlin, plus contributions from the Eds, Scott and Mark.

                                              The Body Doubles

                                              Atomica

                                              They all grew up in Salford, Manchester, all went to the same school, and all dig Metallica, Iron Maiden and Motorhead. Beer drenched rifftastic metal action excellently described by themselves as: 'Riffs, beer, headbanging, big f***ing songs you can sing along to, more headbanging!' And like they say: 'If your friends don't own this record, your friends are losers!' How can you resist?

                                              ‘The Making Of’ lands blow after blow. Featuring early singles XXX and Swarm, alongside Radio 1 playlisted To Die For and Where You At, the album is two barrels' worth of electrifying tunes and crackling 21st Century rock and roll.

                                              The Bohicas are rock and roll painted in vivid primary colours. Hi def, loud, fast, shiny and above all fun. A barrage of killer hooks, razor blade riffs and choruses that slap you in the face, grab your hand and lead you onto the dance floor. All shot through with pulp imagery torn from the pages of a graphic novel.

                                              ‘The Making Of’ was produced by Mark Rankin (Queens Of The Stone Age, Bombay Bicycle Club), Chris ‘Merrick’ Hughes (Tears For Fears, Adam And The Ants) and Oli Bayston (Toy, Boxed In).

                                              The Bohicas are Dominic McGuinness, drummer Brendan Heaney, guitarist Dominic John and bassist Adrian Acolatse. The Bohicas’ story began in Essex where, as schoolmates, McGuinness, Heaney and John first came together over a love of The Beatles, The Kinks, Ray Charles and the new wave of guitar bands who emerged at the start of the century after the scrag ends of Britpop had finally limped off.

                                              FORMAT INFORMATION

                                              LP includes MP3 Download Code.

                                              The Boils

                                              Pride And Persecution

                                              Second album from Philadelphia punk rock anarchists the Boils. They've toured, and gigged and gigged and toured and are a slick as shit and twice as pustulose as a snot grobblin' band has any right to be. "Pride And Persecution" has been a long time coming, and it proves to be well worth the wait. An adrenaline-amped mixture of old school punk and hardcore.

                                              The Bonzo Dog Band

                                              Let's Make Up And Be Friendly

                                              Neil Innes and Vivien Stanshall, were the back bone of this band formed in the 60s by the art school students. They started life as The Bonzo Dog Dada Band, then becoming the Bonzo Dog Doo-Dah Band, and then finally just the Bonzo Dog Band. They were originally seen as a 20s revival act but quickly developed into one of the 60s most virulent satirical acts.

                                              FORMAT INFORMATION

                                              CD Info: This expanded remastered edition includes six bonus tracks.

                                              Neil Innes and Vivien Stanshall, were the back bone of this band formed in the 60s by the art school students. They started life as The Bonzo Dog Dada Band, then becoming the Bonzo Dog Doo-Dah Band, and then finally just the Bonzo Dog Band. They were originally seen as a 20s revival act but quickly developed into one of the 60s most virulent satirical acts.

                                              FORMAT INFORMATION

                                              CD Info: This expanded remastered edition includes five bonus tracks.

                                              The Bonzo Dog Band

                                              The Doughnut In Granny's Greenhouse

                                              Neil Innes and Vivien Stanshall, were the back bone of this band formed in the 60s by the art school students. They started life as The Bonzo Dog Dada Band, then becoming the Bonzo Dog Doo-Dah Band, and then finally just the Bonzo Dog Band. They were originally seen as a 20s revival act but quickly developed into one of the 60s most virulent satirical acts.

                                              FORMAT INFORMATION

                                              CD Info: This remastered and expanded edition includes five bonus tracks.

                                              The Boo Radleys

                                              Everythings Alright Forever

                                                Everything’s Alright Forever is the second album by English shoegaze band The Boo Radleys. The album peaked at number 55 in the UK Albums Chart. They created an intriguing sound with their fuzz pedals and guitar hooks. The depth of the songs and musical influences are incredible. From the epic intro of Spaniard, to perfect songs like Skyscraper, Does This Hurt? and Firesky, it shows how much they were involving as musicians.

                                                FORMAT INFORMATION

                                                Coloured LP Info: Limited edition of 1000 individually numbered copies on transparent orange vinyl and includes insert.

                                                The Boogie Twins Pres. Heaven & Earth

                                                Trouble On The Land - A Love That Is Real

                                                Please note, this is a charity record and a tribute to the late Paul "Trouble" Anderson. All profits will be directed to Macmillan Cancer UK.

                                                The Boogie Twins aka Ashley Beedle and Ray Mang have reworked and edited one of Paul 'Trouble' Anderson's biggest signature tracks

                                                A message from Ashley Beedle:
                                                "My Electric Ballroom crew, that were later to become the infamous Shock Sound System, was myself, Stan Zepherin, Dean Zepherin, Paul Denton, Cecil Peters and Ricardo Da Force (R.I.P.) We loved going to the Electric Ballroom to see the legendary Paul 'Trouble' Anderson who was killing it in there with Boogie, Electro, Hip Hop and Disco - he was such a huge musical influencer. When he dropped 'Heaven and Earth' in the mid 80's, the joint went ballistic.

                                                That tune ruled London and became not only a rare groove classic but remains a much loved staple of today's club scene - all because of Paul's exceptional ear for music.

                                                The Books

                                                Freedom From Expression DVD

                                                  The Books were one of modern musicʼs most vital players of this still-young millennium. Over the course of four albums in ten yearsʼ time, they eschewed genres and pigeonholes so effortlessly and earnestly that they ultimately pioneered a new genre (or three) in the process. And for all the speechlessness their recordings inspired, their videos were every bit as beguiling: a surreal mix of bizarre found footage, home movies, and psychedelic animated imagery that fit their music so well that the two became virtually inseparable in their live performances.

                                                  Freedom From Expression collects every video ever made by the Books, compiled in chronological order. Itʼs enormously satisfying and fulfilling to map the progression from humble bedroom curiosities through to hilariously warped experimental art films masquerading as music videos. At over two hours in length across 21 videos, it is an invaluable piece of the Booksʼ universe, one that demands constant replays, and delivers as many emotional and cerebral twists and turns as anything else in their absurdly unique and forward-thinking catalog.

                                                  The Books

                                                  Thought For Food (2016 Reissue)

                                                    And so it began. When multi-instrumentalists and sound enthusiasts Paul de Jong and Nick Zammuto first came together, they surely could not have foreseen their debut album, Thought For Food, becoming such a beloved genre-defying masterpiece, an album that rests firmly in countless Top 100 Albums of the Decade lists. Filled with endearing and enduring songs, the Books revisit their wide-eyed beginnings with this remastered Thought For Food, repackaged with all-new artwork and expanded to include lyrics for every song for the first time ever. Carefully and thoughtfully remastered from the original mixes by Zammuto at his new studio outside his home in Vermont, TFF now boasts a warmth and clarity that surprisingly reveals an increased harmonic depth. Having combined and refined their compositional and recording processes over the course of four albums, addressing the technical limitations of these earlier recordings offers the chance to marry the technical, musical and emotional aspects of these songs in a way like never before. To be sure, the differences are subtle, but for a band who have transformed minutiae into modern art, that subtlety is downright sublime. 

