Search "Revival" 190 Items

Bert At the BBC is a comprehensive collection of Jansch's appearances at the BBC, featuring over eight hours (CD box set & vinyl bonus download) of rare and unreleased recordings, including live-on-air spots, studio sessions and full concerts straight from the BBC vaults, delving further into this legendary performer's canon. Bert Jansch was the very essence of folk music, providing inspiration for everyone from Paul Simon and Neil Young to Led Zeppelin and countless folk revivalists. This unparalleled limited-edition compendium is available as a 4xLP and 8xCD set, housed in a coffee-table book set with a lavish 40-page book tracing the recordings from Bert's earliest moments at the BBC. It includes interviews and insights from Lauren Laverne, Jools Holland, Johnny Marr, Jacqui McShee, Bob Harris, Bernard Butler, Mark Radcliffe and many more. Twenty broadcasters, producers and collaborators contribute at length to the booklet, with great affection for this gentle, maverick genius. Bert's BBC legacy remains the most significant and exciting untapped reservoir of his music. The undeniable advantage of recordings made for broadcast is that they were, by their nature, created for public consumption and, barring live-on-air appearances - which might go well or go badly, but were going out either way - were explicitly signed-off by the artist as representations of his art that were good enough to be heard. The set is compiled by Colin Harper, author of Dazzling Stranger: Bert Jansch and the British folk and blues revival (Bloomsbury, 2000), who contributes detailed liner notes to the package. The release is mastered by IFTA award-winning engineer Cormac O'Kane. The vinyl release features 48 tracks on LP and is accompanied by a download card with over six hours of extras spanning 1966-2009, including BBC4's St Luke's concert (2003), and a complete Queen's Hall, Edinburgh concert (2004) for BBC Radio Scotland. It is also available as a special 8xCD set containing all 147 tracks and encased within a coffee-tab...

Recorded live under moonlit desert skies while the world sheltered away. Chris Robinson led a cosmic cast of California friends through the catalog of the CRB along with songs from Beachwood Sparks and other hand-picked revivals.

Featuring Chris Robinson, Brent Rademaker (Beachwood Sparks, GospelbeacH), Farmer Dave Scher (Beachwood Sparks, Farmer Dave and the Wizards of the West, The Skiffle Players), Ben Knight (Beachwood Sparks, Farmer Dave and the Wizards of the West), Camilla Saufley (Assemble Head in Sunburst Sound), Barry Sless (David Nelson Band, Moonalice, Bob Weir & Wolf Bros), and Alex Koford (The Terrapin Family Band, Grateful Shred).

RSD First, Limitation: 1000

Native American guitarist Jesse Ed Davis was the “go-to” guy for a remarkable group of musicians. Starting in the mid-‘60s, he toured with Conway Twitty, then became a key part of Taj Mahal’s band, playing on several albums and tours including an appearance in The Rolling Stones Rock and Roll Circus, and, perhaps most famously, accompanied George Harrison during the Concert for Bangladesh, followed by work on various solo albums by John Lennon, Ringo Starr, Gene Clark, Leonard Cohen, and Jackson Browne (that’s Jesse taking the solo on his 1972 breakout hit “Doctor My Eyes”).
All this activity caught the eye of ATCO Records, who released his debut LP Jesse Davis in 1971. The album featured Leon Russell, Eric Clapton, Gram Parsons, Merry Clayton, Ben Sidran, John Simon (producer of The Band), Alan White (of Yes), and many others including Delaney Bramlett behind the mixing desk. A year later, Atco released Ululu containing some of the same all-stars, plus Duck Dunn, Jim Keltner, and Dr. John – and a version of George Harrison’s “Sue Me, Sue You Blues” before even George recorded it.
Of late, there’s been something of a Jesse Ed Davis revival. Besides Real Gone Records releases, Davis was a major figure in the documentary Rumble: The Indians Who Rocked the World…and now this fall comes a full-fledged biography, Washita Love Child: The Life and Times of Jesse Ed Davis, by Dr. Douglas Miller.
To honor the man and the occasion of the book’s release (and to slake guitar-heads the world over thirsting for more tasty Jesse Ed licks), Real Gone Music releases Tomorrow May Not Be Your Day: The Unissued Atco Recordings 1970-1971, a double-LP collection consisting of, as the title says, all unreleased recordings taken from Jesse’s sessions for his two Atco solo records. Along the way you’ll find completely unreleased songs (“Slinky Jam”), unexpected covers of “Ain’t No Beatle,” “Kansas City,” and “Tracks of My Tears,” unissued instrumentals (including a version of Dylan’s “Love Minus Zero/No Limit”), and an entire side featuring alternate versions of Jesse’s masterpiece, “Washita Love Child.”
Remastered by Mike Milchner at Sonic Vision, and featuring notes by Dr. Miller festooned by photos contributed by Jesse’s son William “Billy” Noriega, Tomorrow May Not Be Your Day: The Unissued Atco Recordings 1970-1971 represents a major archival find from one of rock’s most intriguing characters, out on Cobalt “Blue Jean” vinyl limited to 1500 copies worldwide.

