THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

8 Page Booklet - Blue / Red vinyl Sometimes regarded as the most complete Who Best Of, this version with a replica of the original 8-page booklet and pressed on Coloured vinyl (Pink and Green) was mastered by long time Who engineer Jon Astley and cut by Miles Showell at Abbey Road

The Who’s 1982 tour, which was all in North America apart from two warm-up dates at the Birmingham NEC in England, was their last to feature Kenney Jones on drums and they wouldn’t tour again until 1989. The tour promoted the recent “It’s Hard” album, which had been released in June 1982, and the set list included a number of tracks from that album, some of which the band would only play live on this tour. This release features the show from the second of their two nights at New York’s Shea Stadium and was recorded on October 13th 1982. Although a couple of tracks have appeared on compilations, this is the first official release of the audio from the full show.

TRACK LISTING

3LP:
A1. Substitute
A2. I Can’t Explain
A3. Dangerous
A4. Sister Disco
A5. The Quiet One
B1. It’s Hard
B2. Eminence Front
B3. Behind Blue Eyes
B4. Baba O’Riley
C1. I’m One
C2. The Punk And The Godfather
C3. Drowned
C4. Tattoo
D1. Cry If You Want
D2. Who Are You
D3. Pinball Wizard
D4. See Me Feel Me
E1. Love Reign O’er Me
E2. Long Live Rock
E3. Won’t Get Fooled Again
F1. Young Man Blues
F2. Naked Eye
F3. I Saw Her Standing There
F4. Summertime Blues
F5. Twist And Shout

2CD:
(CD1)
1. Substitute
2. I Can’t Explain
3. Dangerous
4. Sister Disco
5. The Quiet One
6. It’s Hard
7. Eminence Front
8. Behind Blue Eyes
9. Baba O’Riley
10. I’m One
11. The Punk And The Godfather
12. Drowned
13. Tattoo
14. Cry If You Want
(CD2)
1. Who Are You
2. Pinball Wizard
3. See Me Feel Me
4. Love Reign O’er Me
5. Long Live Rock
6. Won’t Get Fooled Again
7. Young Man Blues
8. Naked Eye
9. I Saw Her Standing There
10. Summertime Blues
11. Twist And Shout

Karen Dalton's 1969 Capitol debut is finally back in print! Light in the Attic is thrilled to present a brand new edition of this heart-wrenching & bluesy introduction to the intoxicating world of Dalton and her deep well of musical secrets.

World-weary and filled with the blues, Dalton’s unsurpassed interpretive depth and emotional range were like no other. Recorded for Capitol in 1969, It’s So Hard To Tell Who's Going To Love You The Best spans generations of classic American songwriting–covering classics by Lead Belly, Fred Neil, and Tim Hardin. While no longer with us in the physical, Karen’s growing musical presence is stronger than ever and worthy of re-examination by both the converted and the uninitiated alike. This new re-release serves as the definitive, all-analog version of Dalton’s stunning debut, featuring remastered audio from the original Capitol masters, the original 1969 artwork in an expanded gatefold jacket, unseen photos by album photographer Joel Brodsky, and an essay interviewing Karen’s friends and music collaborators, from album producer and bassist Harvey Brooks to musician Peter Stampfel of the Holy Modal Rounders.

TRACK LISTING

1. Little Bit Of Rain
2. Sweet Substitute
3. Ribbon Bow
4. I Love You More Than Words Can Say
5. In The Evening
6. Blues On The Ceiling
7. It Hurts Me Too
8. How Did The Feeling Feel To You
9. Right, Wrong Or Ready
10. Down On The Street

Kathryn Joseph releases a new EP featuring reworks of tracks taken from her critically acclaimed 2022 album for you who are the wronged, alongside a brand new song, all created with her long time collaborator Lomond Campbell. Described by Pitchfork as sounding like “unmeditated transpositions of feeling”, Joseph’s complex, quietly seething lyricism sees her songs give voice to those robbed of their own. for you who are the wronged is woven with pain, futility and stasis; delicately addressing subjects of abuse and trauma with peace and kindness and extending a comforting arm to those who seek it. The new EP takes the delicate instrumentation of the original record and builds it up to something bigger, bolder and stronger.

TRACK LISTING

side A

A1. What Is Keeping You Alive Makes Me Want To Kill Them For (lomond Campbell Remix)
A2. The Burning Of Us All (lomond Campbell Remix)

side B

B1. Long Gone (lomond Campbell Remix)
B2. Until The Truth Of You (lomond Campbell Remix)
B3. Call It Out (lomond Campbell Remix)

R.I.Y.L. The Lemon Twigs, Foxygen, Richard Swift.
Jonathan Rado was 1/2 of the Jagjaguwar duo Foxygen.

One of the most in-demand producers in indie rock, and one half of Foxygen, Jonathan Rado’s recordings for The Killers, Father John Misty, The Lemon Twigs, Whitney, and Weyes Blood devour the canon, and return something distinctly modern. On For Who The Bell Tolls For, Rado’s first solo release in ten years, the producer unveils a refined version of his signature sound, intricately sculpted by anthemic maximalism and good old-fashioned studio magic.

The album is an exercise in mournful maximalism, transforming the mythos of American pop music into a vibrant meditation on death. The spirit of late producer Richard Swift Rado’s friend and mentor can be found across the collection, imbuing tracks like “Easier” with a tangible sense of loss, and Swift-ian turns of phrase. On other songs, such as the addictive “Don’t Wait Too Long,” Rado paints an arena-ready production with streaks of longing and hopelessness. In many ways, For Who The Bell Tolls For is a musical ode to Swift, nodding to the late producer’s legacy with homespun epics that straddle the line between joy and grief.

Recorded at Electric Lady Studios, New York and Sonora Recorders and Dreamstar II, Los Angeles, the album features appearances by Rado's frequent collaborators, including The Lemon Twigs, Brad Oberhofer, Andrew Sarlo, Jackie Cohen, and Kane Ritchotte. Despite this esteemed lineup and the gargantuan sound of the record, For Who The Bell Tolls For is a solo album at heart. Rado plays the studio like an instrument, his distinct voice present in every nook and cranny of the structure. This presence can be easily detected in every project that the artist touches, but it’s never sounded so honest, so shimmering, or so Rado as it does here.