                                                    FORMAT INFORMATION

                                                    LP Info: Classic debut album digitally remastered from original mixes. Features all new artwork, including never-before-seen lyrics and images

                                                    The Border Surrender

                                                    Lean Season EP

                                                    Following on from the remarkable and gloriously haunting single “Oh Mary”, The Border Surrender return with their second EP “Lean Season”. Having firmly established themselves in amongst the fray of the UK’s most exciting new acts, the North London quartet demonstrate their remarkable ability to evolve and build upon their own foundations with this, a mesmerising recording that delicately drifts away from the earlier proclaimed tags of Americana Folk that were drawn upon on their debut EP, and shifts itself towards the other Southern state influences of Blues and Gospel. Released on Smoky Carrot Records, “Lean Season” places itself in the unusual territory of being not only technically comprehensive and steeped in heavily educated influences, but of also being filled with overwhelmingly anthemic choruses and masterful pop driven hooks.

                                                    Although utterly unique in their production and execution The Border Surrender, to a certain degree, take pride in wearing their influences on their combined sleeve. In fact, each of the four songs included on this record were specifically chosen to represent the different styles and genres that the quartet have drawn upon to create their sound. Opening the EP in magnificent style is the ethereal and euphoric melody of “If You Pass Me By”. Written with the sound of Springsteen’s Nebraska album in mind, but resulting in a more muscular full band sound that has drawn comparisons to The Arcade Fire, this composition is best described as experimental-country, and could be viewed as the centre piece to the entire EP. The lyrics follow the feelings of an unfortunate soul, who can only look on at people enjoying the spoils of success while he walks the streets with his memories of a grand dream that in hindsight and passing looks more like grand delusion. Whereas, the rallying, almost biblical, “Call To Prayer” and the wistful “What Happened at The Estuary” are gleefully infected with an honest Blues tint, which the band proclaim is largely due to a love of modern blues based artists such as The Black Keys and Nick Cave. However, sandwiched between in the middle, we can hear an audible difference in the approach to the more pop-driven folk sound of “The Mariners Wife” whose bouncing verse and joyful chorus sits in stark contrast to the lyrics of its two worn out subjects. These words recall a tale of a retired navy captain, who looks back on his life with a woman who he left his position to marry. She now lives under his shadow and has almost completely lost her own identity, being now constantly referred to as the Mariners wife rather than her own title. On listening to this superlative EP in its entirety, the complexities and comfortable contradictions of each recording truly find their way to the front and mark this out as a highly accomplished and poignant record; one which will no doubt dominate the listeners ear phones for quite a time to come.

                                                    The Boy Who Trapped The Sun

                                                    Fireplace

                                                    The Boy Who Trapped The Sun is 25 year-old Colin MacLeod - the 'Boy Who' moniker, he says, 'feels bigger and less lonely'. Originally from the Isle of Lewis, a windswept outcrop of the Outer Hebrides, MacLeod was discovered swinging round the rafters of an Aberdeen bar, dishing out Deep Purple covers and, he says, 'generally acting like an arse'. Having smashed his guitar and knocked himself unconscious on stage, he set to cleaning up both the broken instrument and his act. Thus The Boy moved to London, to become a solo artist and an adult.

                                                    And so emerged "Fireplace", with MacLeod playing all the instruments bar the strings himself. Hazy opener "Golden" sets the scene, with MacLeod gently drawing the listener into his world. New single "Katy" is more upbeat, a catchy paean to avoiding commitment. Title track "Fireplace" was written when MacLeod was housebound for four days as a fierce storm battered Lewis, while the loose, bluesy "Home" was written in London, about being displaced in the big city - 'This city's not a home, but it's somewhere to get lost'. "Walking In The Dark" is an achingly pretty piano-led track, while the waltz-y, wry "Dreaming Like A Fool" is the tale of ex-girlfriend who tried to stab MacLeod. 'Lately it feels like we're drifting apart', he sings. 'It could be because you're insane'.
                                                    Riding on a dream-like descending riff "Copper Down" features exquisite harmonies and a deft, mid-song change of pace. The final track is the haunting, beautifully arranged "Antique Cobweb". There follows the hidden spoken-word outro "Poem", its second verse in Gaelic, wonderfully evocative of the Isle of Lewis and the sea that defines it. "Fireplace" is a beautifully realised debut from an authentic new talent. Listen again and again.

                                                    A slamming slice of beatnik blues boogie indelibly cast with the spectre of the Standells, this lo-fi fuzzed-out beauty shimmies and shakes like a recently unearthed 60s nugget. Jaa! Sweden's new garage-rock kings have a debut album that delivers everything you want from a style-conscious, but not nostalgic retro band – pulverising guitars, screeching, snotty caveman singing, maximum grooving and guaranteed male chauvinistic lyrics. The Troggs, Namelosers and Bo Diddley are key words in this fuzz-crossword puzzle. But their influences are so cleverly dissected and reconstructed that you will just find yourself dancing (and sweating) in front of your gramophone. Hailing from Malmö in southern Sweden they are fronted by Englishman Lee Tea (former bassist with Thee Exciters) who is responsible for the raw vocal and crushing guitar sounds while John Krantz on bass and Anders Hansson make up the driving rhythm section. The Branded have taken their interpretation of the sixties garage band rockin' rhythm'n'blues sound around half of Europe already and they've only been together for just over a year.

                                                    The Bravery

                                                    Fearless

                                                    More 80s infused pop from The Bravery. Wailing Robert Smith-esque vocals over chunky synths riffs and choppy guitars that create a relentless, infectious rhythm.

                                                    FORMAT INFORMATION

                                                    DVD single Info: The DVD single features the video for "Fearless", a live video of "No Brakes" and a photo gallery.

                                                    The Bravery

                                                    The Bravery (Special Edition)

                                                    Five more cool but still fun New Yorkers, this lot make post-punk electronic rock / pop just like it's England in 1982. You could fit them in with Franz or The Killers today, but really it's poppy Cure, early Duran Duran or the pre-rock Simple Minds that spring to mind. By the way: this is a Good Thing. The New Romantic era was full of exhuberance and the music was made to get you up and out as much as it was to listen to. And with songs as catchy and uplifting as this, The Bravery will surely go far.

                                                    FORMAT INFORMATION

                                                    Ltd CD Info: Superb limited edition with deluxe embossed silver sleeve!!!! Last ever copies at a BARGAIN price!!!!!!

                                                    The Break

                                                    The Break

                                                    The Break are an aggressive, rapid assault of uplifting punk rock, loaded with loud guitars, intense vocals and enough bottom end to make you feel funny.

                                                    The Breeders

                                                    Last Splash

                                                      Originally released by 4AD in August 1993, ‘Last Splash’. By the time this album was released, Tanya Donelly had left the band to for Belly and Kim Deal had been joined by her sister Kelley. The album features possibly their best known song, the late 90s indie-disco classic ‘Cannonball’.

                                                      The Breeders

                                                      Pod

                                                        The Breeders were formed by The Pixies Kim Deal and Throwing Muses Tanya Donelly. This was their debut album originally released by 4AD in May 1990. The album, produced by Steve Albini combines the energy and angular pop sensibilities of their other bands, bolstered by creative songwriting and clever arrangements. It features iconic Vaughan Oliver artwork.