* 20–track collection includes Charles Bradley & The Menahan Street Band covering Sixto Rodriguez, Iggy Pop & Zig Zags performing a Betty Davis classic, Ethan & Maya Hawke interpreting Willie Nelson, and Angel Olsen paying homage to Karen Dalton * Double LP pressed on special limited edition color wax * Featuring new cover art by renowned British artist Sophy Hollington * Booklet with track–by–track notes by Lydia Hyslop For more than 20 years, acclaimed reissue label Light in the Attic Records has shined a spotlight on some of music’s most unique — and often forgotten — voices. But reviving these long-out-of-print recordings is only half of the process. “We believe that an essential component of archival work, aside from simply honoring the music, is to seek ways in which to bring fresh perspectives, context, and reverence to the original artists and their work,” says Lita founder, Matt Sullivan. Thus, Lita’s acclaimed cover series was born, in which contemporary acts pay homage to their favorite Lita artists and songs. Spanning more than a decade, 20 of these inspired cover songs will be available together for the very first time, exclusively for Black Friday (November 24) on the 2xLP Light in the Attic & Friends. From Charles Bradley & The Menahan Street Band covering Detroit singer-songwriter Sixto Rodriguez and Mac DeMarco performing a song by Japanese icon Haruomi Hosono, to Iggy Pop & Zig Zags honoring funk queen Betty Davis, and Ethan & Maya Hawke covering country great Willie Nelson, these performances bridge the gap between generations, languages, and musical traditions.

The long-awaited first analogue release of the debut album by the isolated, nameless, genius folk singer Hitoshi Kaji! Kaji Hitoshi, a convinced folk figure, passed away suddenly at the young age of 40 in 2011. Produced by Hiroki Misawa (letter, Labcry), this painfully delicate and gentle masterpiece has been revived in analogue format! Kaji started his band career in Osaka in the late '80s, and after numerous bands such as Human Gas, Peeping Mania and the 60's GS-style Uzose, he began his storytelling career around '90. After his regrettable sudden death in 2011, he was supported by numerous followers and released a documentary film and two best albums. He released a documentary film and two best-selling albums. Released in 2001, the album contains a number of songs that reveal the feelings of an adult who can't fully grow up. The album contains a total of 11 songs that have caused a storm of praise and sympathy, exposing the feelings of adults who can't grow up. Sad and tender, it is a piece of folk music history that will live on for generations to come.

Limited Svart exclusive box set edition. The demo LP will not be available separately.

Hexvessel and Svart Records celebrate the 10 year anniversary of Hexvessel’s debut album Dawnbearer with a set of reissues, including CD, double vinyl plus an exclusive vinyl box set with a bonus LP containing demos and early versions of tracks on the album.

“Dawnbearer is a very important album for us, being our first album but also the first original album release for Svart Records. It’s also a very special record for our fans, and one that’s particularly close to my heart, in a world of its own when compared to the other records we have made. Considering that it’s been out of print now for some time, I’m delighted to be able to oversee a reissue of this album, together with original demos and out-takes, and liner notes showing the making of this album which carries the initial DNA of Hexvessel’s musical and spiritual journey”, says band leader Mat McNerney, “We haven’t touched a thing on the original layout, but added some bonus material for the limited edition, should you wish to own a luxury edition of this, our now classic debut.”

