Soundway reissues the vocal and instrumental versions of 'If I Love You', from GC Cameron, the lead singer of the legendary soul group The Spinners, the 12" EP also includes two unreleased recordings from the same session - 'Live for Love' and 'Thank You Baby'.

Hailing from McCall Creek, Mississippi, G.C. Cameron rose to fame at 22 years of age, when he joined Motown Records to become lead singer of legendary group The Spinners. After a string of well received releases, including chartbusterIt's A Shame, co-written and produced by Stevie Wonder, Cameron left The Spinners to pursue a solo career.

It was a trip to Fantasy Studios, San Francisco in 1977, where Cameron teamed up with Harvey Faqua, Greg Crockett and Elgie Stover to realise what is arguably his finest work. A full album was recorded, but only two tracks saw the light of day, via the short-lived UK label, Flamingo.

Soundway presents a four track EP, comprised of the two in- demand cuts previously released on Flamingo - the deep and dubby disco-workout If I Love You (Instrumental) and soul drenched ballad Live For Love, coupled with two unreleased recordings rescued from the abyss after 45 years of collecting dust. The modern- soul- dancer Thank You Baby, backed by Jeanie Tracy and Martha Walsh, is a jewel that displays Cameron's full range whilst the vocal to If I Love You elevates the recording to dance- floor- ready and joins the dots that never existed.

TRACK LISTING

A1. If I Love You
A2. If I Love You (Instrumental)
B1. Thank You Baby
B2. Live For Love

Alex Cameron has always been a great storyteller, finding his ways into the depths of the places where not many others are looking, and Oxy Music continues on that trajectory. It’s filled with stories of people who fall outside the system and exist in the grey areas of life. And much like 2017’s Forced Witness, Oxy Music is a work of fiction. In its design - its music, lyrics and tracklist - lies the journey a person can take, if the circumstances present themselves - down the road of heavy drug and alcohol abuse. Initially inspired by Nico Walker’s Cherry, Cameron was spurred into yet another commentary on American Life, this time about the opioid crisis that has taken over the country. Alex says about Oxy Music: “The album is a story, a work of fiction, mostly from the perspective of a man. Starved of meaningful purpose, confused about the state of the world, and in dire need of a reason to live - a person can, and according to the latest statistics, increasingly will, turn to opioids. This is one of those people.”

While Oxy Music could be dark, it’s instead brighter and more buoyant than much of Cameron’s previous work, a shift in mood first seen across 2019’s Miami Memory. It’s told from a place of optimism and through the lens of Cameron, in the way that only he can tell it.

TRACK LISTING

SIDE A:
1. Best Life
2. Sara Jo
3. Prescription Refill
4. Hold The Line
5. Breakdown

SIDE B:
6. K Hole
7. Dead Eyes
8. Cancel Culture (feat. Lloyd Vines)
9. Oky Music (feat. Jason Williamson)

Alex Cameron’s newest and most musically expansive LP, the glistening Miami Memory, takes a surprising turn. Cameron’s flair for narrative and character are still on full display; yet Miami Memory’s most frequent narrator is, for the first time, Cameron himself—singing with stunning candor of his three-year relationship with his girlfriend.

“When you listen to these songs, and you’re waiting for the twist, or the joke, or any kind of discomfort, I can assure you none of those things were there when I wrote them,” says Cameron. “These are true stories, of actual events. Specific but never esoteric. And graphic but never offensive. Miami Memory is the story of a couple balancing sex with contemporary family values...It’s my gift to my girlfriend, a symbol to hoist on the totem of love.”

Though remnants of his synth-driven earlier work sneak in to unsettle the tone, the bulk of Miami Memory, produced by Jonathan Rado (Weyes Blood, Father John Misty) and recorded and mixed by Marta Salogni (Björk, Kelela), revels in the emotional overdrive of classic dad rock, its warm, anthemic songs driven by bass, guitar, sax, and layers of Vegas wedding chapel-ish organ.