                                                        All Nerve – the first new album from The Breeders in a decade – reunites band members Kim and Kelley Deal, Josephine Wiggs and Jim Macpherson, the line-up behind the iconic and platinum-selling record, Last Splash.

                                                        The quartet returned to the stage in 2013 to celebrate the album’s 20th anniversary and have been quietly working on new material since then.

                                                        Featuring singles ‘Wait in the Car’ and title track ‘All Nerve’, recording took place at Candyland, Dayton, Kentucky, with Mike Montgomery; Electrical Audio, Chicago, with Steve Albini and Greg Norman; and with Tom Rastikis at Fernwood Studios, Dayton, Ohio. Artwork was conceived by Chris Bigg, who has worked with The Breeders since their first album, Pod.

                                                        STAFF COMMENTS

                                                        Barry says: It's hard to not to get tingles down the spine when hearing Kim Deal's voice. As one of the most recognisable vocals in grunge history. Deal's role in the pixies was unarguably important, but this really takes that iconic backing vocal and brings it rightfully to the forefront. This is a confident, rocking delight, as nuanced as it is heavy.

                                                        The Breeders

                                                        LSXX - Last Splash: 20th Anniversary Edition

                                                        ‘LSXX’ is available as a deluxe three CD package. Many of the recordings included in the set have never been released before, or are rare / fanclub only gems.

                                                        Cover and individual sleeve artwork has been created by renowned British graphic designer Vaughan Oliver, who described it as “an irreverent conceptual and visual reimagining” of his original ‘Last Splash’ artwork.

                                                        The release coincides with the Breeders’ ‘LSXX World Tour’, which marks the first time Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson have performed together since 1994.

                                                        The Brian Jonestown Massacre

                                                        +/- EP

                                                          On the '+ - EP' are 3 brand new and exclusive tracks recorded by Anton Newcombe in his studio in August 2014 after the band’s successful European tour .

                                                          This release brings the traditional Brian Jonestown Massacre sound mixed with eastern influences and bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years. Two dozen band members later and numerous “ups and downs” (some have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe.

                                                          The Brian Jonestown Massacre

                                                          Give It Back!

                                                            Give It Back! was the sixth studio album by American psychedelic rock band The Brian Jonestown Massacre, originally released in 1997 by record label Bomp!. First time on 180g audiophile vinyl. Notably, this is the only album that features Peter Hayes, who later founded the Black Rebel Motorcycle Club. The sessions for the record were filmed for the documentary Dig!. Though only a couple of minutes of these sessions appear in the film.

                                                            The Brian Jonestown Massacre

                                                            Mini Album Thingy Wingy

                                                            Mini Album Thingy Wingy are 7 brand new & exclusive tracks recorded by Anton Newcombe in is his studio in Berlin in 2014 & 2015. Running at over 34 minutes, the mini album is co produced, engineered & mixed by Fabien Leseure. This release contains four self written songs by Anton Newcombe, a co write of the band’s first Slovakian song (Prší Prší) with Vladimir Nosal, another co write (Pish) with Tess Parks and a cover of the 13th Floor Elevator’s track “Dust” which features Alex Maas from the Black Angels on jug.

                                                            Originally, Anton Newcombe was heavily influenced by The Rolling Stones' psychedelic phase, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

                                                            This album brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years.

                                                            FORMAT INFORMATION

                                                            LP Info: The LP is available on clear vinyl and has different artwork from the CD and double 10”.

                                                            2x10" LP Info: 1 COPY LEFT!
                                                            Double 10” is on red vinyl and numbered and limited to 1000 copies.

                                                            The Brian Jonestown Massacre

                                                            My Bloody Underground

                                                              After spending time writing and recording in Liverpool, England and Reykjavik, Iceland; "My Bloody Underground" is the thirteenth full length album released by the band, and is released on Anton Newcombe's own record label A Recordings. Fans and critics of Brian Jonestown Massacre who have eagerly awaited a new album for a little over four years now will not be disappointed with its musical content, quality and controversy to follow. The opening track titled "Bring Me The Head Of Paul McCartney On Heather Mill's Wooden Peg (Dropping Bombs On The White House)" begins and soars into an echoing wave of tambourines and trancelike acoustics, that continues for 12 more tracks and 75.87 minutes, stirring visions of sunny Californian communes to New York City bars on the Lower East Side. From Rishikesh to Reykjavik, the entire album provides provocative glimpses into Anton Newcombe's head, both the darkness and the light, so clearly and so beautifully self produced.

                                                              FORMAT INFORMATION

                                                              2xLP Info: 180 gram double vinyl.

                                                              Revelation is the first album that was fully recorded & produced at Anton’s recording studio in Berlin. It is the 14th full length release from the Brian Jonestown Massacre recorded from late 2012 to early 2014. With Anton Newcombe refining the 13 tracks that appear on the album.

                                                              Featuring Ricky Maymi an original member of the band playing on this album. It also features Joachim Alhund (Les Big Byrds), Constatine Karlis (Dimmer), & Ryan Van Kriedt (Asteroid #4). Plus vocal performance in Swedish by Joachim Alhund (Les Big Byrds) on the opening track.

                                                              This album brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years. Two dozen band members later and numerous “ups and downs” (some have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe.

                                                              The Brian Jonestown Massacre

                                                              Third World Pyramid

                                                              Third World Pyramid is the first album that was fully recorded & produced at Anton’s new Cobra Studio in Berlin . It is the 15th full length release from the Brian Jonestown Massacre recorded from early 2016.

                                                              Featuring Ricky Maymi , Dan Allaire , Joel Gion , Collin Hegna & Ryan Van Kriedt from the band .Also Emil Nikolaisen from the Norwegian band Serena-Maneesh joins the band on this album , plus vocal performance Tess Parks and Katy Lane .

                                                              Anton Newcombe has been a very busy man these past 2 years, kicking off with the critically acclaimed Brian Jonestown Massacre album ‘Revelation’ in May 2014. After a successful UK and European tour, the BJM followed this up with the ‘+-‘ EP (Nov 2014). 2015 saw the release of ‘Musique de film imaginé’ (April); an imaginary film soundtrack album featuring the track ‘Bonbon’ which has, ironically, been used in ‘Dheepan’; the Palme D'or winner at Cannes film festival 2015. In June, Anton and Tess Parks embarked on a well received tour of the UK and Europe to support the release of ‘I Declare Nothing’. Anton finished the year with a BJM mini-album release entitled ‘Mini-Album Thingy Wingy’. 

                                                              STAFF COMMENTS

                                                              Barry says: Encompassing aspects of wandering psychedelia, meditative drone and anthemic indie balladry, this newest outing from Newcome and co. is their most diverse and exciting yet, cementing them as one of the most defining and prolific acts in modern music.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: 180 gram magenta coloured vinyl.

                                                              The Broken Blackbird Ensemble

                                                              Gadzooks!

                                                              "Gadzooks!" is the first album by new 6-piece experimental group The Broken Blackbird Ensemble. It features James and David from Big Eyes, but there the comparison ends. TBBE feature players previously and currently immersed in noise / sound experimentation, klezmer, folk, classical and acid-rock, but this, their first album, contains nothing that could be specifically classified under any of these categories. The album was recorded and improvised in one day (in September 2004), with some tracks from the vaguest principle, others conceived from scratch. Theirs is the sound of creaking wood, gothic ragas, horrored drones, a choir of pipes and oh-so hushed melody. Is free-folk the right term? Who knows, but there is definitely some music common ground between the New Weird America artists and TBBE.