Hexvessel band was founded by English singer/songwriter Mat McNerney (Beastmilk, Grave Pleasures, Carpenter Brut etc) after he moved to Finland in 2009. Their style of music has been referred to as “forest folk” or as Noisey/Vice puts it: “Weaving English folk, lilting Americana, and mushroom-induced psychedelia”. Their debut album 'Dawnbearer' was released worldwide in 2011 on Svart Records and is considered to be an influential classic record of the modern Occult Rock revival. Highly popular with Hexvessel fans and unique in their catalogue, featuring guitars by Andrew McIvor (Code), violin work of Daniel Pioro (who works on Paul Thomas Anderson’s soundtracks with Jonny Greenwood from Radiohead), the early production work of Jaime Gomez Arellano (Ghost, Paradise Lost), and guest vocals from Carl Michael Eide (Virus, Ved Buens Ende, Aura Noir).

“Think Woven Hand, haunted ’60s/’70s pastoral folk, or a darker riff on Midlake. McNerney covers Clive Palmer’s post-Incredible String Band crew C.O.B. and successfully transforms and darkens Paul Simon’s “Diamonds On The Soles Of Her Shoes.” He quotes Crowley, Truman Capote, Isaac Babel, etc. Unlike black metal-ready folk, this is folk by a talented, ambitious black metal musician. But the energy’s there. As is the atmosphere.” - Stereogum

“(Part of) a new wave of bands who share many of the original occult bands' musical and philosophical characteristics, spearheaded by Ghost, from Sweden, and the Devil's Blood, from Holland – have begun to lure in a new generation of fans, predominantly from the metal scene, their names alone – Ancient VVisdom, Hexvessel, Blood Ceremony– point to a focused step back to the age of Wheatley and Hammer. ” - The Guardian (2011)

German Pagan Metallers KROMLEK surprise the scene with the release of a monumental double album! "III - III" is coming on November 15th 2024 via Trollzorn Records on 2-CD and 2-LP.The first part, entitled "III-III", is a collection of their latest compositions created over the past decade. These tracks were carefully produced at the Antric Light Records studio and mastered in 2024. The second part, "Upphaf", offers a comprehensive retrospective of the band's history. Here, selected pieces are reworked, recorded, and produced anew to impressively document KROMLEK's musical evolution. While their last album "Finis Terræ" (2011) dealt with the end of the world in various layers of meaning and interpretation, "III-III" turns to origins and beginnings, exploring the spiritual cosmos of pre-Christian philosophy and worldview. Musically, this journey is wrapped in powerful, heavy Pagan Metal, enriched with elements from Melo Death and Black Metal.To celebrate the 20th anniversary of Trollzorn Records, the band reunited in 2023 for two selected best-of concerts before closing the chapter on KROMLEK. It is particularly noteworthy that this double album is a direct response to the long-standing demand from fans for new releases, thus honoring the patience and enthusiasm of their loyal followers.KROMLEK as usual - Pagan, but different. This is not a revival, but a legacy.The album’s opening track "Þursöld I - Gigantenwelle" has been premiered here with a lyric video: https://youtu.be/grm92sBnGOULine-up:NhévanN - Lead GuitarsForad - Rhythm GuitarsHrisDolgR - Keys & SynthT´Bog - BassSgrA - Drums "III-III"1. Þursöld I - Gigantenwelle2. Þursöld II - Seismonade3. Þursöld III - Nunatak4. Ek, Gangleri5. Totem Tales I - I tidevarvet av u6. Totem Tales II - aRktur7. Totem Tales III - AlgyR8. Strandhögg pt. IV - Ráns Schattenpass"Upphaf"1. KromleK2. Träskens Näve3. Strandhögg pt. I - Drachen im Nebel4. Strandhögg pt. II - Gefolgschaft der Gezeiten5. Herjan6. Grim Omens7. Mantikor8. Moritvrvs Immortalis

These recordings were made in Bombay in 1968 by Bengt Berger (Bitter Funeral Beer Band) during a stay with Ustad Zia Mohiuddin Dagar, who was primarily responsible for the revival of the Rudra Veena as a solo concert instrument. His home in the suburb of Chembur was at the time the magical haunt of a plethora of fantastic musicians, including Ritwik Sanyal and K. Sridhar, who took part in the session. In perfect and stern Duphrad vocal style, these two Raga lead us to different atmospheres and perceptions : Malkauns is the contemplative state of the evening, of the abandonment of the senses before the breaking of the silence in the night; Miyan Ki Todi is the first breath of the morning, the gentle awakening of the limbs before a puja. The two Dagar brothers, Mohiuddin on the Rudra and Fariduddin on the chant, complement each other, become ocean and fire, stillness and storm, in an intimate and tight dialogue of exploration and expressive subtlety, in which the purity of an Indian summer becomes the highest symbol of beauty and freedom of spirit. Originally released on CD by Country & Eastern.