TRACK LISTING

1. For Who The Bell Tolls For
2. Don’t Wait Too Long
3. Easier
4. Blue Moon
5. Farther Away
6. Walk Away
7. Yer Funeral

This book is a tribute to vinyl, a format that is making a spectacular comeback recently, although for many music lovers it never really disappeared.

Brazilian superstar Ed Motta came to Holland to buy an apartment, but spent all his money on vinyl instead. When a young Mikael Åkerfeldt of Opeth discovered a scratch on his recently bought Bathory LP he demolished his bedroom. It’s Atlantic’s CEO Craig Kallman mission to own all relevant albums on vinyl. He has 750.000 already. That’s what vinyl does with music lovers.

In Passion For Vinyl a wide selection of DJ’s, musicians, label owners, designers, record dealers, collectors and engineers like Henry Rollins, Bernie Grundman, Hans Pokora, Chris Ellis, Steffi, Mala, Vaughan Oliver, Lee Dorrian, Jacco Gardner, John Dyer Baizley and many others share their unconditional love for vinyl. They muse about the first record that changed their lives, talk about their prized collectibles and explain why they were determined to keep vinyl alive. Passion for Vinyl also tells the history of Record Industry, the Dutch factory that has been pressing vinyl since the 1950’s.

The 7” single contains two exclusive tracks from Admiral Sir Cloudesley Shovell and Rinus’ Garage Feat. Triggerfinger.

Originally released at the tail end of summer in 2001, Explosions In The Sky’s second album, Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever was a visceral, speaker-destroying escalation from the modest minimalism of their debut, How Strange, Innocence.

Remastered with subtle grace by Bob Weston at Chicago Mastering Service, Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever – Anniversary Edition is beautifully packaged with restored original full-color artwork and heavyweight full-color inner sleeve. Exquisitely pressed onto colored vinyl for the first time ever, this is Those Who Tell the Truth at the absolute peak of its ineffable power.

TRACK LISTING

1. Greet Death (7:19)
2. Yasmin The Light (7:04)
3. The Moon Is Down (10:03)
4. Have You Passed Through This Night? (7:19)
5. A Poor Man’s Memory (6:05)
6. With Tired Eyes, Tired Minds, Tired Souls, We Slept (12:05)

"Someone Stole My Wheels""Love's Gone Out of Fashion" "She Never Understood" "He Don't Need That Girl" "She Shivers Inside" "The Beat Hotel" "The Happiest Girl in the World" "If I Die" "Five Minutes in the Life of Greenwood Goulding" "The Whole World Is Turning Brouchard!" + "It Happens All The Time" "It Makes You Scared" "Sunny Days" "The Death of England"

TRACK LISTING

Someone Stole My Wheels
Love's Going Out Of Fashion
She Never Understood
He Don't Need That Girl
She Shivers Inside
The Happiest Girl In The World
If I Die
Five Minutes In The Life Of Greenwood Goulding
The Whole World Is Turning Brouchard!
It Happens All The Time
It Makes You Scared
Sunny Days
The Death Of England

“When I was a teenager the wreckage of a sailboat washed up on the shore of Agate Beach. The remains of the vessel weren't removed for several days. I walked down with my father to peer inside the boat cabin. Maps, coffee cups and clothing were strewn around inside.

“I remember looking only briefly, wilted by the feeling that I was violating some remnant of this man's presence by witnessing the evidence of its failure. Later I read a story about him in the paper. It was impossible to know what had happened. The boat had never crashed or capsized. He had simply slipped off somehow, and the boat, like a riderless horse, eventually came back home.”

The Man Who Died in His Boat is an album of unreleased songs recorded alongside the Dragging a Dead Deer Up a Hill album.

TRACK LISTING

01 6 
02 Vital 
03 Cloud In Places 
04 Being Her Shadow 
05 Cover The Long Way
06 Difference (Voices) 
07Vanishing Point 
08 The Man Who Died In His Boat 
09 Towers 
10 STS 
11 Living Room

Following recent super deluxe editions and multi-format releases of classic Who albums – The Who Sell Out, My Generation, Tommy and Quadrophenia, we follow with Who’s Next – considered by many to be the band’s greatest album. The album was a ground-breaking musical achievement and raised the bar for other artists to follow and continues to inspire to this day.

At the start of a new decade The Who, and in particular their main song writer Pete Townshend, faced an unenviable dilemma. How do you follow up on an international sensation called Tommy?

The response was an ambitious, futuristic but prescient project named Life House.

The ideas contained in Life House predicted a dystopian world which seems all too familiar today. Themes of environmental change, all too powerful corporations and technology, such as the internet, which the public knew nothing of at the time. 

TRACK LISTING

1CD:
CD ONE: WHO’S NEXT (Remastered):
Baba O’Riley
Bargain
Love Ain’t For Keeping
My Wife
The Song Is Over
Getting In Tune
Going Mobile
Behind Blue Eyes
Won’t Get Fooled Again

2CD:
CD ONE: WHO’S NEXT (Remastered)
Baba O’Riley
Bargain
Love Ain’t For Keeping
My Wife
The Song Is Over
Getting In Tune
Going Mobile
Behind Blue Eyes
Won’t Get Fooled Again
CD TWO: Bonus Tracks
* Previously Released With New Remix
** Previously Unreleased
Behind Blue Eyes (Record Plant, NYC Sessions – Version 1) [Take 15, March 16, 1971]**
Getting In Tune (Alternate Mix) (Life House Demo)**
Mary (Alternate Mix) (Life House Demo)**
Love Ain't For Keeping (Record Plant, NYC Sessions) [Take 14, March 17, 1971]*
Pure And Easy (Olympic Studios Mix) (Life House Demo)**
I Don't Know Myself [Eel Pie Sound Studio – New Unedited Mix]**
Too Much Of Anything [Original 1971 Vocal]**
Time Is Passing (Live At The Young Vic, London – April 26, 1971)*
Bargain (Live At The Young Vic, London – April 26, 1971)*
My Wife (Live At The Civic Auditorium, San Francisco – December 12, 1971)*
Baba O’Riley (Live At The Civic Auditorium, San Francisco – December 12, 1971)**
Won’t Get Fooled Again (Live At The Civic Auditorium, San Francisco – December 12, 1971)**