                                                              Stuning album from The Broken Orchestra released on A Bridge Too Far and Featuring singles "Mutual", "Tapping" and "Contrast".

                                                              Supported across the BBC network with a special feature on 'Introducing...', the record plays like an enchanted daydream, meandering through pastoral and ambrosial soundscapes with a focused yet languid approach which allows ever and every wondrous details the time and space it needs to register on the listener's attenuated sensory palette.

                                                              Landing somewhere between Woo, Mark McGuire & National Bedtime and inspired by the same Scottish wilderness that informs Lau, the LP is decidedly Scottish, yet presents ideas and themes wrapped in a velvety electronic patina. Vocals, though sparse, are arresting and impacting when they do emerge, nodding to Cinematic Orchestra's recently acclaimed "To Believe" with their level of intimacy and intensity.

                                                              It's a stella release, sequenced beautifully and with some heart wrenchingly powerful content. January can be thin on the ground with releases but this crystalline wonder could well keep us warm till Spring! Highly recommended.

                                                              Produced by The Broken Orchestra
                                                              Engineered by Pat Dooner & Carl Conway-Davis
                                                              Mixed by Pat Dooner
                                                              Mastered by Pete Maher

                                                              Carl Conway-Davis - Synthesizer, Guitar, Programming & Bass

                                                              Pat Dooner - Rhodes, Piano, Programming & Bass

                                                              Tom Kay - Guitar, Piano & Bass

                                                              Rich Lovelock - Drums

                                                              Emily Render - Vocals




                                                              Back in 1976, The Brothers were an emerging disco soul septet whose blistering arrangements and ferocious playing had earned them a cult following and a major label deal. Little did they know that only a few years after the release of 'Brothers Theme', it would be a huge record on the dance-floors of NYC's Paradise Garage and Chicago's Music Box with both Larry Levan and Ron Hardy hammering the record behind the controls every night. The playing of the group paired with the production prowess of the legendary producer, writer and arranger Warren Schatz (Frankie Valli, Dolly Parton, Vickie Sue Robinson and more) combined to make a fairly heady brew of disco, orchestral overtures and incediary dancefloor bombast. This is proper disco music in its purest form, and it's still doing damage today!
                                                              Often sought after by the deepest of diggers on a white label promo 12" this rare EP now sees a fully legit reissue, sourced from the RCA vaults using original materials and remastered and repressed to the highest standard for 2018 and featuring all original 1976 RCA label artwork. Accept no substitutes!

                                                              STAFF COMMENTS

                                                              Patrick says: So enamoured was I with the unrivalled groove of "Brothers Theme", I spent about three years trying to make my own edit of it. After countless attempts, I can confirm that the track is, in fact, perfect and when you get it on your deck I'm sure you'll agree.

                                                              FORMAT INFORMATION

                                                              12" Info: *ONE COPY FOUND*

                                                              The Edgar Broughton Band

                                                              Out Demons Out! The Best Of....

                                                              Live the Edgar Broughton Band brought their brand of Beefheartesque blues rock to heights they rarely acheived on record but this excellently compiled collection really does have some great songs and for once there are no real omissions this really is the only Broughton album you'll need.

                                                              Tracey Browne

                                                              Tracey Browne

                                                              Tracey Browne created Earthscension Records at the age of 20, in order to produce and release her own music. Directly inspired by Ani Difranco, who did the same thing 15 years ago. Thirteen tracks of mellow, acoustic-guitar and piano based music, the lyrics are inspired by girls, life and imagination. When singing with rock band Minusoneraver, Tracey's vocals have been likened to All About Eve singer Julianne Regan, or Evanescence's Amy Lee; here, they are stripped bare and fluid, recorded to allow the natural sound of her voice to be heard. A truly independent release, this album was written, produced and performed by Tracey, and serves as a strong debut for a singer-songwriter who will continue to release music regardless of trends.

                                                              The Dave Brubeck Quartet

                                                              Time Out

                                                              Dave Brubeck's "Time Out" ranks alongside Miles Davis' "Kind Of Blue" as one of the few advanced jazz masterpieces to achieve great commercial success. In fact, the widespread popularity of "Time Out", with its cool-toned ambience, smooth style, and elements borrowed from classical music, helped make modern jazz a mainstream phenomenon.

                                                              The ubiquitous "Take Five" may be overplayed, but that doesn't diminish the joy of its complex melodic hooks, its perfectly executed solos, or the swinging slink of its 5/4 signature. "Blue Rondo a la Turk" collages Mozart, cool swing, and Brubeck's own classically oriented piano style, and the airy, delicate "Everybody's Jumpin'" showcases the lyrical splendor of saxophonist Paul Desmond. With bassist Gene Wright and drummer Joe Morello keeping the tricky rhythms agile and swift, the Dave Brubeck Quartet blended complexity and accessibility for pure jazz pleasure on "Time Out", an album everyone should own.

                                                              FORMAT INFORMATION

                                                              LP Info: Limited 180g pressing.

                                                              The first-ever comprehensive single-disc retrospective of the legendary singer-songwriter's groundbreaking, genre-defying work! Falling somewhere between way ahead of his time and timeless in the truest sense of the word, legendary singer-songwriter Tim Buckley's far-reaching genius spanned both a multi-octave vocal range and a multiplicity of genres. Now one of the most mythologized figures in rock history, Buckley was born in Washington, DC and raised in Orange County, CA, first emerging as a folk-rock icon with his self-titled '66 debut LP. His fragile, soaring melodies became more intricate and free-form on subsequent albums, where psychedelic and improvisational elements were heightened as well. Buckley also followed his muse through avant-garde jazz explorations, soulful self-expression and constant stylistic redefinition, all coloured by extraordinarily fluid vocals. One of music's most influential, complex and visionary talents; Buckley died tragically young in 1975 at age 28, cutting short a creative spirit that knew no boundaries. Spanning 1966—1974, this album covers all the essential tracks totalling over 77 minutes of music. 18 tracks that draw from Buckley's entire catalogue of studio albums. All the tracks are remastered to sound better than ever.

                                                              Buckley's second album, and a quantum leap on from his first. Recorded in 1967 when the world was still feeling the recent after-effects of "Sgt. Peppers", this album's scope was immense, and a few tracks were even co-written by poet Larry Beckett. Cited by many as Tim Buckley's best album, this was certainly the pinnacle of Tim's more traditional folk side.

                                                              His third album released in 1969, this saw Buckley really spreading his wings and incorporating more jazzy elements into the sound. The album featured just six tracks, many of them lengthy and evolving opuses of passion and pain, but there was now more depth and space to his music which complemented his amazing vocal range to complete perfection.

                                                              Tim Buckley

                                                              Morning Glory-The Anthology

                                                              If anyone could be termed a tortured genius Tim Buckley could. The self induced damage he did to himself, the anguish and pain in some of his songs are a bitter mirror image to the purity of his voice and the hope for love and a better world in other tracks. This is a superb anthology - 33 tracks, many rare or previously unreleased plus all his great works like "Song To The Siren" and "I Must Have Been Blind".

