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Between the ages of 2 and 18, Cora Gilroy-Ware lived in a haunted place. On the outside, this small edge of Connecticut coastline was a quintessential New England town. Yet beneath its quaint surface was a netherworld that got steadily darker over the course of those sixteen years. From a serious drug problem to environmental pollution leading to deadly illnesses, frequent suicides and an above average number of fatal accidents, something about this place was cursed. Amid this world Cora was an outsider, someone who preferred pop and RnB to the music of her peers, who mostly subscribed to the dregs of a Deadhead culture that was more nihilistic than utopian. Still, she found herself on weekends drinking in the woods with the rest of them, playing along until it was time to leave. Christmas breaks and summer months were spent across the Atlantic in a completely antithetical environment. In London, the city of her birth, Cora spent her teen years taking the bus home at dawn after raves under the railroad arches, or riding the tube to her cousin's house in Camden. For a long time, Cora's life was composed of these two strands_ghostly East Coast suburbia and inner-city London_which she was forced to fold in and out of one another like a two-strand French braid. She quickly learned to adapt and be whoever the particular moment demanded. Her outsider status was intensified by the fact that, being of mixed Afro-Caribbean and European descent, her family didn't look like the others in Connecticut. In the 2000s, this meant Cora had to contend with a deeply ingrained kind of folk-racism, both conscious and unconsciously expressed. Nobody talked about these things back then, and she internalized a lot of shame. The ability to shape-shift became integral to Cora's artistic practice. Her survival mechanism at school was to carve out her own worlds through visual art and dance. Music was less of a creative outlet than a way of life, something like a form of religion for her family, who all played instruments and sa...

LP - 180 Gram Vinyl / Limited to 500 Units12 festive songs recorded by The King in 1957 - a few even with the famous vocal quartet The Jordanaires. This LP full of Rock`n`Roll christmas hits takes you back into another time.

Gold Vinyl Edition.
Still shrink wrapped but opened.
Cover as new with slightly dented corners.
Record is close to VG+.

On top of tree and cookies, a successful Christmas should also include proper music. If your household only holds one Christmas album, it should definitely be “Ella Wishes You A Swinging Christmas”. Ella Fitzgerald sings like an angel and swings so hot that it's barely allowed at that celebration. The classic album from 1960, which Rolling Stone placed at number 10 on its “25 Greatest Christmas Albums of All Time” list, is now available in the most appealing edition ever, as a festive red, remastered LP with a fresh new cover design. Give it to your loved ones - or to yourself.

First Lady of Song Ella Fitzgerald overcame the challenges of a tumultuous youth through music, her performances with the Chick Webb Orchestra at the Savoy Ballroom and distinctive scat singing leading to early recordings and the 1938 breakthrough, ‘A Tisket A Tasket.’ After recording bebop LPs for Decca, manager Norman Granz launched the Verve label to allow her to broaden her musical horizons, exploring the Great American Songbook. Released in 1960, Ella Wishes You A Swinging Christmas sees her tackle Christmas classics as only Ella can, the lavish orchestration overseen by noted conductor Frank de Vol.

Vinyl with many scuffs, hairlines and some deeper marks. Cover with punch hole, stains and shelf wear

Culled from half a decade of homefour-tracking, Remote Echoes is a hissy,crumbly, and ungrounded expressionof Clay Parton and Canaan Amber'songoing Duster project. A mix of cassetteonly demos released under the bannersChristmas Dust and On The Dodge, this14 track album also includes a bevy ofpreviously unissued stragglers. Duster'sunique blend of fuzzy guitars, bargainsynths, muffled percussion, and hushedvocals anticipated chillwave, mumblecore,and corecore, elegantly illustrating theholy trinity of slacker vices: cigarettes,coffee, and the weed supr eme.

Culled from half a decade of homefour-tracking, Remote Echoes is a hissy,crumbly, and ungrounded expressionof Clay Parton and Canaan Amber'songoing Duster project. A mix of cassetteonly demos released under the bannersChristmas Dust and On The Dodge, this14 track album also includes a bevy ofpreviously unissued stragglers. Duster'sunique blend of fuzzy guitars, bargainsynths, muffled percussion, and hushedvocals anticipated chillwave, mumblecore,and corecore, elegantly illustrating theholy trinity of slacker vices: cigarettes,coffee, and the weed supr eme.

Culled from half a decade of homefour-tracking, Remote Echoes is a hissy,crumbly, and ungrounded expressionof Clay Parton and Canaan Amber'songoing Duster project. A mix of cassetteonly demos released under the bannersChristmas Dust and On The Dodge, this14 track album also includes a bevy ofpreviously unissued stragglers. Duster'sunique blend of fuzzy guitars, bargainsynths, muffled percussion, and hushedvocals anticipated chillwave, mumblecore,and corecore, elegantly illustrating theholy trinity of slacker vices: cigarettes,coffee, and the weed supr eme.