Cameron’s dad rock funhouse of an album ultimately twists and subverts the genre: it recalls classics the white male ego has historically visited for its regular adrenaline injection, and morphs them into a singular “stepdad” rock that largely turns its lens away from the dads, celebrating the demise of old norms of gender and power. In his depiction of his relationship, Cameron reveals a striking honesty about love and sex in a time where a palpable fleetingness hangs over everything from relationships to human life on this planet—but also where constricting mores have deteriorated enough to let “family life,” in all its morphing forms, exist outside of social obligation. With arresting straightforwardness, Cameron now sings as himself, paying tribute

STAFF COMMENTS

Barry says: Huge stadium-rock choruses and growling synths provide a glitzy and sturdy backdrop for Cameron's soaring vocals and robust 80's-tinged pomp. Huge, overblown, and great fun all round.

TRACK LISTING

SIDE A:
1. Stepdad
2. Miami Memory
3. Far From Born Again
4. Gaslight
5. Bad For The Boy

SIDE B:
6. End Is Nigh
7. PC With Me
8. Divorce
9. Other Ladies
10. Too Far

“Here we have the final entry into our Live In San Francisco series: an intimate evening with Alex [Cameron] and his indispensable sax man, Roy Molloy (beard in briefcase) performing at the Swedish American Hall in San Francisco, a very classy and lovingly maintained venue originally built in 1907 on Market Street, just a pube or two into the Castro District. “I was first introduced to Alex Cameron by Adam Beris, a real swell fellow who’s been drawing Castle Faces for us for years. He asked if I had heard of this “Suicide meets sad Springsteen” act and showed me the mysterious Geocities-style website (complete with shady porn ads). I was immediately hooked on the skeletal throb, the stark portraits of hard luck losers, the ego-maniacal squares, and the swagger on this prosthetically wrinkled Australian song and dance man. On a paid website, as he reminds us. Both sharp-witted and steeped in thespian courage, this is exactly what the world needed in this hungry, hungry time we live in. We got in touch, things led to other things, and when Alex was opening for Oh Sees at the Chapel in San Francisco we hatched a plan to make a live record, over white wine spritzers (as all the best deals are inked). “Al and Roy are the real deal, folks…and this wasn’t to be just any old show. I was determined to do something a little special, and I got the idea from working on John’s book of poster art (Exploded Globes) to bill it as a semi-formal, encourage people to ‘get dressed up and messed up’ as John puts it, and do it in a classy sort of hall, make it muy romantico. We got flowers from the Mission De Flores (who have sadly joined the ghost ranks of SF small businesses past), one of which made it to the cover, the champagne and fine wines flowed, and I like to think we helped San Francisco get a little luckier that night. There’s flower petals all over the mix here; Roy’s sax slinks sultrily, Al is in fine form, adding the occasional barb on the stem, sounding well oiled and comfortably bantering between tunes, and Justin Nijssen hangs back and window-dresses the whole thing with some well placed guitar and a few backups. These are professionals, need I remind you, hard workin’ road dogs with deep thoughts that inspire deep respect, and they put some dancing sweat on all the hits from Jumping The Shark as well as “Candy May” from Forced Witness, which at the time wasn’t yet out. We couldn’t be prouder of our final Live In SF disc, and it’s out on Castle Face Records in partnership with Secretly Canadian.” – Matt Jones.

“Up until 2014 I was an investigator’s assistant in a public law office. I can’t tell you exactly what my job was on account of I signed a shut your mouth agreement around the time I quit for stress related reasons. But what I can say is that I dealt with corruption and badness perpetrated at the highest levels of authority, daily. I clocked all these leads and I made a file. Because these aren’t things you keep in the dark. You shine a light on the badness and you strive to understand it.

“From a dossier on all things delicate and beautiful and sadly human. Crimes of passion and victims of love. All contained in 10 hot songs. Who’s the culprit? I’ve got my inklings and you can get your own. But first you need to listen to the thing, take it all in, stick photos to your walls and connect them with string, measure footprints in the yard, wear a suit made of reeds, track the migration patterns of birds, intercept whispered transmissions, learn to eat spiders with a hunting knife, sleep in air ducts, make the case.

“Here it is, my album: ‘Forced Witness’.” - Alex Cameron

Album features guest appearances by Brandon Flowers (The Killers), Angel Olsen and Weyes Blood.