                                                              Tim Buckley

                                                              Tim Buckley & Goodbye And Hello

                                                                Tim Buckley died on June 29th 1975 less than a decade after these, the first, of his albums were issued. In that period the 'tenderest of troubadour' image was replaced by the vulnerable, emotionally complex and damaged tortured artist of his later work. Drugs and inner demons played a bitter part in his story but there is a freshness and joy on these early recordings that have no echo of the pain to come. Remastered and reissued as part of Elektra Records 50th Anniversary these are gifted and insightful delights.

                                                                Tim Buckley

                                                                Look At The Fool

                                                                  The list of '60s and '70s singersongwriters is long and full of legends; but perhaps the most talented of that very talented bunch was Tim Buckley. Certainly when it came to singing Buckley was at the very top; his range was unmatched, capable of covering several octaves and acres of emotion in one breath, from sweet, tenor tenderness to hoarse, cracking anguish.

                                                                  And his songwriting showed a similar wide range; in the course of eight short years Buckley went from baroque, psychedelic folk rock to jazzy, even avant-garde ravings to blue-eyed soul. This extreme eclecticism, of course, worked against Buckley commercially. But it's also one of the reasons why his reputation has steadily grown in the years since his untimely death in 1975.

                                                                  Countless listeners only familiar with his early Elektra albums have found themselves floored by his later output. Which is where we find ourselves with 1973's Sefronia and 1974's Look at the Fool, the last two records Buckley released during his lifetime and probably the two most controversial albums of his career. Long-time fans decried these records as sellouts, and indeed their soft '70s funk feel is jarring to those used to his more adventurous work. But Buckley proves himself to be one helluva R&B singer on these albums, which deserved a much larger audience than they got (by this time Buckley was on Frank Zappa and Herb Cohen's label DiscReet).

                                                                  Now, Real Gone Music is proud to present both Sefronia and Look at the Fool on vinyl for the first time since the late '80s, in versions newly remastered from the original master tapes by Bill Inglot. These releases mark a significant upgrade in sound from what's heretofore been available, and to celebrate, we're offering each of these records in two different versions: for audiophiles, a limited edition of 400 copies in 180-gram black vinyl, and for collectors, a limited edition of 300 copies in colored vinyl (Red for Sefronia and Blue for Look at the Fool). It's high time these albums were reappraised; these vinyl releases show them at their very best!

                                                                  STAFF COMMENTS

                                                                  Andy says: Tim Buckley gets funked up again on what would be the final album of his life. Mega

                                                                  FORMAT INFORMATION

                                                                  LP Info: Black vinyl.

                                                                  Tim Buckley

                                                                  Sefronia

                                                                    The list of '60s and '70s singersongwriters is long and full of legends; but perhaps the most talented of that very talented bunch was Tim Buckley. Certainly when it came to singing Buckley was at the very top; his range was unmatched, capable of covering several octaves and acres of emotion in one breath, from sweet, tenor tenderness to hoarse, cracking anguish.

                                                                    And his songwriting showed a similar wide range; in the course of eight short years Buckley went from baroque, psychedelic folk rock to jazzy, even avant-garde ravings to blue-eyed soul. This extreme eclecticism, of course, worked against Buckley commercially. But it's also one of the reasons why his reputation has steadily grown in the years since his untimely death in 1975.

                                                                    Countless listeners only familiar with his early Elektra albums have found themselves floored by his later output. Which is where we find ourselves with 1973's Sefronia and 1974's Look at the Fool, the last two records Buckley released during his lifetime and probably the two most controversial albums of his career. Long-time fans decried these records as sellouts, and indeed their soft '70s funk feel is jarring to those used to his more adventurous work. But Buckley proves himself to be one helluva R&B singer on these albums, which deserved a much larger audience than they got (by this time Buckley was on Frank Zappa and Herb Cohen's label DiscReet).

                                                                    Now, Real Gone Music is proud to present both Sefronia and Look at the Fool on vinyl for the first time since the late '80s, in versions newly remastered from the original master tapes by Bill Inglot. These releases mark a significant upgrade in sound from what's heretofore been available, and to celebrate, we're offering each of these records in two different versions: for audiophiles, a limited edition of 400 copies in 180-gram black vinyl, and for collectors, a limited edition of 300 copies in colored vinyl (Red for Sefronia and Blue for Look at the Fool). It's high time these albums were reappraised; these vinyl releases show them at their very best!

                                                                    STAFF COMMENTS

                                                                    Andy says: Tim Buckley had long since left his pure folk roots behind, but to get the groove and swing this late on was a startling new chapter for him and his fans. This has his glorious take on Fred Neil's "Dolphins" on it: worth the price of admission on its own.

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Limited red vinyl

                                                                    LP Info: Black vinyl

                                                                    Tim Buckley

                                                                    Lady, Give Me Your Key: The Unissued 1967 Solo Acoustic Sessions

                                                                    13 previously unissued solo acoustic demos
                                                                    * Remastered from the original analog tapes and acetate
                                                                    * Book includes in-depth interview with Buckley’s lyricist Larry Beckett

                                                                    In 1967, the face of rock was changing. In that year alone there were debut albums from The Velvet Underground, The Doors, and Pink Floyd, to name a few. The Beatles had combined orchestration with their music—the result was Sgt. Peppers in June, the same month that Tim Buckley recorded Goodbye & Hello.

                                                                    Buckley was no longer just another singer-songwriter with an acoustic guitar; he was drenched in acid-folk tinges of harpsichord and harmonium. Lyricist Larry Beckett embellished Tim’s songs with introspective lyrics at times, worldly views at others. It was the first major triumph for Tim as an album artist, partially because there were a remarkable amount of pre-production demos that led to it.

                                                                    Available here for the first time are these newly discovered master tapes, recorded by Goodbye & Hello’s producer Jerry Yester, along with an ultra-rare acetate, found to be in co-songwriter (and best friend) Beckett’s possession.

                                                                    Of the 13 previously unreleased solo acoustic songs contained here, six of them did eventually appear with more expansive instrumentation on Goodbye & Hello (along with another four not included here). However, the crown jewel of this package is seven never-before-heard compositions. These will be new to even the most devoted Buckley fan. Arguably, two of them crept out decades after Tim’s death (albeit, much different recordings than what you have here) but with little fanfare.

                                                                    So much has been written about Tim Buckley but so little of it by people who actually knew him. This booklet, however, includes a detailed interview with both Larry Beckett and Jerry Yester, providing real insight on how these recordings came to be and attempting to uncover the man behind all the myths, the real Tim Buckley.

                                                                    Several rarities releases in the 1980s and ‘90s shed light on his talent, especially the live recordings, but all of the studio material has generally been alternative versions of songs that fans already knew—until now. This is the first-ever posthumous release that reveals a wealth of previously unreleased and unheard tracks from Tim at the peak of his career. In short, you need this!


                                                                    Thoma Bulwer returns with "Jandaze", his latest EP on Parasol Culture featuring long-time partner in crime Anna Wall. It follows Parasol 001, their first joint vinyl release, that sold out on the shelves gaining support from the likes of Mood II Swing and Cab Drivers plus on the airwaves via NTS. Their "Jandaze" EP has already been doing the rounds on the DJ circuit in Hackney Wick and beyond.

