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Charlie Cunningham


    Charlie Cunningham returns with new album ‘Frame’. With his jaw-dropping guitar performances alongside influences from jazz and electronic music, Charlie has also honed the piano to create an eclectic and truly beautiful album. Vocal harmonies and unconventional structures make this a completely original indie-folk staple.

    Recording alongside Sam Hudson Scott, both producer and in Charlie’s band, and helped by Gareth Jones (Depeche Mode, Erasure), this record is close, intimate, carefully performed and the intention is clear: you, the listener, are being enveloped into Charlie’s world.

    Charlie first established his reputation with a series of EPs. His first official album, 2017’s ‘Lines’, was recorded with producer Duncan Tootill and released on Dumont Dumont - home to similarly evocative artists such as RY X and Josin. After many discovered his talents via fan favourites such as ‘Minimum’ and ‘Lights Off’, Charlie returned with 2019’s ‘Permanent Way’, which was produced by Sam Scott and Rodaidh McDonald (Sampha, King Krule) and mixed by Cherif Hashizume (Jon Hopkins, Brian Eno). His most recent release was 2020’s ‘Pieces’ EP.


    Side 1
    Shame I Know
    So It Seems
    Birds Eye View
    Friend Of Mine
    Side 2
    Watchful Eye
    Water Tower
    End Of The Night

    Charlie Megira

    Yesterday, Today, And Tomorrow / Tomorrow's Gone

      On his 2000 debut, Da Abtomatic Meisterzinger Mambo Chic , Megira channels the optimism of post-war America, narcoleptic surf, and the Twin Peaks soundtrack into a lo- fi lo-rider masterpiece all his own. Sung in both Hebrew and English, Mambo Chic moves at a deliberate pace, unconcerned by the traffic of the modern world and wrapped in a blanket of Tascam 4-track hiss. On “Tomorrow’s Gone” Megira achieves the feat of being so far back in time that he’s somehow living in the future and waiting for the rest of us to arrive. Hear our 2 favorite cuts in back- saving, crate-flavoring 7” format ripe and ready the dive bar soundsystem hosting your favorite BYOV night.

      Charlie Megira Und The Hefker Girl

      Charlie Megira And The Hefker Girl

        In 2006, Israeli garage-nik Charlie Megira took a sonic turn while partnered with Israeli multi- instrumentalist Michal Kahan. The duo wasted no time forging a new path, swapping Megira’s trademark reverb for echo, and guitar-noir for new wave. Charlie Megira Und the Hefker Girl is an unabashed continuation of gothy ’80s archetypes employed by Joy Division, JAMC, and The Cure. Originally self-released on CD-R, we’ve remastered the 12-track disc for maximum Crosley crush.


        SIDE A
        1. Till I’ll Break Again
        2. Nothing
        3. Fear And Joy
        4. Kiss Of Death
        5. Direct Exercise No. 1

        SIDE B
        6. Psyche And Apollo
        7. The Vally Of Tears (Drum Pattern)
        8. Thrown Key
        9. Song No.8
        10. Saturn Return
        11. Another God
        12. Tower Of Tongues

        Vince Guaraldi Trio

        A Charlie Brown Christmas - 2022 Reissue

          With such iconic tracks as “Christmas Time is Here” and the instantly recognizable “Linus and Lucy”, the Vince Guaraldi Trio’s soundtrack to A Charlie Brown Christmas shares the title of best-selling jazz album in history, and was certified 4x Platinum by the RIAA in late 2016. 


          Side 1
          1. O Tannenbaum
          2. What Child Is This
          3. My Little Drum
          4. Linus & Lucy
          5. Christmas Time Is Here (instrumental)
          Side 2
          1. Christmas Time Is Here (vocal)
          2. Skating
          3. Hark, The Herald Angels Sing
          4. Christmas Is Coming
          5. Für Elise
          6. The Christmas Song