1LP Half-Speed Master / Back Vinyl / Coke Bottle Coloured Vinyl:
Side A
Baba O’Riley
Bargain
Love Ain’t For Keeping
My Wife
The Song Is Over
Side B
Getting In Tune
Going Mobile
Behind Blue Eyes
Won’t Get Fooled Again

4LP: Black Vinyl Box Set:
LP ONE: WHO’S NEXT (Remastered)
Side A
Baba O’Riley
Bargain
Love Ain’t For Keeping
My Wife
The Song Is Over
LP ONE: WHO’S NEXT (Remastered)
Side B
Getting In Tune
Going Mobile
Behind Blue Eyes
Won’t Get Fooled Again
LP TWO: LIVE AT THE CIVIC AUDITORIUM, SAN FRANCISCO – DECEMBER 12, 1971 -
Side C
* Previously Released With New Remix
** Previously Unreleased
Introduction**
I Can't Explain*
Substitute*
Summertime Blues**
My Wife*
Baba O'Riley**
LP TWO: LIVE AT THE CIVIC AUDITORIUM, SAN FRANCISCO – DECEMBER 12, 1971 -
Side D
* Previously Released With New Remix
** Previously Unreleased
Behind Blue Eyes*
Bargain*
Won't Get Fooled Again**
LP THREE: LIVE AT THE CIVIC AUDITORIUM, SAN FRANCISCO – DECEMBER 12, 1971
Side E
* Previously Released With New Remix
** Previously Unreleased
Baby Don't You Do It*
Magic Bus**
LP THREE: LIVE AT THE CIVIC AUDITORIUM, SAN FRANCISCO – DECEMBER 12, 1971
Side F
* Previously Released With New Remix
** Previously Unreleased
Introduction To Tommy**
Overture**
Amazing Journey**
Sparks**
LP FOUR: LIVE AT THE CIVIC AUDITORIUM, SAN FRANCISCO – DECEMBER 12, 1971
Side G
* Previously Released With New Remix
** Previously Unreleased
Pinball Wizard**
See Me Feel Me**
My Generation**
LP FOUR: LIVE AT THE CIVIC AUDITORIUM, SAN FRANCISCO – DECEMBER 12, 1971
Side H
* Previously Released With New Remix
** Previously Unreleased
Naked Eye*
Going Down*

The definitive biography of guitar icon and Grammy Award-winning artist Bill Frisell. FEATURING EXCLUSIVE LISTENING SESSIONS WITH: Paul Simon; Justin Vernon of Bon Iver; Gus Van Sant; Rhiannon Giddens; The Bad Plus; Gavin Bryars; Van Dyke Parks; Sam Amidon; Hal Willner; Jim Woodring; Martin Hayes & Dennis Cahill'A beautiful and long overdue portrait of one of America's true living cultural treasures.'JOHN ZORN'The perfect companion-piece to the music of its subject.'MOJO'Outlines the subject's life in a series of scrupulous strokes and intimate interviews that are rare in such undertakings . .

. a cool, casual victory.'IRISH TIMESOver a period of forty-five years, Bill Frisell has established himself as one of the most innovative and influential musicians at work today. A quietly revolutionary guitar hero for our genre-blurring times, he connects to a diverse range of artists and admirers, including Paul Simon, Elvis Costello, Rhiannon Giddens, Gus Van Sant and Justin Vernon of Bon Iver, all of whom feature in this book.

A vital addition to any music lover's book collection, Bill Frisell, Beautiful Dreamer tells the legendary guitarist's story for the first time. 'Stuffed with musical encounters, so many that every couple of pages there's an unheard Frisell recording for the reader to chase down.'NEW YORKER'Bill Frisell, Beautiful Dreamer is the definitive biography.'BILL MILKOWSKI, DOWNBEAT'Superb . .

. the book races along like Sonny Rollins in full sail. Like subject, like writer: this is super-articulate, adventurous prose.'PERSPECTIVE'[Watson's] writing balances unbridled passion and dispassionate research nearly as deftly as Mr.

Frisell's playing does sound and silence . . .

compelling.'WALL STREET JOURNAL

'This book is a must for everyone interested in illuminating the idea of unexplainable genius' - QUESTLOVEEqual parts biography, musicology, and cultural history, Dilla Time chronicles the life and legacy of J Dilla, a musical genius who transformed the sound of popular music for the twenty-first century. He wasn't known to mainstream audiences, and when he died at age thirty-two, he had never had a pop hit. Yet since his death, J Dilla has become a demigod, revered as one of the most important musical figures of the past hundred years.

At the core of this adulation is innovation: as the producer behind some of the most influential rap and R&B acts of his day, Dilla created a new kind of musical time-feel, an accomplishment on a par with the revolutions wrought by Louis Armstrong and James Brown. Dilla and his drum machine reinvented the way musicians play. In Dilla Time, Dan Charnas chronicles the life of James DeWitt Yancey, from his gifted Detroit childhood to his rise as a sought-after hip-hop producer to the rare blood disease that caused his premature death.

He follows the people who kept Dilla and his ideas alive. And he rewinds the histories of American rhythms: from the birth of Motown soul to funk, techno, and disco. Here, music is a story of what happens when human and machine times are synthesized into something new.

This is the story of a complicated man and his machines; his family, friends, partners, and celebrity collaborators; and his undeniable legacy. Based on nearly two hundred original interviews, and filled with graphics that teach us to feel and "see" the rhythm of Dilla's beats, Dilla Time is a book as defining and unique as J Dilla's music itself. Financial Times Music Book of the Year 2022

The final instalment to the trio of masterpieces from the legendary British rock group, The Groundhogs’ gets a reissue on black vinyl for the first time since 1991. Treading more progressive realms ‘Who Will Save The World’ sees Tony McPhee moving away from the blues territory of their earlier releases and towards a heavier more psychedelic sound. Achieving Top 10 album success back in 1972, ‘Who Will Save The World’ is the last record that features the classic line up of Tony McPhee, Pete Cruickshank and Ken Pustelnik.