                                                                    "Patience" was the result of a late night jam session with sync boxes, groove benders and the classic TR-909. After much fine-tuning, it’s been tried and tested by Cinthie on her recent Australia tour and is set to be a staple club cut for this summer.

                                                                    Although "Insouciant" means a casual lack of concert, a lot of work went into making this one tick. It’s the most laid-back of the bunch, with Smallville-esque Juno 106 melodies perfect for the afterparty or warm up session. This goes out to the post-NYD loft party crew in The Wick where it was played for the first time. Try pronouncing this one at 7am in the morning…

                                                                    "Fridge Speed" is a minimal house cut influenced by Thoma’s garage roots. Think rudely placed analogue synth stab melodies, ‘tuff’ skippy drums and big subs ideal for early hours and the capital's penchant for upfront house tackle.

                                                                    "Egress" was made with long jam takes from Thoma’s modular system. Deep, dubby beats, evolving synths and textures make up this track that’s been road-tested on the world famous Fabric Room 1 sound system by Voigtmann in his extended set before Ricardo Villalobos.

                                                                    Current support comes from Maya Jane Coles, Archie Hamilton Franck, Roger, Cinthie, Voigtmann, John Dimas. 


                                                                    Tim Burgess & Peter Gordon

                                                                    Same Language, Different Worlds

                                                                      The Charlatans frontman originally met New Yorker Peter Gordon in 2012 and they decided then on a music collaboration. Burgess had been a long time fan of Gordon’s work with Arthur Russell and The Love Of Life Orchestra. The album was produced by Gordon in New York and features many of his and Tim’s previous collaborators: Ernie Brooks who played with Arthur Russell on the first Modern Lovers album, trombone player Peter Zummo, conga player Mustafa Ahmed and Nik Void from Factory Floor.

                                                                      "What I love about working with Peter is that in the late 70s with Peter Zummo and Arthur Russell and all the New York cats at The Kitchen, they were all making futuristic records," Burgess enthuses. "Now Peter in his mid-60s is still looking to do that. It's the world that I want to be in."

                                                                      STAFF COMMENTS

                                                                      Laura says: If you're only aware of Tim Burgess from his Charlatans releases, then you may be surprised by this album. Working with veteran composer and musician Peter Gordon, Tim explores more experimental / avant soundscapes, with his softly sung vocals floating over pulsing beats while keyboards bubble and whoosh, saxophones wail and trombone, congas and guitars drift in and out of the mix.

                                                                      FORMAT INFORMATION

                                                                      2xColoured LP Info: Limited clear vinyl.

                                                                      Vinyl comes with CD version of the album enclosed.

                                                                      November 16th 2017 Tim Burgess tweeted, asking his followers who they would recruit if they were putting together a band: “Who would you have in your supergroup? Excluding Charlatans, mine would be: Vocals: Me & Ladyhawke Guitar: Josh Heyward (The Horrors) Keys: Martin Duffy (Primal Scream) Bass: Debbie Googe (My Bloody Valentine) Drums: Steffan Halperin (The Chavs/ Klaxons)” The difference was that Tim's band was not only a real band but they had also recorded an album. As I Was Now was recorded in Cheshire in December 2008 by a group of friends and is now being released, nearly ten years later.

                                                                      “We were complaining about how boring things were between Christmas and New Year, so we got together to record some songs. Some songs were more complete than others, others appear on this record more finished than others.” Tim Burgess 

                                                                      STAFF COMMENTS

                                                                      Andy says: For an album it's creator forgot to release(!!?) and with such a diverse cast of contributors (My Bloody Valentine, The Horrors, Primal Scream and Ladyhawke) this will really surprise you with its cohesion and beautiful melodic sensibility. This is a really good collection of songs, easily as good as Tim's previous solo work, and the puzzle remains: why such a below the radar/ casual release? Highly recommended.

                                                                      Tim Burgess

                                                                      I Love The New Sky

                                                                        How inspiring it is to hear Tim Burgess conjuring up exciting and life-affirming sounds as he, almost inconceivably, enters his fifth decade on public duty. Frontman, singer, label boss, DJ and author, he’s been instrumental in so many great records over the years, always bringing enthusiasm, positivity and diversity of influence, which altogether light the way for those who hold him dear.

                                                                        While in The Charlatans, Tim’s indefatigable energy has been a consistent fuel for the band across thirteen high-charting albums, his solo adventure has been no less extraordinary, scaling new heights in 2020 with his fifth solo release to date: ‘I Love The New Sky’. Released on
                                                                        Bella Union, it features wonderfully connective songs of everyday minutiae and universal experience, of love and anger, of loss and belonging, all united by elaborate yet natural arrangements and an effortless but deceptively expert way with melody.

                                                                        ‘I Love The New Sky’ differs from its predecessors in that all twelve tracks were self-penned. “In the past, I've written collaboratively,” says a characteristically, but rightfully excited Burgess. “(2012's) ‘Oh No I Love You’ was written with Lambchop’s Kurt Wagner in Nashville, and then ‘Same Language, Different Worlds’ was a collaboration with Peter Gordon who had worked extensively with Arthur Russell.”

                                                                        The spark for ‘I Love The New Sky’ came after a year of touring another album, ‘As I Was Now’, which he’d made in 2008 but had a belated release ten years later. “That one was made in three days, just friends getting together”, he says – the amigos included Josh Hayward from The Horrors, Primal Scream Keyboard player Martin Duffy, Ladyhawke and My Bloody Valentine's Debbie Googe.

                                                                        “I didn’t realise the album hadn't actually come out as I had a copy of it on my ipod so I figured that maybe everybody did. So, all those years later I thought it would make an interesting release for Record Store Day. It did really well, so I was approached to tour it for Independent Venue Week and after that a load of festivals asked us to play too. Average Sex were the support band that then became my band so it was a brilliant little tour. After that, I was really energized, and I thought, Right, I'm going to do another album, but really concentrate on making it a solo record, where I write everything on my own and all the songs are the very best I can make them.”

                                                                        “I’d been listening to a lot of Isaac Hayes, Olivia Tremor Control, Carole King, Todd Rundgren, John Maus, Weyes Blood and Kevin Ayres - I’m not sure how much they have influenced the album but they were the impetus and inspiration.”

                                                                        The twelve tunes of ‘I Love The New Sky’ were authored, he says, “in Norfolk, in the middle of the countryside, with the nearest shop eight miles away. There are no distractions, and I guess that way things happen. I wrote everything on acoustic guitar, and the chords were really considered. The guitar lines would lead the melody, and the melody would inform the lyrics – just dreaming away with music.”

                                                                        So far, so Laurel Canyon, though ‘I Love The New Sky’ would end up sounding anything but hippie/folkie, thanks to a connection Tim made while living in a warehouse space in gritty Seven Sisters in North London, before heading to Norfolk.

                                                                        “The Quietus had their office there,” he recalls. “I used to know pretty much all the stuff they were writing about, but then their album of the year for 2013 was ‘Glynnaestra’ by Grumbling Fur, and I really fell in love with it. I started talking to the band about working together. To cut a long story short I recorded a song with Grumbling Fur, they remixed two Charlatans tracks and a couple of Daniel O'Sullivan's solo albums came out on my label.”