          Deluxe Editions Bonus Tracks:
          O Tannenbaum (Take 2/Recorded September 21, 1965)
          O Tannenbaum (Take 3/Recorded September 21, 1965)
          Greensleeves (Take 6/Recorded October 28, 1965)
          Linus And Lucy (Take 1/Recorded September 17, 1965)
          Christmas Time Is Here (Take 1/Recorded September 17, 1965)
          Christmas Time Is Here (Vocal) (Rehearsal/Recording Date Unknown)
          Christmas Time Is Here (Take 4/Recording Date Unknown)
          Skating (Take 1/Recorded September 22, 1965)
          Jingle Bells (Takes 1–4/Recorded September 21, 1965)
          Christmas Is Coming (Take 3/Recorded September 17, 1965)
          Christmas Is Coming (Take 3/Recorded September 21, 1965)
          Für Elise (Takes 1–2/Recording Date Unknown)
          The Christmas Song (Take 8/Recorded October 28, 1965)

          Charlie Soul Clap & Tom Trago

          The Compass Jawn

          Eight years after their first collaboration, ‘The Compass Joint’, slipped out as an ultra-limited white label, Charlie Soul Clap and Tom Trago have reunited to bring us a similarly warming, sun-splashed sequel, ‘The Compass Jawn’.

          Like its predecessor – a now near-mythical 12-minute epic recorded late one night in Tom’s former squat-turned-studio close to legendary Amsterdam venue Trouw, and subsequently championed by DJ Harvey – ‘The Compass Jawn’ was inspired by the pair’s mutual love of both Caribbean keyboardist and FM synthesis enthusiast Wally Badarou, and the 1980s output of Chris Blackwell’s legendary Compass Point studio in Nassau, the Bahamas.

          As sequels go, ‘The Compass Jawn’ is a bit of a belter. During the recording in 2019, Tom and Charlie sought to subtly evolve the original’s memorable lead line, reaching the for Yamaha DX7’s percussion patch – something utilized many times by Badarou during the 1980s.

          The resultant ‘Studio Version’ is, if anything, even more emotive and uplifting than its predecessor. Underpinned by a shuffling rhythm pattern, the track ebbs and flows brilliantly, with jaunty synth stabs, undulating melodies and sparkling keyboard riffs ushering in held-note chords and a gorgeously rushing, ever-rising lead line. Throw in some starry pads and sunset-ready synth motifs, and you have another gorgeous, life-affirming treat.

          ‘The Compass Jawn’ comes backed with two top-notch alternative mixes. First up is an ambient ‘Dub’ mix from Trago that strips back the beats and instead focuses on the track’s many key melodic elements. Pushed forwards by drum machine handclaps, it’s a bubbly, sun-bright revision full to bursting with twinkling electronic motifs, jammed-out motifs, hands-aloft riffs and a bleeping take on the fluid and kaleidoscopic lead line.

          Rounding off the package is the duo’s original demo mix – a raw, tough, and slightly more sub-heavy affair that’s notably more percussive and sweat-soaked whilst still sporting the key lead lines and FM synth sounds that make the studio version such a memorable and mood-enhancing affair.


          Matt says: Can't believe it's eight since since these two gifted us the first Compass Joint. It's been worth the wait though - cushion soft electric grooves that slowly infiltrate your soul and get the arms rising. Check the demo for a tougher, boogie-influenced cut. Future classic!


          Studio Version
          Dub Version
          Demo Version

          Vince Guaraldi

          It’s The Great Pumpkin, Charlie Brown - 2022 Reissue

            It’s The Great Pumpkin, Charlie Brown (Music from the Soundtrack) features some of the most iconic tracks in pop culture, including the instantly recognizable “Linus and Lucy,” as well as the languid, lyrical “Great Pumpkin Waltz.” The music was recorded on October 4, 1966 at Desilu’s Gower Street Studio in Hollywood, California by Guaraldi (piano) and his longtime friends and trio sidemen — bassist Monty Budwig and drummer Colin Bailey — joined by Emanuel Klein (trumpet), John Gray (guitar) and Ronald Lang (woodwinds). The entire scoring process was overseen by composer, arranger and conductor John Scott Trotter, well known for a three-decade run as Bing Crosby’s music director and close friend.

            The slowdown of the pandemic gave the Mendelson family, (Lee Mendelson was the Executive Producer of the TV Special), an opportunity to dig deep through their archives and they discovered what were previously thought to be lost to time: the original analog session reels for It’s The Great Pumpkin, Charlie Brown. What you will hear on most tracks of this new and improved “best” version of It’s The Great Pumpkin, Charlie Brown are the musical cues as recorded by Vince and crew before they were edited for the television special, in show order, as well as a selection of alternate takes.