A definitive collector’s item as part of the ongoing Fire Records catalogue campaign. This special reissue features the iconic artwork with sleeve notes and an interview with the original Marvel artist Neal Adams. Also includes a bonus download of an unreleased live recording from their final live show in Pocono, USA.

TRACK LISTING

Side A

1 Earth Is Not Room Enough
2 Wages Of Peace
3 Body In Mind
4 Music Is The Food Of Thought.

Side B

1 Bog Roll Blues
2 Death Of The Sun
3 Amazing Grace
4 The Grey Maze.

Bonus Track Available As DL Only “Music Is The Food Of Thought” (Live At The Pocono Festival, Pennsylvania, 1972) 

Recorded at The Premises Studio (London) and in Tokyo in 2019, "You Who Are Leaving To Nirvana" is a majestic work combining a suite of six Buddhist liturgical chants and a musical creation by Midori Takada. The Buddhist chants come from three types of repertoires: shomyo ("Teisan", "Unga-Bai", "Sange", "Taiyo"), but also goeika ("Kannon-Daiji") and mantra ("Hannya-Singyo").

After supervising the recording of the Buddhist chants, Midori Takada added her own compositions, with subtle layers of percussion and the melodies of her beloved marimba, giving full life to the sacred texts.

Reverend Syuukoh Ikawa explains: ‘Shomyo is a form of declamation of sacred esoteric texts, inherited over many generations. The power of words goes far beyond their mere pronunciation. I think there is something that words alone cannot really convey. If I recite prayers in a musical way, the feeling transmitted will be even stronger than if I say it normally, in everyday language. I think that the musicality of a work carries a hidden power that cannot be expressed in words alone. The setting of the music has an additional power for you and for those around you who listen to it. The words of a song are not just words set to music. They carry an additional hidden power that cannot be expressed in any other way. Listening to Midori Takada's musical performance, the words truly seem to come alive.’

Original recordings of the Buddhist chants are held in the International Archives of Folk Music (IAFM) at the MEG Museum in Geneva.

The album sleeve features an artwork by famed Japanese sculptor Katsura Funakoshi selected by Midori Takada.

The album comes with in-depth liner notes that include an interview with Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.

The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.

TRACK LISTING

Side 1
1. Teisan (0:58)
2. Gyatei Gyatei (Drumming) (6:21)
3. Unga-bai (4:49)
4. Sange (4:50)
Side 2
1. Taiyo (11:10)
2. Hannya-Singyo (3:46)
3. Kannon-Daiji (5:50)

Released in 1967 Sell Out was the third album released by the Who, it is remembered for the use of fake adverts and jingles between songs.

The album contains songs such as I Can See for Miles, Armenia City in the Sky and Tattoo, and has been mastered by long time Who engineer Jon Astley from the original tapes and is packaged in original sleeve with obi and certificate of authenticity.

This black vinyl version is engineered by Miles Showell at Abbey Road Studios using a half-speed mastering technique which produces a superior vinyl cut.

TRACK LISTING

SIDE 1
Armenia City In The Sky
Heinz Baked Beans
Mary Anne With The Shaky Hand
Odorono
Tattoo
Our Love Was
I Can See For Miles
SIDE 2
Can't Reach You
Medac
Relax
Silas Stingy
Sunrise
Rael (1 And 2)

The follow up to My Generation, A Quick One was released in 1966, it contains the experimental music Suite (a nod to Rock Operas that were to follow) A Quick One While He’s Away, famous for being performed at the Rolling Stones Rock N Roll Circus.

The album contains songs such as Boris the Spider, are Don’t Look Away and has been mastered by long time Who engineer Jon Astley from the original tapes and is packaged in original sleeve with obi and certificate of authenticity.

This black vinyl version is engineered by Miles Showell at Abbey Road Studios using a half-speed mastering technique which produces a superior vinyl cut.

TRACK LISTING

SIDE 1
Run Run Run
Boris The Spider
I Need You
Whiskey Man
Heatwave
Cobwebs And Strange
SIDE 2
Don't Look Away
See My Way
So, Sad About Us
A Quick One, While He's Away

Released in 1965 My Generation was the debut album by The Who. The album peaked at no 5 in the UK charts and launched the band onto worldwide acclaim

The album contains songs such as My Generation, The Kids are Alright and The Ox, and has been mastered by long time Who engineer Jon Astley from the original tapes and is packaged in original sleeve with obi and certificate of authenticity.

This black vinyl version is engineered by Miles Showell at Abbey Road Studios using a half-speed mastering technique which produces a superior vinyl cut.

TRACK LISTING

SIDE 1
Out In The Street
I Don't Mind
The Good's Gone
La-La-La-Lies
Much Too Much
My Generation
SIDE 2
The Kids Are Alright
Please, Please, Please
It's Not True
I'm A Man
A Legal Matter
The Ox

THIS IS A RECORD STORE DAY 2022 EXCLUSIVE, LIMITED TO ONE PER PERSON.

The Classic 1977 Folk album now reissued on 180m gram vinyl. Feat: Mick Ronson (David Bowie) Andy Latimer (Camel) & Keef Hartley. Insert with extensive sleeve notes by Andru Chapman. Recorded during 1977 at Sawmills Studios, Cornwall, Tapestry Studios, London and Fairview Studios, Hull. Michael Chapman - Guitar and vocals. Keef Hartley - Drums. Rod Clements - Bass. Pete Wingfield - String Synthesiser (Track 1), Organ (Track 2) and Electric Piano (Track 3). Johnny Van Derek - Violin (Track 1). John McBurnie and Vivienne McAuliffe - Backing vocals (Tracks 1,5,6 and 8). Mick Ronson - Guitar (Track 2). Andy Latimer - Electric Guitar Intro (Track 3) and Guitar (Track 9). B.J. Cole - Steel Guitar (Track 5,6,7,8,10).

"for you who are the wronged" is the much anticipated follow-up to 2018’s "from when i wake the want is", and her 2014 debut "bones you have thrown me and blood i’ve spilled", which won 2015’s Scottish Album of the Year award. If "from when i wake…" was written for love to return, this is where she fights tooth and claw to protect it.