                                                                        As well as bass and drum duties on I Love The New Sky, O’Sullivan plays piano on much of the album, from the bouncing chamber-pop chords of ‘Sweetheart Mercury’ and the punchy chorus of ‘Empathy For The Devil’, through to ‘Comme D’Habitude’’s juxtaposition of blissfully rolling West Coast singer-songwriting and a complex Sparks-y Broadway-esque bridge, to the Velvets-y ramalama moves on ‘Warhol Me’ and ‘Undertow’’s sombre balladry.

                                                                        The album was arranged and recorded quickly but not rushed: “Ideas happen fast, don’t they?” Tim reasons. The first sessions at Eve Studios in Stockport were with long-serving Charlatans engineer Jim Spencer. Tim, Daniel and Nik Void cut three tracks in two days, with Nik layering up modular synths in line with her previous day job in Factory Floor.

                                                                        A third keyboard maestro entered the picture when Thighpaulsandra, a maverick musician and producer, came into the frame, best known for his work for Julian Cope, Coil Spiritualized and Elizabeth Fraser. I found out that he was based at ‘Rockfield’ [legendary residential facility near Monmouth, South Wales]. So I said, ‘Okay, that’s where we’re going to record the rest of it’.” As well as enlisting his know-how as an engineer, the cosmically-inclined Welshman also applied vintage synths and what Tim hazily calls “wizardry”.

                                                                        For Burgess himself, the return to Rockfield was meaningful: “I hadn’t been there since we recorded ‘Tellin' Stories’” he says. “It was a matter of ending this long period of not going there, because after Rob died we couldn’t face it again. So nearly 25 years later, we returned and the positive feelings came back. Mark Collins [Charlatans guitarist] came down to play on ‘Empathy For The Devil’ and ‘Sweetheart Mercury’, and he actually had the same room as he had in 1996. It was like no time had passed at all.”

                                                                        “I was in search of a certain sound there,” Tim adds, of his overriding motivation for returning. “I couldn’t exactly put my finger on what it was I was searching for, but I knew if it was there that I’d be able to find it”.

                                                                        The results are nothing short of astounding. ‘I Love The New Sky’ has landed somewhere between Paul McCartney's ‘RAM’ and Brian Eno's ‘Taking Tiger Mountain (By Strategy)' and certainly that recipe covers both the all-pervasive tunefulness and high quality. Stylistically, though, it runs the widest gamut, from 'Empathy For The Devil's gospel style rockabilly skip, through to the sophisticated song-craft of ‘Sweetheart Mercury’ and the Nilsson-esque ‘Sweet Old Sorry Me’, with the angst-y gravitas of ‘Undertow’, which Tim describes as “a mood-changer, influenced by 10cc.”

                                                                        Lyrically, this might almost be a defining collection from Burgess after thirty years honing his craft. There’s plenty of typical lightness of touch of ‘Only Took A Year’s joking reference to the album’s twelve-month gestation period, and the quip, “what’s your favourite Cure LP? I like ‘Pornography! But it could be any one of three.”

                                                                        Equally amusing in its self-referencing is ‘Warhol Me’ set to a soundtrack of New York bubblegum pop. ‘Sweet Old Sorry Me’ finds Burgess reminiscing on his former life in Los Angeles, but drolly updating the Steely Dan vernacular for the social-media era with the line, “I had to unsubscribe from that particular tribe”. ‘Lucky Creatures’, meanwhile, follows Tim on his day back in LA on tour, as he enjoys “tacos on the underground”, revisiting his old everyday haunts in Hollywood.

                                                                        ‘The Mall’, too, revels in its everyday setting: “it’s an ordinary feature of everyday life. I’m pretty sure that the ‘escalating drama on a moving staircase’ bit happened at Boots in Piccadilly Circus. Maybe they'll put a blue plaque there one day. I love it round there, it’s like the whole world is happening – but it’s taking a small idea and trying to make it into something more universal.”

                                                                        ‘I Got This’ has the line “the future is friendly”. Says Tim: “Everyone’s been going through a lot of tough times. And the future is uncertain. But you have to have that optimistic outlook – like, waking up in the morning and feeling that it’s gonna be a good day.”

                                                                        There is a sense of community within this solo venture, which is emphasised when Tim and Nik’s six year old son joins in on ‘Comme D’Habitude’, and with the assembly of what Tim calls a “gang chorus”, in the spirit of Dexy’s Midnight Runners’ ‘Plan B’, for the closing chant of the album title on ‘Laurie’. This song is particularly heartfelt, as Tim mistily reveals, written for “someone I love who I never met”. The end section happened spontaneously at Rockfield: “Everybody that came into the studio, I asked them to sing, so there are about 20 people doing that vocal – Mark Collins, Daniel, our friend Ally, Nik, Thighpaulsandra – everybody singing it, and for this spirit that is loved.”

                                                                        The final stages of the album’s year-long narrative arc were enacted at Jet Studio in Brussels, with the Echo Collective string section. Burgess looked on “mesmerised at what was happening to the songs, taking an even more magical turn.”

                                                                        With that icing on the cake, Tim is in no doubt that he has his finest solo record under his belt. On this occasion, it’s coming out on time, and he’ll be touring it with a live ensemble featuring Daniel O’Sullivan, Thighpaulsandra, another O Genesis artiste called Keel Her, and renowned avant-jazz violinist Peter Broderick, who plays on ‘’Empathy…’ and will recreate the Echo Collective parts, too. So, the community will grow. Just like Tim says, “the future is friendly.”


                                                                        FORMAT INFORMATION

                                                                        Coloured LP Info: 180 gram LP.
                                                                        Transparent splatter vinyl with download code.

                                                                        Tim Burgess

                                                                        I Love The New Sky + Album Launch Show Ticket

                                                                          PRE-ORDER THE LP OR CD OF "I LOVE THE NEW SKY" TO GET A TICKET FOR HIS EXCLUSIVE ALBUM LAUNCH SHOW ON WEDNESDAY MAY 27TH AT THE NIGHT & DAY CAFE IN MANCHESTER (DOORS 7.30PM). 

                                                                          WE ALSO HAVE A LIMITED NUMBER OF TICKET ONLY PURCHASES AVAILABLE.

                                                                          NB: NIGHT & DAY CAFE IS AN 18+ ONLY VENUE. ID WILL BE REQUIRED.

                                                                          How inspiring it is to hear Tim Burgess conjuring up exciting and life-affirming sounds as he, almost inconceivably, enters his fifth decade on public duty. Frontman, singer, label boss, DJ and author, he’s been instrumental in so many great records over the years, always bringing enthusiasm, positivity and diversity of influence, which altogether light the way for those who hold him dear.

                                                                          While in The Charlatans, Tim’s indefatigable energy has been a consistent fuel for the band across thirteen high-charting albums, his solo adventure has been no less extraordinary, scaling new heights in 2020 with his fifth solo release to date: ‘I Love The New Sky’. Released on
                                                                          Bella Union, it features wonderfully connective songs of everyday minutiae and universal experience, of love and anger, of loss and belonging, all united by elaborate yet natural arrangements and an effortless but deceptively expert way with melody.