            TRACK LISTING

            Side A
            1. Linus And Lucy
            2. Graveyard Theme
            3. Snoopy And The Leaf/Frieda (With The Naturally Curly Hair)
            4. The Great Pumpkin Waltz
            5. Linus And Lucy (Reprise)
            6. Charlie Brown Theme/Charlie Brown Theme (Minor Theme)/Graveyard Theme (Reprise)
            7. The Great Pumpkin Waltz (Reprise)
            8. The Red Baron/Military Drum March
            9. The Great Pumpkin Waltz (2nd Reprise)/The Great Pumpkin Waltz (3rd Reprise)
            10. Graveyard Theme (Trick Or Treat) (2nd Reprise)
            11. Fanfare/Breathless/ Graveyard Theme (Trick Or Treat) (3rd Reprise)
            12. Charlie Brown Theme (Reprise)
            Side B
            1. Breathless (2nd Reprise)
            2. It’s A Long Way To Tipperary/There’s A Long, Long Trail A-Winding/Pack Up Your Troubles In Your Old Kit Bag/Roses Of Picardy
            3. Graveyard Theme (Trick Or Treat) (4th Reprise)
            4. Linus And Lucy (2nd Reprise)/Linus And Lucy (3rd Reprise)
            5. Charlie Brown Theme (2nd Reprise)
            6. Linus And Lucy (Alternate Take 1)
            7. Graveyard Theme (Alternate Take 1)
            8. Charlie Brown Theme (Alternate Reprise Take 1)
            9. Linus And Lucy (Alternate Take 2)
            10. The Great Pumpkin Waltz (Alternate Take 2)
            11. Linus And Lucy (Alternate Reprise Take 1)
            12. Charlie Brown Theme (Alternate Reprise Take 2)

            Charlie Gabriel


              “I’ve been playing since I was 11 years old,” says Charlie Gabriel, the most senior member of the legendary Preservation Hall Band, “I never did anything in my life but play music. I’ve been blessed with that gift that God gave me, and I’ve tried to nurse it the best way I knew how.” While he’s faced plenty of challenges nursing that gift for more than 78 years, none likely rank with last winter’s passing of his brother and last living sibling, Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn, filling his days and weeks instead with dark reflection, a stubborn despondency broken now and then by regular chess matches in the studio kitchen of Hall leader Ben Jaffe, working overtime to bring his friend some light. One such afternoon also included Joshua Starkman, sitting off in a corner playing his guitar and half-watching the chess from a distance. When Charlie returned the next day, he brought his saxophone. “I was just inspired to try it, to play again. It had been a long time, and a guitar makes me feel free. I do love the sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”

              That day was to be the first session for 89, almost entirely the work of Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt Aguiluz. Charlie Gabriel’s first professional gig dates to 1943, sitting in for his father in New Orleans’ Eureka Brass Band. As a teenager living in Detroit, Charlie played with Lionel Hampton, whose band then included a young Charles Mingus, later spending nine years with a group led by Cab Calloway drummer J.C. Heard. While he’s also fronted a bebop quintet, played and/or toured with Ella Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his name appears on the front of a record, as a bandleader.

              Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band, featuring prominently on That’s It, So It Is, and Tuba to Cuba. 89 was different, and not simply due to a smaller ensemble. “We had no particular plan, or any particular insight on what we were gonna do. But we were enjoying what we were doing, jamming, having a musical conversation,” Charlie says, further musing, “Musical conversations cancel out complications.” 89 includes six standards and three newer pieces on which Gabriel is a writer: “Yellow Moon,” “The Darker It Gets” and “I Get Jealous.” The record also marks Charlie’s return to his first instrument, clarinet, on many of the tracks. “The clarinet is the mother of the saxophone,” he says. “I started playing clarinet early in life, and this [taught me] the saxophone.”

              Finally, 89 includes three tracks of Charlie singing. “I always sung, but it wasn’t my forte to become a singer,” he says. “The truth is, people often develop a real relationship with a song once they hear the words. Sometimes I enjoy singing them.”