Written and co-produced by Kathryn Joseph, it was recorded at The Lengths Studio in Fort William, with producer Lomond Campbell (also a recording artist for Heavenly Records and has previously produced King Creosote). Kathryn is signed to fellow Scottish musicians, Mogwai's Rock Action Records. It will appeal to those that have bought Kathryn's earlier albums plus fans of Lana Del Ray, Laura Marling, Kate Bush, Aidan Moffat, and Erland Cooper.

STAFF COMMENTS

Barry says: For her third LP, Kathryn Joseph brings all of the brittle balladry and off-kilter weirdness of her previous outings, but imbued with a confidence and cinematic intensity we've not heard before. Beautifully rich and the perfect follow-up to 2018's 'From When I Wake The Want Is'.

TRACK LISTING

1. What Is Keeping You Alive Makes Me Want To Kill Them For
2. The Burning Of Us All
3. Only The Sound Of The Sea Would Save Them
4. How Well You Are
5. Until The Truth Of You
6. The Harmed
7. Bring To Me Your Open Wounds
8. Flesh And Blood
9. Of All The Broken
10. For You Who Are The Wronged
11. Long Gone

Debut release on Bounce 45s from DJ Bounce who tastefully chops up some classic hip-hop dishes for our delectation. On side A, Rakim's '97 boom-bapper, "Guess Who's Back" gets tweaked and boosted for exclusive DJ use - fattening up the low end and extended the drum intros & outros - ideal!

Side B sees Rakim joined by Eric B for the duo's high watermark hit: "Don't Sweat The Technique". Bounce keeps his surgery quite transparent on this already-masterful piece of hip-hop history, but again, working DJs are gonna enjoy the jazzy injection of energy and find this heavily pressed, smooth playing 7" a useful addition to their arsenal. 

STAFF COMMENTS

Matt says: Nice DJ friendly tweaks of two classic slices of US rap. Bound to turn heads and shake booties in the Northern Quarter on a Saturday night!

TRACK LISTING

Side 1
1. Guess Who's Back (4:10)
Side 2
1. Don't Sweat The Technique (4:10)

A facsimile LP edition of the classic album from Van der Graaf Generator. Newly remastered from the original first-generation master tapes, featuring “Killer”, “House With No Door”, “Pioneers Over C”. One of the defining progressive rock releases of its era.

Rhoda Dakar is back with her first solo album in seven years with Version Girl, a collection of reggae and ska covers by artists and songwriters she admires. Rhoda Dakar began her musical career as lead vocalist with all female 2Tone band, The Bodysnatchers. They only ever released two singles, 'Let's Do Rocksteady' and 'Easy Life'. After a year together they split and Rhoda went on to guest with The Specials in Europe and the USA, having featured on their second album, 'More Specials', for which she won the first of her seven gold records. After their demise, and before joining Jerry Dammers' new project, she recorded The Bodysnatchers' first original song, 'The Boiler', a harrowing tale of date rape, which was inevitably banned. The Special AKA spent the next two years recording 'In The Studio', spawning a top ten hit with 'Free Nelson Mandela'.

TRACK LISTING

1. The Man Who Sold The World
2. The Man Who Dubbed The World

Released in December 1967 – the album reflected a remarkable year in popular culture. As well as being forever immortalised as the moment when the counterculture and the ‘Love Generation’ went global, 1967 produced tremendous musical upheavals as “pop” metamorphosed to “rock”.

Originally planned by Pete Townshend and the band’s managers, as a loose concept album including jingles and commercials linking the songs styled as a Radio London broadcast – born out of necessity as the band’s managers wanted a new album and there weren’t enough songs.

The original plan was to sell advertising space on the album – Jaguar cars, Coca-Cola etc. The jingles pay tribute to the pirate radio stations and expose the myths of ‘pop-culture’ and mock consumer society – way ahead of their time…

The homage to pop-art is evident in both the advertising jingles and the iconic sleeve design – created by David King (art director at the Sunday Times) and Roger Law (who invented Spitting Image) producing four giant images for each band member – Odorono deodorant, Medac spot cream, Charles Atlas and Heinz baked beans (Roger apparently caught pneumonia from sitting in the cold beans for too long).

Photography by renowned portrait photographer David Montgomery (rare out-takes included)

The album is a bold depiction of the period in which it was made – the tail-end of the ‘swinging-60s’ meets pop-art mixed with psychedelia and straight-ahead pop craft. It’s glorious blend of classic powerful Who instrumentation, melodic harmonies, satirical lyrical imagery crystallised for what was only the group’s third album – the ambition and scope is unrivalled by the Who, or any others from that period.

Within the bold concept, were a batch of fabulous and diverse songs – I Can See for Miles (a Top Ten hit) is a Who classic, Rael, a Townshend ‘mini-opera’ with musical motifs that reappeared in Tommy and the psychedelic blast of Armenia City in the Sky and Relax are among the very best material of the 1960s.

One of the most extraordinary albums of any era – it’s The Who’s last ‘pop’ album. Two years later came Tommy – a double concept album about a deaf, dumb and blind kid…

“We were hoping to get free Jaguars. We got fifty tins of free Baked Beans”

Pete Townshend

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

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

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

TRACK LISTING

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

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

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

"If you’re going to deconstruct the modern psyche," says Liela Moss, "you might as well dance to it." On her second solo album, ‘Who The Power’, Moss fulfils that remit with all the power its title calls for. After 2018’s deeply personal ‘My Name Is Safe in Your Mouth’ - a debut solo album at times serene, at others stormy, on every front sumptuous - Moss entered a period of profound creative and personal self-reflection. When she emerged, she forged an album of questioning intensity and synth-loaded drama, with the expressive force in her voice refuelled by the urgent desire to interrogate the role of selfhood in fraught times. And, crucially, backed by the urgent grooves needed for the job.

