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After making a mark with their first album together, ""Pineto Connection,"" Lorenzo Fortino and Brody return to the studio to advance their idea of music that remains impulsive yet at the same time more structured. Within this EP, you will hear different influences, all traceable back to an ""Italian mood,"" giving life to an album that will linger in turntables and the minds of many for a long time. The album opens with ""Amarcord"" (a1), where raw drums, bass, and the pad seamlessly drive the piece, taking the dancefloor into the essence of Italian club culture. On side A, ""Sensazione"" (a2) continues, a soft Italo deep house track with Lorenzo's vocals providing an almost melancholic allure. The B side begins with ""Giacio"" (b1), a tightly wound house track (128 bpm) where straight drums, a compelling bassline, and dreamy synths make it a must-have to keep the dancefloor moving. Closing the album is ""Da Qui Al Mare"" (b2), a single despite being part of the EP, reflecting the idea of giving a distinctly Italian imprint. Brody, Angela, and Lorenzo's voices (almost echoing from the beach) blend in this deep tapestry that mixes multiple genres, aligning with their vision of a more elegant Italo disco.

A new spirit to the old gods. Is this the standard? This is THE Standard! Alessandro Galati has created a beautiful and profound "Standards Song Book". Alessandro Galati, who until now has been thoroughly devoted to being an original, dares to put a "fetter" on all of the standard numbers. The profound resonance created by the carefully chosen sequence of notes brings back to life melodies that you should have known well. We hope you will simply savor this music.

Previously Unreleased Recording Limited to 1200 copies on transparent cherry vinyl Tipon jacket, Download code, Insert featuring LP sized original art by Grungie O'Muck Includes the original recording of Richard Tucker's, "Are You Leaving For The Country", later covered by Karen Dalton,and the only song cowritten by Karen & Richard, "Sleeping In The Garden" "Richard, Cam & Bert seem to have grasped The Great Harmony. That is, ensemble singing that is at once sweet, precise, funky and a bit sardonic..." Mike Jahn / New York Times (1970)

"For a few years in the late sixties and early seventies Richard Cam & Bert ruled MacDougal St. walking a fine line between the increasingly commercialized demands created by groups like Crosby Stills and Nash and the fierce integrity of earlier folk performers, the generation to which Richard belonged. They managed this with great aplomb, producing original tunes of great integrity and obvious folkloric origins, as well as those which expressed the anarchic omnipresent psychedelia of the moment. They also never abandoned the idea of including some traditional material in their performances. But for the usual random application of luck they could have been very big." Grungie O’Muck / Artist, Bluesman, Cover artist for their first album and contributor to this one.

Richard Tucker, Campbell Bruce, and Bert Lee coalesced as a trio in the spring of 1968, and by the end of that year had become regular performers at fabled Greenwich Village nightspots The Gaslight, The Bag I’m In, Cafe Feenjon, among others. But mostly they were street singers, busking regularly in Central Park. Their only LP, Limited Edition, was released in 1970, and sold mainly at gigs and on the street. Somewhere in The Stars compiles earlier, previously unreleased recordings, when all three members were signed with PeerSouthern Music publishers as writers and began using their studio to make demos and experiment musically. Beautifully recorded by house engineer Charlie Mack (supervised by Jimmy Ienner), the demos capture a back room casualness and rustic, homespun quality. For me, listening to their songs and harmonies is like entering a world you always hoped existed but had never experienced.

Some of the songs were rerecorded the following year for Limited Edition, but many are heard here for the first time. Among them is the original demo for Richard Tucker's song, "Are You Leaving For The Country", which Karen Dalton covered on her seminal 1971 release, In My Own Time. Richard and Karen were husband and wife for much of the 1960s, performing as a duo (initially as a trio with Tim Hardin), and navigating their time on the Village scene while alternating living in a small mining town outside Boulder, Co. before splitting up in 1967. Also making its debut, is the only song Richard and Karen ever wrote together, the haunting "Sleeping In The Garden". Also contains two epic songs by Cam ("One Of These First Nights", and "Stockholm") not on their LP, but staples of their live performances, and noted in a gig review by The New York Times, and in a column by future A&R hero, Karin Berg, who was an early champion. Another rarity is the only cover of "Sweet Mama" by Fred Neil we’ve ever heard.

Campell Bruce came to New York in 1967 as lead singer with a band from Washington, DC, The Natty Bumpo. They’d recently signed a record deal with Phillips, but were falling apart. Cam landed in the Village with an acoustic guitar and first started playing and singing in the basket houses, and shortly thereafter at The Gaslight, as the "Cam Bruce Trio” (which included Collin Walcott). After opening for Mose Allison, Cam's hero, the trio went their separate ways, and Cam returned to regular solo gigs at The Flamenco, and the basket houses on Bleecker. Richard and Cam met up on that scene and quickly found a musical kinship as well as becoming best pals.