              TRACK LISTING

              Memories Of You
              Chelsea Bridge
              I'm Confessin'
              The Darker It Gets
              Three Little Words
              Yellow Moon
              I Get Jealous

              Charlie And The Oscillator

              Journey Of Echoes

                Here’s a superb new album on Polytechnic Youth, the last of the label’s trio of recent CD releases, aimed partly at circumnavigating the crazy world of vinyl pressing just now. The third here is an absolute beauty- by a country mile the label’s most bonkers, whacked out release, sample heavy, dancefloor friendly and all interspersed with voiceovers / track intros from Charlie Pellett of NY subway system announcement fame!

                17 tracks, clocking in at over an hour (the CD’s biggest saving grace?) including a bunch of extras not included on PY’s mailorder LP edition from a couple of years back that sold out same day and is now a £30+ record. This is a nice opportunity to hear the album in full and is released as a one time pressing of 500.

                “Formed in 2018, the London based duo fuse breakbeats, synths and samples to create eccentric alternative dance music, twisting and bending sounds into their own distinctive style using a vast collection of vinyl 45s. Their endlessly intriguing world has already drawn comparisons to the likes of DJ Shadow and Death In Vegas. With a backbone of funk and soul they blend together many different genres including ambient, trip-hop, dance, disco and more, creating a new form of sample-heavy, dancefloor-friendly electronica. ‘Journey Of Echoes’ is exactly this: a fusion of analogue grit, psychedelic colour and a mass of ramshackle ideas, and in a world where it's almost criminal to be joyous and inventive this is the soundtrack of a rebellion!” 

                Charlie Hickey

                Count The Stairs

                  Born in 1999, Charlie Hickey grew up in South Pasadena, just minutes from Downtown Los Angeles. Raised by two singer-songwriter parents, Charlie’s second language was music since day one. As early as grade school, he was making sense of the world through songwriting, and by middle school he was writing, recording and performing songs that attracted a community of collaborators and could silence a room.

                  A turning point for Charlie came at around the age of thirteen, when he covered a song by then up-and-coming artist Phoebe Bridgers, who was still in high school herself. The two quickly became friends and collaborators, setting Charlie on an exciting new musical path. Years later, Bridgers introduced Charlie to songwriter, drummer, producer and her bandmate Marshall Vore, who noticed something special about Charlie. The two began writing and recording songs together, and soon Charlie dropped out of school to work on his music full-time.

                  Charlie Hickey’s first proper single is “No Good At Lying.” The Marshall Voreproduced track introduces us to Charlie’s evocative storytelling and features Phoebe Bridgers on backing vocals. “I’m no good at lying / on my back or through my teeth / but I’m good at dreaming / I can do it in my sleep,” he sings over hushed guitars and a whimsical banjo, searching for truth as his unconscious mind runs wild and bleeds into reality. It’s a slow, quiet, and understated peek to the world of Charlie Hickey, who is barely of legal drinking age, but taps into such universal themes that showcase a wisdom beyond his years and exudes promise for what’s to come

                  TRACK LISTING

                  SIDE A:
                  1. No Good At Lying
                  2. Count The Stairs
                  3. Two Haunted Houses

                  SIDE B:
                  4. Seeing Things
                  5. Ten Feet Tall
                  6. Notre Dame

                  The International Feel label is back from an extended meditation. Well-rested and with a cornucopia of new ideas and records, IFeel is happy to announce the debut album from Charlie Charlie as the starting shot. „Little Things“ is the brainchild of Gabriella Borbély alias Bella Boo and Jens Resch better known as Chords. Born on a beach in Southern California instead of their hometown Stockholm, it is exactly what you would hope for such a record to be: pop music that is informed by hippie or counter culture and by a Balearic ethos (hence the International Feel address) that is free of blinkered definitions. In equal parts, the duo’s ten songs take the listener through honey dripping r&b, while respelling that certain Californian recording studio sound aesthetic, revisit vintage yacht rock and pop tropes as well as they are reflecting dance music influences in a broken, yet gold framed mirror. Most of all, it’s like a day dream that you don’t want to end. To quote our Italian friends from Edizioni Mondo: good listening experience!