TRACK LISTING

Candy May
Country Figs
Runnin’ Outta Luck
Stranger’s Kiss (duet With Angel Olsen)
True Lies
Studmuffin96
The Chihuahua
The Hacienda
Marlon Brando
Politics Of Love

Cameron Avery has arrived as a new breed of nocturnal crooner, a train-wreck romantic creating timeless, ambitious music for the modern age. Utilizing his soulful wit, shrewd arrangements, and a deep, husky baritone, Avery harnesses the dark power and humor of artists like Nick Cave, Scott Walker, and Tindersticks to expertly walk the fine line between vulnerable and venerable.

Hailing from the late 2000’s-era Perth, Australia, a healthy scene of hard-hitting garage rock bands, including a long stint as the drummer of Pond, Avery found his musical footing while playing with friends but sought the reward of his own outfit. Encouraged by his friend Kevin Parker of Tame Impala to record on his own, Avery started The Growl as his solo project in 2007, making an EP and an album of aggressive, distorted psychedelic rock and roll.

When Parker asked him to join Tame Impala as its touring bassist in 2013, Avery jumped at the chance and rose with that band to the top of the psych-rock heap, but all the while remained focused on carving out his singular identity as an artist and following his own muse. On a break from touring, Avery decided to head to the US to work on his album. He would settle in Los Angeles at the behest of Jonathan Wilson, the Echo Park musician and producer who also encouraged Avery to shine a spotlight on his baritone singing voice, unlike the snarling, obscured vocals of The Growl. It was a lofty idea, but one to which Avery aspired, encouraged by the challenge. Melancholic machismo is written into the very DNA of Ripe Dreams, Pipe Dreams.

From the classical, finger-picked guitar on the opener “A Time and Place” and the orchestral vamping of “Do You Know Me By Heart?” to the bombastic, self-assured swagger of “Dance with Me.” He takes an emotive page from the Leonard Cohen songbook-of-longing on “Big Town Girl” just as naturally as he thumbs an aggressive note of Bad Seed strut and Cramps rut on “Watch Me Take It Away.” And by the time he purrs that earnest refrain of “Baby, it’s you” on the album’s closer “C’est Toi,” Avery has surely mastered that drunken tightrope dance. Now a resident of New York City, Avery looks to continue his search for the ultimate sensations from a fresh vantage point.

STAFF COMMENTS

Laura says: The fact that Jonathan Wilson has produced this album is more of an indicator of it's sound than the bands Cameron Avery has previously been involved with: Pond, Tame Impala, The Growl. His rich baritone is perfectly suited to the romantic, string laden, swoon-some songs that make up the majority of this album, but it's equally suited to the more robust numbers and the bluesy stomp of "Watch Me Take It Away" which is one of the album stand outs. Comparisons have been make to Leonard Cohen and Scott Walker amongst others, but on gems like "Wasted On Fidelity" and "An Ever Jarring Moment" and "C'est Toi" I'd say Richard Hawley fans should take note. Lovely stuff.

TRACK LISTING

1. A Time And Place
2. Do You Know Me By Heart
3. Dance With Me
4. Wasted On Fidelity
5. Big Town Girl
6. Disposable
7. The Cry Of Captain Hollywood
8. Watch Me Take It Away
9. An Ever Jarring Moment
10. C'est Toi (Extended) 

'My name is Alex Cameron and I won't waste your time. When you're talking about me and my business partner, Roy Molloy, you're talking about the online cowboys in the wild-west days of the World Wide Web. And if you want to know what we're really about just look at all the things you wish you'd done differently. All the things you stopped yourself from doing on account of the fear of failure, or rejection. Weigh that up against your ambitions. Think about your work ethic. We're reclaiming failure as an act of progress. An act of learning. Something to celebrate.

A word's meaning can change depending on who utters the thing; and so we present characters - shapes are morphed and stories are delivered. This is a collection of 4-minute tales written to provide you with insight into the inner workings of failed ambitions and self-destruction. Unedited, uncensored, and without inhibition. I've learned to reveal what I want to unlearn. I cast a light on the darkness and in doing so understand love and compassion. Fear is to be confronted, and to learn strictly requires failure - over and over. Celebrate failure with Jumping The Shark.'

TRACK LISTING

1 Happy Ending
2 Gone South
3 Real Bad Lookin
4 The Comeback
5 She's Mine
6 Internet
7 Mongrel
8 Take Care Of Business