Bert Lee arrived in New York as a runaway the following winter, and began playing and sleeping wherever he could. His sometime accompanist, Ron Price, introduced Bert to Richard and Cam just as Bert’s own songs were garnering attention from publishers. According to Bert, “I arrived on the New York scene during a time of great change, and it was the notion of change that influenced me. All around me I saw there were two sorts of songwriters, on the one hand dedicated to the traditions that had inspired them, folk, jazz, the American songbook. On the other hand were songwriters influenced by the wave of experimentation that The Beatles were the perfect example of. Mixing genres, writing lyrics that weren't just about ordinary love and loss.

Richard Tucker was a country blues player, with a relaxed and melodic approach to the craft. Cam wrote something more akin to soul songs, with a hint of jazz in the changes. I was writing tunes that sometimes drew on classical structures with a tendency toward what I suppose would be known as progrock. But I was rather adamant about not being pinned down stylistically, and so I would write, for example, a song based on some complex classical chord structure, and then go right ahead and write a simple folk song, like Evelyn. Our band was popular locally, and it was this variety that made it distinct.”

Delmore is excited to present this unearthed treasure, fifteen years in the making. In the words of Richard Tucker, "Tap on your knee, roll on the floor; if you aint free, what's it all for?"

"The trio's singing, playing, and writing have all withstood the test of time. Believe me, because I was there. In 1969 R,C&B, myself, Charles John Quarto, David Bromberg, Ron Price, and Keith Sykes were just a few of that year's crop of songslingers. We were young turks back then, out on the prowl in New York's Greenwich Village for record deals, gigs, and beautiful young women to sleep with and maybe even write a song about. I've lost the names and numbers of those lovelies and I'm not sure what happened to Ron Price, but Richard, Cam, and Bert are back! Loudon Wainwright lll

The Akagera trio released their debut album Serpente in 2019. The subtle blend of African music and jazz laid the foundations for a new sound driven by an unconventional ensemble of instruments.

Their new album, Traverse, is the soundtrack to the imaginary travel diary of three intrepid musicians forced to put a hold on their adventures. Over a period of three years, they took time out from improvisation sessions to collectively compose a repertoire reflecting the diversity of their backgrounds and influences: classical and contemporary music for Benoit, mixed music from South America and the Caribbean for Stéphane, and African rhythms and Brazilian grooves for David, all to the backdrop of their shared passion for jazz.

David Georgelet: drums Benoit Lavollée: vibraphone, marimba Stéphane Montigny: bass trombone

Exclusively to Record Store Day 2024 comes The Charlie Watts Orchestra, Live from Fulham Town Hall. Charlie Watts, the Rolling Stones’ drummer always had a passion for jazz and in 1986 he financed a world tour of an orchestra he hand selected, which included some household jazz names such as Peter King and Courtney Pine.

The final album in Pastor T.L.Barrett's 1970s four-part suiteof gospel funk LPs, Do Not PassMe By finds the fiery preachergetting spaced out on God's love.Accompanied by his Youth ForChrist Choir, the eight-songrecord is buoyed by the sevenminute opus "Father Stretch MyHands," later sampled by KanyeWest on 2016's The Life of Pablo.

For the second release of the Back to Back series of Stolen Goods goes for two stables of the scene: label manager and old school pillar of the Italian scene Lele Sacchi and Italo Spanish beat master Bawrut.
After B2B1 saw the funky deep sound of Rogue D feat Joe Le Groove and the raw house grooves of Ruff Stuff got played by Laurent Garnier on his show and by peeps like Jamie Jones and Oliver Dollar in their sets and chosen by Beatport in most of their weekend picks here we are ready for two bangers for clubbing prime time! Bawrut's fame goes a long way back to in the best of Europe's crossover of electronic dancefloor music and indie and urban flavours. An album on Ransome Note, hits for Life & Death, Correspondant and tracks supported by Dixon, Jennifer Cardini, Ricardo Villalobos Sven Bath and playing B2B with Kink and Skream in festival and clubs like Sonar, Nuits Sonores, Fabric, Sub Club, Nitsa, etc. and now this massive hands in the hair, goosebumps in the back monster of retro future rave piece of music!
Lele Sacchi is known to have an ear for bangers having been behind the decks all over the world for nearly 30 years, so whenever and with various aliases he turns into producer is quite normal to find his music out on labels like Snatch, Soul Clap, Nervous, Internasjonal, Crosstown Rebels, Pokerflat, Rebirth and more and more classic underground dance stables. This time he keeps his know funkier deep groove but adds a kille stab in the breakdown to represent a vein of peaktime monster attitude.
Again a message 'From Clubbers to Clubbers' as we love to say here at Stolen Goods records.