                  Charlie is Gabriella Borbély – also known as Stockholm's deep house virtuoso Bella Boo. Charlie is Jens Resch – also known as prodigious producer/musician Chords. The two Charlies met on a beach in Southern California and immediately decided to write a song together.
                  That first track was built on the sampled sounds of a rusty drainpipe. Charlie fired up a dusty ARP Odyssey and played a woozy solo over the drainpipe beats, then the other Charlie did the same, using that same legendary 70's analogue synth. When they realized the two separately recorded solos played together in perfect harmony, they knew they had to keep heading down their newly found, shared musical path.
                  Charlie & Charlie have since continued making music together, describing their common process as liberating, free-flowing, genre-less. "Little Things", their debut album, is made up of tracks recorded in Los Angeles and Stockholm, using that very same ARP as well as pianos, electric guitars and machines like the Prophet 6, the Juno-106 and the Syncussion SY-1. Vocal contributions come from the Charlies themselves as well as friends like Mapei and Julimar Santos. 

                  TRACK LISTING

                  A1. Charly
                  A2. Nothing Here But You & Me
                  A3. Say It's Gold
                  A4. Save Us (feat Mapei)
                  A5. Venice Chocolate
                  B1. Hill St
                  B2. Frosty (feat Julimar Santos)
                  B3. New Hall
                  B4. Lorena (feat Mapei)
                  B5. Run

                  Charlie Parr

                  Charlie Parr

                    ‘Charlie Parr’ is the eponymous new album by the Minnesota-based folk blues artist the same name. The album is a collection of new songs and new studio versions of classics/ audience favorites from throughout Parr’s career.

                    Recorded at Pachyderm Studio in Canon Falls, MN, ‘Charlie Parr’ features Charlie’s trademark resonator guitar and 12-string with co-producer Liz Draper on bass, longtime collaborator Mikkel Beckmen on percussion, Jeff Mitchell on electric guitar, accordion, organ, backing vocals, and Dave Hundrieser on harmonica.

                    The album is an honest and raw recording of Parr reflecting on himself and his career up to this point. It’s a musical reckoning that came after a freak accident less than a year ago that forced him to relearn how to play guitar, causing him to take stock of the songs he’s written over his lifetime. It’s a bit of the new, a bit of the old, and a bit of what’s motivated and moved him. Most importantly, it’s an audio tour of his life and career to date and a celebration of more songs and stories to come. ‘Charlie Parr’ is a stunning folk record that will surely stand the test of time, just like the man himself.

                    “Parr is a folk artist for the new American Dust Bowl, a resonator-ready troubadour armed with a well-worn satchel of troubled tales that cut to the heart of a nation mired in fear and in dire need of a roots-music revival.” - Acoustic Guitar

                    “Charlie Parr has made his career hollering, picking, and stomping his way through the Midwest and beyond, leaving a trail of fine records that feel just a shade away from the great rural folk and blues songs of Harry Smith’s epic Anthology of American Folk Music.” - AllMusic

                    TRACK LISTING

                    Love Is An Unraveling Bird’s Nest
                    To A Scrapyard Bus Stop
                    On Stealing A Sailboat
                    Asa Jone’s Blues
                    Running Jumping Standing Still
                    Mag Wheels
                    Annie / Heavy
                    Twenty-Five Forty-One
                    Cheap Wine

                    Joel Silbersher & Charlie Owen


                      Sorcerer Records is proud to announce the first ever vinyl edition of this long-out-ofprint classic from 1995, originally released on CD by the Dog Meat label. Tendrils sees Joel (Hoss, GOD, Melonman, Dark Horses, etc.) and Charlie (New Christs, Beasts Of Bourbon, Tex, Don & Charlie) engaging in a series of intimate, loose and downbeat folky duets.

                      With sonic similarities to the likes of Richard Thompson (there’s a mind-melting cover of his “Night Comes In” track here, too) and John Martyn, as well as more contemporary troubadours such as Ben Chasny (Six Organs Of Admittance) and Steve Gunn, Tendrils often feels like it’s on the verge of musical collapse, but pulls itself together with delicate and intricate guitar work, gentle vocals and occasional percussion lending it a steady pulse.

                      The duo released one more CD, this one under the Tendrils moniker, in 1998 on the Half A Cow label, before parting ways. We think this is a very special release which deserves a new appreciation and a 21st-century audience. Both Joel and Charlie are still very active in music (Joel’s other band, Hoss, will be releasing their first album in 20 years on Sorcerer in 2018), but with Tendrils you get to hear the magic they made together circa 1995. This edition comes newly remastered by Mikey Young with fresh artwork design from Luke Fraser and is limited to 500 copies worldwide.