As Moss says of her feelings during the build-up to the album: “To make music for the sake can sometimes feel like a narcissistic thing to do, and very reflective of our times. So much of being a musician and live performer is about projecting energy outward, which can be a beautiful and powerful thing. I experienced a good round of that over previous years, and now wanted to explore my fears of tipping the scales the other way: why should I continue to reenact the narcissistic habits of our generation, desperate for validation, desperate for space, for ‘a platform’?”

Album opener ‘Turn Your Back Around’ is a yearning eco-lament set to banked synths over a propulsive beat. Or, as Moss puts it: “One filthy, upbeat, downhearted, close-your-eyes-and-dance-by-yourself pop song, offered as a parting gift to Mother Earth.” ‘Watching The Wolf’ is another forthright song for today, its brooding, near-gothic swagger framing a righteous modern-day folk tale about wolves converging to unseat a toxic political pundit. A controlled rage shows in Moss’s voice, which grows more liberated still amid the simmering darkwave throb of ‘Atoms At Me’, where Moss issues a call to free the senses from the call to consume.

That sense of freedom further shows in the album’s dynamic focus and passion. The nearceremonial ‘Always Sliding’ draws power from the idea of impermanence, from the call to “keep searching.” ‘The Individual’ sets a Paradise Lost-ish narrative to a sulphurous bassline and lunging synths, while the graceful synths and infectious melody of ‘White Feather’ frame lyrics with teeth. “‘White Feather’ is a lament for the earth, sung with fingers crossed behind my back,” explains Moss. “Humanity is losing connection with something vital, and willingly letting itself slip into an abyss. This isn’t as simple as my reaction to the distressing reality of environmental damage; it is my thoughts on our lousy behaviour to one another.”

Elsewhere, the moody elegance of ‘Battlefield’ and bruised plea of ‘Nummah’ rank among Moss’s finest vocal performances. ‘Suako’ offers pulsing synth-rock impetus to risk starting anew, while the blissful ‘Stolen Careful’ ends the album on a palpable note of revitalisation, all risks rewarded as Moss emerges refreshed in her hunger to explore new, meaningful ways to engage with the world.

As with the widely acclaimed ‘My Name Is Safe in Your Mouth’, that engagement took place close to home. Working again with partner / producer Toby Butler, Moss wrote and recorded the album in their studio in Somerset, where they live with their child. The difference this time, she explains, was a desire “to create something more urgent,” which captured a sense of renewal while conveying a strong sense of despair at modern culture. “Perhaps that oscillating energy is best expressed musically via machines. We spent much of our time playing with vintage synths and drum machines, building a more visceral palette. I wanted the album to convey a depth of field, to be multi-layered yet feel simple, and to groove.”

Widescreen ambitions fulfilled, the result is another bold leap forward for one of alt-rock’s most magnetic, exploratory voices. Over 14 years, Moss’s work with the Duke Spirit (on pause) ranged from brawling riff-rock to more cinematic ventures. Other gigs have included synth-rock recordings with Butler under the name Roman Remains and various collaborative ventures – with UNKLE, Nick Cave, Giorgio Moroder and Lost Horizons, as well as serving as muse for fashion icons Alexander McQueen and Phillip Lim, among others.

TRACK LISTING

1. Turn Your Back Around
2. Watching The Wolf
3. Atoms At Me
4. Always Sliding
5. The Individual
6. White Feather
7. Battlefield
8. Nummah
9. Suako
10. Stolen Careful

Legendary companion album to the band’s classic documentary film of the same name from 1979, featuring the extraordinary 1967 Smothers Brothers TV show version of My Generation – including exploding drum-kit finale! Features one of the most iconic rock images on the front cover – photographer Art Kane’s shot of the band draped in the Union Jack flag at the Carl Shurz Monument in Morningside Heights in New York City on the morning of Friday 5 April 1968, the day of the first of the two concerts at Fillmore East, for a feature on new rock groups for Life Magazine. Includes three performances from Woodstock – Sparks, Pinball Wizard & See Me, Feel Me, classic 1960s TV performances of Magic Bus and Anyway, Anyhow, Anywhere, and the definitive performance of A Quick One, While He’s Away, the version they played at the Rolling Stones’ Rock & Roll Circus — a performance so good that, according to legend, it’s the reason why the Stones shelved the show for 20 years!

TRACK LISTING

Side A
My Generation (The Smothers Brothers Comedy Hour, 15 September 1967)
I Can't Explain (Twickenham Film Studios, 3 August 1965)
Happy Jack (Leeds University, 14 February 1970)
I Can See For Miles (The Smothers Brothers Show, 15 September 1967)
Magic Bus (Beat-Club, 12 October 1968)
Long Live Rock (Olympic Studios, Barnes, London, 5 June 1972)

Side B
Anyway, Anyhow, Anywhere (Ready Steady Go! 1 July 1965)
Young Man Blues (Coliseum, London, 14 December 1969)
My Wife (Gaumont State Theatre, Kilburn, London, 15 December 1977)
Baba O'Riley (Shepperton Studios, London, 25 May 1978)

Side C
A Quick One, While He's Away (The Rolling Stones Rock And Roll Circus Film, Recorded On 11 December 1968)
Tommy Can You Hear Me? (Beat-Club, 27 September 1969)
Sparks (Woodstock Music And Arts Fair, NY, 17 August 1969)
Pinball Wizard (Woodstock Music And Arts Fair, NY, 17 August 1969)
See Me, Feel Me (Woodstock Music And Arts Fair, NY, 17 August 1969)

Side D
Join Together/Road Runner/My Generation Blues (Medley) (Pontiac Silverdome, Pontiac, Michigan On 6 December 1975)
Won't Get Fooled Again (Shepperton Film Studios, London, 25 May 1978)

THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Listen - https://www.youtube.com/watch?v=aWgDKIr3VmQ&feature=youtu.be 2000 only worldwide on pink vinyl. Who’s Been Having You Over is the first single from Peter Doherty, The Libertines and Babyshambles new band, The Puta Madres. Paradise Is Under Your Nose will be the second single. This special RSD release brings both digital only singles together. These mixes are exclusive to this RSD release and wont be on vinyl again. Peter Doherty & The Puta Madres release their eponymously titled debut album on Friday 26th April though Strap Originals. ‘Peter Doherty & The Puta Madres’ was recorded live to beautifully capture the essence and spirit of the Puta Madres at a family home overlooking a fishing village in Étretat Normandy, over 4 days last summer and mixed at Urchin Studios (East London). The album is engineered by Dan Cox (Laura Marling, Thurston Moore, Florence & The Machine)and produced by Jai Stanley (long time friend and manager). ‘Peter Doherty & The Puta Madres’ is a devastatingly intimate portrait of love, loss, being lost, happiness, tragedy, addiction and the power of the human soul to transcend its darker levels. All the songs from the album were road tested over the last 18 months across Europe at Festivals and headline shows. Tracks : Who's Been Having You Over (CT Single Mix) - 3.41 / Paradise Is Under Your Nose (Single Version) - 4.41

After teasing our pleasure centres with that excellent sampler and the Studio58 album, Lemonade serve up their newest press of fruits: Lockwood's 'Escape to the Red Mountains' EP. Picking up right where they left off with "Blue Heron" on the sampler, Lockwood's debut EP on Lemonade is a perfect slice of musical escapism. With influences from jazz, house, garage & ambient, Lockwood tell their story about a boy's adventure of becoming a man. Packed with bleeps, bloops, cats in space and broken rhythms, these are  some astral travellin', speakers not handlin', dance floor tremblin' vibrations. Take the trip folks!

STAFF COMMENTS

Millie says: This really does have it all, mainly jazz instrumentals but it incorporates different genres seamlessly such as house elements, spoken word, merging an electronic jazz-funk groove and broken beats thrown into the mix too for some good measure. The outcome is brilliant, you’ve got to hear this one.

TRACK LISTING

A. Lockwood - Jane's News
A. Lockwood - What Time Is It ?
A. Lockwood_Escape To The Red Mountain
B. Numen Feat Sadu - Chptr 1
B. Fungku - Nospce/Rip
B. Yarno & Vicking - Elevator
B. Title - Froove
B. Pippin - Tsu
B. Mambelle & Fungku - Calm Before The Storm

Noel Gallagher takes some time out from feuding with shirty brother, Liam to put together a brand new full-length album with his High-Flying Bird cohorts. We kick things off with the decidedly 'D'You Know What I Mean'-y percussive scree, backed with distant shouting, thundering bass and growing shadowy reverbs on 'Fort Knox', obviously setting up a grand and extended entrance piece. From there we move into the stabbing horns and distorted bass of 'Holy Mountain', perfectly displaying his keen ear for melody, and almost irritating ability for penning a ruthless earworm. From there we move into the sleazy rock and roll of 'Keep On Reaching', owing as much to classic rock as it does disco with the harmonising backing vox and effervescent synth-brass. 

'She Taught Me How To Fly' presents a truly diverse set of influences, from dreamy synths to the airy ducked bass and dusty snappy percussives, providing a perfect balance between Noel's brilliantly robust compositional techniques and the more avant construction of mesmeric Krautrock or psychedelia. 'Black & White Sunshine' couldn't possibly be any more geared towards Oasis' fans, with that legendary vocal harmony NG does so well making an appearance, as well as the three-chord progressive lift we've heard once or twice before. 

What is most impressive is that the High Flying Birds have managed to step away from the considerable shadow that Oasis cast, whilst still retaining the melodic elements that made it resonate with so many people.   

TRACK LISTING

CD TRACK LISTING (STANDARD & DELUXE)
1. Fort Knox
2. Holy Mountain
3. Keep On Reaching
4. It’s A Beautiful World
5. She Taught Me How To Fly
6. Be Careful What You Wish For
7. Black & White Sunshine
8. Interlude (Wednesday Part 1)
9. If Love Is The Law
10. The Man Who Built The Moon
11. End Credits (Wednesday Part 2)
(Bonus Track) Dead In The Water (Live At RTÉ 2FM Studios, Dublin)

LP TRACK LISTING
A SIDE
1. Fort Knox
2. Holy Mountain
3. Keep On Reaching
4. It’s A Beautiful World
5. She Taught Me How To Fly
B SIDE
6. Be Careful What You Wish For
7. Black & White Sunshine
8. Interlude (Wednesday Part 1)
9. If Love Is The Law
10.The Man Who Built The Moon
11.End Credits (Wednesday Part 2)

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

Trembling Bells we joined by Stevie "Reverb" Jackson (Belle and Sebastian) on this brand new recording exclusive for Record Store Day. It was recorded by "The Sovereign Self" engineer Luigi Pasquini.

"Who Call The Law?" is an amorous crime caper written by maverick English songsmith, Dan Haywood. It examines the antagonisms that ensue when a relationship disintegrates and the big questions that we are left to face

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

TRACK LISTING

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

In 1959, a former amateur boxer started a record label out of his home in Detroit, Michigan. Employing the colors yellow and black and releasing any genre that could become a hit, Tamla Records and Berry Gordy laid the foundation for what would become a global empire. We are proud to announce an ongoing partnership with Universal Music to bring Tamla’s classic early Motown records back to vinyl. Tamla’s stripes label era (1959-61) produced million-sellers, debut releases from soon-to-be global icons, quasi-doowop anthems, and proto-surf experiments, all just looking for the next big thing. To say that they were successful would be an understatement. These are cornerstones of American popular music and they were all housed on this label that was headquartered at an unassuming home on Detroit’s West Grand Boulevard, which would soon become known to the world as Hitsville USA.

Ask Bill Fay about his relationship with his instrument and he says something revealing, not ”Ever since I learnt to play the piano,” but “Ever since the piano taught me…”

What the piano taught him was how to connect to one of the great joys of his life. “Music gives,” he says. And he is a grateful receiver. But, it makes him wonder, “Who is the sender?”

Fay - who after more than five decades writing songs is finally being appreciated as one of our finest living practitioners of the art – asserts that songs aren’t actually written but found. He recorded two phenomenal but largely overlooked albums for Decca offshoot Nova in 1970 and 1971. After 27 years of neglect, people like Nick Cave, Jim O’ Rourke, and Jeff Tweedy were praising those records in glowing terms. Recorded in Ray Davies' Konk Studios, North London, Who Is The Sender? sees Bill expanding upon themes he has touched on from the beginning, spiritual and philosophical questions, observations about the natural world and the people in the city he has lived in all his life.