Acclaimed UK electronic music producer, DMX Krew has announced a brand new album, "Unlikely Seeming", on the Byrd Out label. The8-track album showcases his blend of joyous, melodic synth hooks, textured pads and analogue drum machine rhythms. Leaving to one side pummeling sounds, the focus of this album is on sonic fun, mining the 80s pop vibe DMX Krew does so well. BBC 6 Music"s Tom Ravenscroft describes the trailing single "Wednesday Memory" as "the funkiest thing ever ... it"s almost too joyous".

Numero's second bundle of cover 45s isall things soulful. The Rotterdam-basedAnother Taste electrifies Maxx Traxx's1984 Chicago boogie grail "Don't TouchIt," which makes its debut on the 7"format here. Colemine Records' Say SheShe delivers a glamorous rendition of JimSpencer's yacht-disco hit "Wrap Myself UpIn Your Love." Columbia Recording artistLeon Bridges effortlessly transforms PastorT.L. Barrett's "Like A Ship," updating the50 year old gospel soul classic for the 21stcentury. All three are housed in a newlyimagined Numero custom sleeve, reflectingthe many shades of our ongoing EccentricSoul 45 imprint.

Numero's second bundle of cover 45s isall things soulful. The Rotterdam-basedAnother Taste electrifies Maxx Traxx's1984 Chicago boogie grail "Don't TouchIt," which makes its debut on the 7"format here. Colemine Records' Say SheShe delivers a glamorous rendition of JimSpencer's yacht-disco hit "Wrap Myself UpIn Your Love." Columbia Recording artistLeon Bridges effortlessly transforms PastorT.L. Barrett's "Like A Ship," updating the50 year old gospel soul classic for the 21stcentury. All three are housed in a newlyimagined Numero custom sleeve, reflectingthe many shades of our ongoing EccentricSoul 45 imprint.

Electro-boogie-machine 'Straight Line' is taken from 'Cool Cool', the upcoming third album by British multi-hyphenate James Alexander Bright. "'Straight Line' started out as a wonky homage to 80s & 90s radio", says James. "It's based on the memory of meeting someone you want to stay up all night listening to music with".

James' passionate voice, pitched somewhere between Eddie Chacon, Beck and Michael McDonald, takes a confident lead over a melange of body-popping LinnDrum beats, a host of swooping, fuzzy synths, and backseat-rocking bass. Initially written and recorded at his home studio in the rolling hills of the Hampshire countryside, 'Straight Line' was completed with regular collaborator Peter Lyons in East London.

It's backed on 7" vinyl with the wonky dancefloor wobbler 'Oh My', sounding something like Theo Parrish producing Arthur Russell after a sleepless night.

The past six years has seen James release a veritable treasure trove of music, including 'Mallorca' and 'Strange Folk' EPs, debut album 'Headroom', joyous second 'Float', an album of collaborations and reworks with cosmic Americana-disco DJ/producer duo Flying Mojito Bros, and a new project with Groove Armada's Tom Findlay as Bright & Findlay.

James balances music alongside the creative duality of a job in illustration and the responsibilities and constraints that come with raising a young family. Utilising any spare moment to write and record new ideas, his creative output under various projects had been relentless. Turning his back on apathetic major label offers in his early 20s, he's released through cult DIY label Tape Club Records, German stalwart !K7 Music and now with Scottish tastemaker Athens Of The North, presenting an evolving vision of a sound that has touched on everything from outsider art-rock to machine funk, mystic folk to experimental jazz.

A dynamic set of urgent funkers, gentle soul ballads, head-nodders, fuzzy folkers and straight-up disco bangers; album 'Cool Cool' is set for release on 26th July via Athens Of The North.

LP - 180 Gram Vinyl / Handnumbered Edition limited to 150 UnitsCritics have described Czech pianist Kristina Barta as "fiery, expressive, eloquent, and stubborn." This new album, "Endless Questions and Answers," features nine original compositions created for her new quartet, in collaboration with the world-renowned tenor saxophonist Jure Pukl. It signifies a fresh chapter in Barta's musical evolution.

Critics have described Czech pianist Kristina Barta as "fiery, expressive, eloquent, and stubborn." This new album, "Endless Questions and Answers," features nine original compositions created for her new quartet, in collaboration with the world-renowned tenor saxophonist Jure Pukl. It signifies a fresh chapter in Barta's musical evolution.