                      Charlie Coxedge


                        Charlie Coxedge is a musician and writer from Manchester, best known as a member of MONEY. As a solo musician, his compositions weave layers and loops of guitars, synth textures and soft pianos, building from melodic, ambient noises to multi-faceted soundscapes.

                         Cloisters, as the title suggests, is about finding those secluded spaces, those empty archways where we hear the echoes of ourselves, and finding some peace within the solitude.  As so often happens in these empty spaces, thoughts enter and start to repeat themselves in our minds, bouncing off the walls until a new thought joins in, until all these different ideas are intertwined with each other, playing out in an almost endless cycle.

                        The music of Cloisters comes from these spaces, from moments of solitude found in childhood homes, walks through the city or even in memories - remembered spaces that invoke a certain feeling or atmosphere.

                        Recorded mostly in two different studios in Liverpool, with some bedroom recordings thrown in for good measure, everything on Cloisters was performed by Coxedge, simply using the studios to effectively capture the many layers and textures.  The sounds of the record, and the layers that build them, are as much about the spaces they create as the spaces they fill.  

                        'I’ve always been a bit of a collector of effects pedals, and have used them subtly within MONEY to enhance our sound, both on record and live – making loops, drones etc – but with this solo work I really get to expand on that, and a lot of the music comes from playing around with different sounds.'

                        Charlie Hilton, known up until now for her work in the band Blouse, has now forged a new identity with her debut solo album, ‘Palana’.

                        It should come as no surprise that many of the songs on ‘Palana’ are concerned with shifting characters, forms and ideas. The album’s title itself is a nod to Hilton’s given Sanskrit name, an identity she shed completely after high school in favour of the androgynous ‘Charlie’ and Palana’s overarching theme can be summed up by a quote from Hermen Hesse’s Steppenwolf, a phrase Hilton cites as a personal mantra: “Man is not by any means of fixed and enduring form… he is much more an experiment and a transition”

                        Enlisting Unknown Mortal Orchestra’s Jacob Portrait as producer, Hilton freely experimented with diverse sounds and moods - some minimal and some cacophonous - out of the confines of a band structure. ‘Funny Anyway’ is truly stark, featuring only string accompaniments, with Hilton assuming a role akin to a confessional French chanteuse, while ‘Let’s Go To A Party’ is Hilton’s cheeky take on an icy dance track with thick, bouncing synths and a chorus that echoes “I’m only happy when I’m dancing.” Alternatively, tracks like ‘Pony’ harken back to the psychedelic strengths of Blouse, saluting bands like Broadcast and United States Of America and then there’s ‘100 Million’, the sole track produced by Woods’ Jarvis Taveniere that rounds out the album in a soft, acoustic and light-hearted way with labelmate Mac DeMarco lending his talents on percussion and back-up vocals.

                        This wide range of moods on ‘Palana’ recall several of Hilton’s key influences - the solemn beauty of Nico, the whimsical nature of Marc Bolan and the naïveté of Jonathan Richman - but the album is undeniably the work of one artist, perhaps best summed up by the artist herself: “The music on this record is diverse, but so is the inside of a person. I feel like I’m many people.”

                        STAFF COMMENTS

                        Andy says: A very good record that's hard to pin down, as it mixes lots of styles from krautrock grooves, dream-pop floatiness, psych and library sounds, blending the electronic with the organic in such a clever way. Stereolab fans will love this.

                        TRACK LISTING

                        Something For Us All
                        Long Goodbye
                        Funny Anyway
                        Let’s Go To A Party
                        The Young
                        No One Will
                        100 Million

                        Charlie Mariano

                        Deep In A Dream

                          Saxophonist supreme Charlie Mariano returns to his roots with a decidedly dreamy and romantic set of rarely performed standards. His alto coupled with pianist Bob Degan has a feel of the Coltrane / Tyner partnership on John Coltrane's "Ballads" album and this is a virtuoso performance infused with feeling. It's quite simply one of the finest sessions from his long an illustrious career. Slip it onto the player in the wee small hours and feel that cool plaintive vibe.

                          Charlie Palmieri

                          Latin Bugalu

                            Originally released in 1968 at the height of the Latin-funk / boogaloo craze, this sought-after collectable LP captures the joyous cook up of Latin and r'n'b that epitomised the vibrancy of New York at the time.

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