Remember Vault Package #19 with those 4 coveted clear vinyl White Stripes 7" singles from the Elephant era? Surprise! The black vinyl versions are now available! The four singles ("Seven Nation Army," "I Just Don't Know What To Do With Myself," The Hardest Button to Button," and "There's No Home For You Here") feature badass non-album b-sides, 3 of which are covers of songs from some of Detroit's turn-of-the-millenium best and brightest (Brendan Benson, Jason Falkner, Dan Miller (Blanche), Soledad Brothers), and one of which is a live White Stripes medley of "I Fought Piranhas" and "Let's Build a Home," recorded at New York's legendary Electric Lady Studios.

Most of these tracks have been remastered from the original analog sources, and the artwork on all the singles has been improved upon by the Third Man Creative Hive. 

7” single, heavyweight vinyl with ‘etched’ b-side featuring ‘Who Hits 50’ logo.
All stock numbered.

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.

TRACK LISTING

1. Golden
2. Katy
3. Fireplace
4. I See You
5. Home
6. Thorn In Your Side
7. Walking In The Dark
8. Dreaming Like A Fool
9. Telescope
10. Copper Down
11. Antique Cobweb / Poem (Hidden Track)

It's like the first time TAD's "Gods Balls" twatted our tweeters, the first time Pissed Jeans webbed out our woofers, and when we first discovered the skronk-spazz of Wanghead, Scratch Acid, Samhain and Blood Circus all boiled into one exploding pussball. Nasty, horrible, dirgy, brilliant, scary lyrics…and the real grime under the fingernails of the US underground.

Karen Elson's transformation from fashion’s favourite redheaded ingénue to beguiling chanteuse has been something of a slow burn. In 2003 she provided vocals for a version of Robert Plant's "Last Time I Saw Her" and in 2006 she recorded an English language version of "Je T’Aime… Moi Non Plus" ("I Love You… Me Neither") with Cat Power for a Serge Gainsbourg tribute album, but her main musical outlet has been as a founding member of New York City cabaret The Citizens Band, a downtown collective of musicians, performers, artists and acrobats whose lively Weimar-esque performances have enjoyed successful theatrical runs of their politically thematic shows.

The 11 original compositions on "The Ghost Who Walks" were all written following Karen Elson’s 2005 relocation from New York City to Nashville. While making her home – and raising two children - in the city of country music, Karen took to writing songs for The Citizens Band and found she had plenty of other melodies in her head. Her and spouse Jack White quickly put a band together: Karen’s cabaret cohort Rachelle Garniez on accordion and vocals, The Dead Weather's Jack Lawrence on bass, My Morning Jacket's Carl Broemel on pedal steel and brother-in-law Jackson Smith on guitar. Jack White took the role of producer and provided drums. Karen added a cover of Garniez's "Lunasa" to the recordings and within a matter of weeks she had an album's worth of material. Two of her more theatrical tracks, "100 Years From Now" and "Mouths To Feed", inspired in part by author Tim Egan’s dust bowl saga "The Worst Hard Time", were originally penned for her cabaret troupe. The rest of the album richly evokes the lonesome feel of country ("Cruel Summer"), the tormented side of the blues ("The Truth Is In The Dirt") and the haunted stories of traditional folk balladry ("Stolen Roses").

Graphic artist Rob Jones took inspiration from Karen’s penchant for peach and black to create gorgeously smoldering album art.

STAFF COMMENTS

Darryl says: A surprisingly excellent album from Jack White's missus, awash with sweet country tinged melodies.

Atlas Sound is the solo moniker of Deerhunter frontman / provocateur Bradford Cox. Here on his debut album, Cox's sound moves out of dank nightclubs filled with eternal existential drone punk, and relaxes at home in his Grant Park, Atlanta bedroom. And this is, essentially, a bedroom album, a collage, mixing the garage rock and ambient electronic influences previously explored with Deerhunter into a new context, with newly explored recording techniques, mainly laptop-based, learned with guidance from Kranky artist Nudge's Brian Foote. The result is fourteen songs of melancholy and mania. This is a true solo album, entirely created and produced by a single person. That is certainly not unique, especially in the contemporary scene. But Bradford Cox's unusual talent is the ability to take a wide variety of seemingly incongruous sound elements, and seamlessly meld them into a cohesive pop narrative. Ultimately it is this innate ability to combine all these disparate elements into a singular whole that makes this album such an enjoyable, and unique listen.

The release of "Look! Who's Sorry Now?" follows the success of previous single "Windmills", backed with "Vodka Stomach" and "Set Me Free", this is intense psychedelic-surf-pop with twinges of the Modern Lovers, Twin Peaks and film noir.

Scott Walker was commissioned by London's South Bank Centre to write the music for a contemporary dance piece, released here as a limited edition in exquisite deluxe packaging. Entitled "And Who Shall Go To The Ball? And What Shall Go To The Ball?", the entirely instrumental composition is made up of four movements with a total running time of 25 minutes. Scott has this to say about the music: 'Apart from a slow movement given over to solitude, the music is full of edgy and staccato shapes or cuts, reflecting how we cut up the world around us as a consequence of the shape of our bodies. How much of a body does an intelligence need to be potentially socialised in an age of ever-developing AI? This is but one of many questions that informed the approach to the project.'

The million-selling album opener "The View From The Afternoon" kicks off this new EP; also featured are four brand new Arctic Monkeys tunes. These exclusive new B-sides have only just been recorded and are the first traces of where the band's direction will go next: Still dead sharp with the lyrics, but musically a little less spikey, even a bit melancholic at times... and still a million times better than most of the 'competition'.

The debut album from this band that's made up of four soft spoken Texas lads. Steeped in sentimental melodies and dreamy soundscapes, each song lifts you in the air and carries you away, layers of chiming guitars become layers of metallic annihilation in the blink of an eye. Total silence to total violence, enjoy the ride!!!!

By 1973 Caravan had moved away from their earlier style and this was one of their heaviest rock recordings thus far. Like all these Caravan reissues they have been remastered and feature extra bonus tracks.