                                                                          ‘I Love The New Sky’ differs from its predecessors in that all twelve tracks were self-penned. “In the past, I've written collaboratively,” says a characteristically, but rightfully excited Burgess. “(2012's) ‘Oh No I Love You’ was written with Lambchop’s Kurt Wagner in Nashville, and then ‘Same Language, Different Worlds’ was a collaboration with Peter Gordon who had worked extensively with Arthur Russell.”

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: COLOURED LP + TICKET.
                                                                          180 gram LP.
                                                                          Transparent splatter vinyl with download code.

                                                                          CD Info: CD + TICKET.

                                                                          Ticket Only Info: IMPORTANT - this gives you access to the album launch gig on Wednesday May 27th ONLY.
                                                                          It does not entitle you to a copy of the album.
                                                                          Max 2 per person.

                                                                          Tim Burgess

                                                                          Telling Stories

                                                                            Telling Stories by Tim Burgess of The Charlatans is one of the decade's most revealing rock books

                                                                            'Clear, honest. An unusually frank and well-written rock memoir' The Times

                                                                            The Charlatans. Madchester. Britpop. Taking on the world. Here are the highs, the lows, the joys, the agonies, and the stories of what it's like to be in a rock band, as told by front man and survivor, Tim Burgess.

                                                                            'Like the best bits of every cautionary rock star tale . . . there is armed robbery and smuggling. There's serious fraud. There are near and actual death experiences, divorce, industrial cocaine consumption and magnificent cameos from Madonna, Alan McGee, Ronnie Wood, Joe Strummer, LA drug dealer Harry The Dog, and Joaquin Phoenix. A minor classic' Q

                                                                            'A vivid read' Independent on Sunday

                                                                            Tim Burgess

                                                                            A Gain / Stoned Alone Again Or - Seahawks Remix / Hours - Tandy Love Remix

                                                                            O.Genesis present a super Limited 12" Pressing, exclusive to Piccadilly Records, of remixes from Tim Burgess' recent, critically acclaimed, album "Oh No, I Love You".

                                                                            Seahawks delivers a stunning 11 minute remix of "A Gain//Stoned Alone Again Or (Seahawks Remix)", exclusive to 12", whilst on the flip Tandy Love aka Andy Votel brings his remix skills to "Hours".



                                                                            The Burning Hell

                                                                            Baby - 10th Anniversary Edition

                                                                              10-year anniversary reissue, and the first time on vinyl. Baby was the first Burning Hell album to capture the live energy of the band in addition to showcasing Mathias Kom's humourous, empathetic and idiosyncratic songwriting, and it was the first album a lot of Burning Hell fans fell in love with.

                                                                              The Burning Hell

                                                                              People

                                                                                The Burning Hell is the alter-ego of songwriter and ukulele-slinger Mathias Kom. Loosely based in St. John's, Newfoundland, Canada, The Burning Hell has toured back and forth across Canada and Europe since 2007, playing everywhere from festivals to bars to living rooms - and once even a mental asylum in rural France. The band has garnered acclaim for their hyperactive live shows and their caustic yet sincere lyrics, believing as they do that songs about the inevitability of death can also be fun to dance to.

                                                                                "Mathias Kom is one of Canada's most underrated lyricists. Even the Burning Hell's most celebratory songs are infused with a caustic, bittersweet wit that makes you smirk.( NOW Magazine, CA)…. "He's our Randy Newman and Cole Porter rolled into one, with one eye on the coming apocalypse and another on the neck of his ukulele." - (The Globe and Mail, CA)

                                                                                “ People" is something of a departure for The Burning Hell - the band is louder and tighter than ever before, pushing the emphasis on the text to the forefront while never losing the sense of fun the band is known for.

                                                                                The Burning Hell

                                                                                Revival Beach

                                                                                  Revival Beach, the eighth LP from Canada's The Burning Hell, highlights the musical diversity of the band, shifting from jangly garage rock to 50s ballads, rembetika-tinged instrumentals, waltzes, and delicate, tiny bedtime songs.

                                                                                  The Business

                                                                                  Hell 2 Pay

                                                                                  The kings of street punk are back! This is the theme song to the soon to be released British gangster movie "Hell To Pay". This three tracker features two new tracks plus a killer cover of the classic "Do Anything You Want To Do" by Eddie And The Hot Rods.

                                                                                  The Business

                                                                                  Saturdays Heroes

                                                                                  First released in 1985 this Oi!-punk album is now reissued on picture CD. It was the band's second studio album and was a top 20 smash. Now includes the ultra rare "Get Out of My House" EP as bonus tracks.

                                                                                  The Butterflies Of Love

                                                                                  Dream Driver

                                                                                  New single by the Butterflies Of Love, a taster for the upcoming "The New Patient" album. A pop song reminiscent of the great Creation-era 80s guitar bands. Recorded with producer Mike Deming (The Lilys, Beachwood Sparks). The B-side "I'll Be Your Excorcist" is a collaboration with Mark Mulcahy.

                                                                                  The Buttertones

                                                                                  Midnight In A Moonless Dream

                                                                                    The first word of the album says it all: 'Bang!' On their new album Midnight In A Moonless Dream the Buttertones dig deep and discover something dark. Where their previous album Gravedigging played like the soundtrack of a good spaghetti-western heist movie, Midnight moves to the dark cityscapes of '70s New York and tells the story itself - a perfect and intricate crime executed by a crew of professionals under cover of night; a biting sound befitting of CBGB's while staying true to their LA roots. There are echoes of Suicide and Bauhaus, nods to the spirit of sax and violence that powered the Deadbeats. Midnight is music made for dancers but also for doomed romancers that will appeal to fans of The Cramps, The Gun Club, Car Seat Headrest, Black Lips, King Tuff, Thee Oh Sees, Ty Segall,
and Parquet Courts. Released on Innovative Leisure, the LA label that also brought you the Allah-Las, BADBADNOTGOOD, Hanni El Khatib, Nick Waterhouse, and more.

                                                                                    For fans of The Cramps, The Gun Club, Car Seat Headrest, Black Lips, King Tuff, Thee Oh Sees, Ty Segall, Parquet Courts

                                                                                    Featuring the original line-up of Howard Devoto (vocals & songwriter), Pete Shelley (guitar & songwriter), Steve Diggle (bass guitar) and John Maher (drums), ‘Time’s Up’ was recorded at Revolution Studios, Bramhall Lane Stockport on the 18th of October 1976. The session, recording Buzzcocks’ live set at the time and was engineered by Andy MacPherson.

                                                                                    The return of classic, progressive pop heralded by The Shins, Beulah, Ted Leo, and the Pernice Brothers has produced many followers. But too often today's young, literate power-pop groups simply meet the expectations of their genre without exceeding them. A great guitar-pop band needs to add something special to the canon; the line must be straddled where a song remains universal, while offering inspired innovations from within. The Bye Bye Blackbirds are a great guitar-pop band. On their debut full-length, the band creates a powerful testament to pop music's capacity for depth, beauty, and expressiveness. Boasting multiple songwriters, each with his own style, the group draws easy comparisons to Big Star, Teenage Fanclub, and Buffalo Springfield.

                                                                                    The Byrds

                                                                                    Straight For The Sun

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

                                                                                      STRAIGHT FOR THE SUN is a Live College AM Radio Broadcast from the McDonough Gym, American University, Washington DC, 12 September 1971. 

                                                                                      DELUXE VINYL EDITION!!!!


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