In 1970, amidst the height of the jazz-rock era, Akira Ishikawa captured the chaotic atmosphere of the time and ventured into what could be called "jazz beyond." This album, Electrum, represents the moment when Ishikawa cut most deeply and incisively into jazz. Amid a sharpened groove, musicians ascended to new heights, competing fiercely. The epic "Electrum," the complexly intersecting vectors of "Revulsion," and the beautifully serene "Speak Under My Breath" are pieces that demand attention for their density and intensity. The participation of two genius pianists and composers/arrangers, Masahiko Satoh and Hiromasa Suzuki, is also noteworthy. This album, hailed as Ishikawa's greatest work, is revived here as part of Victor's series. Text by Yusuke Ogawa (universounds / Deep Jazz Reality)

On it's initial release in 2012, Colourmeinkindness found Basement pulling from not only one of emo's zeniths-early Sunny Day Real Estate-but also channeling heavy and sometimes hazy `90s alt-rock, with hints of behemoths like Pixies, Silverchair, and Catherine Wheel shaping the sound. Vocalist Andrew Fisher fit that grunge mold of a maudlin-but-thoughtful protagonist, ruminating on toxic relationships, personal desolation, and desperate longing, with slivers of optimism occasionally peeking through. From the dynamic one-two punch of churning opener "Whole" into the balladic doom of "Covet", to the sneering grunge of "Black" and gentle ease of "Comfort", Basement effortlessly moved between sounds and styles while keeping the underlying energy of their roots in punk and hardcore.Colourmeinkindness quickly won over fans old and new, but the members of Basement had already committed themselves to exploring other avenues in their lives and after a few impressive record release shows, the group went on hiatus. When they eventually returned the ripples of Colourmeinkindness were already clear: A thriving scene had begun to crop up around Basement's like-minded peers. Bands such as Balance and Composure, Superheaven, and Title Fight were reviving alt-rock radio for the YouTube generation and moving from being VFW staples to playing sizable venues. Post-hardcore, shoegaze, and grunge were becoming prevalent influences amongst new punk and emo bands. Newer acts were forming with a nod very much towards that `90s rock/emo crossover sound that Colourmeinkindess had captured so astonishingly well.With Colourmeinkindess Basement had begun to signal a sea change that would shape the next decade of big-room guitar music in a major way. Now the album's 10th anniversary expanded reissue offers a chance to rediscover the record. This unforgettable release has been updated with an embossed slipcase, updated artwork with photos and retrospective liner notes from the band, as well as a second disc that features an etched D-sid...

It's in the Düsseldorf genes that Vibravoid puts art before commerce. Refer to the aspect as laid in the Creamcheese in 1967. Germany's first psychedelic discotheque with Gerhard Richter, Joseph Beuys, Günther Ücker, Kraftwerk and NEU! who created Düsseldorf blueprints of art and pop culture. For several years, Vibravoid have taken over the artistic direction of Creamcheese, which was honored in the Guggenheim Museum, for example, and revived as a major art happening in collaboration with H.A. Schult.Phasenvoid also includes a fortunately preserved Vibravoid interview from 1997, which paints a first-hand picture of the 1990s that is unknown today and is of inestimable value to music historians. Whether vinyl records. Kraut and Psychedelic Rock, Theremin, Sitar, Light Show and the Underground - if you are looking for the beginnings of the current music scene, you will find them here... and it...

In the golden age of the British R&B revival, few groups created as much excitement and controversy as the Pretty Things. They came up alongside the Rolling Stones in the early 1960s, but were deemed by critics and fans as wilder and bluesier than even Mick Jagger & co. When long-haired Phil May sang and shook his maracas with manic intensity, audiences and record buyers knew they were in for a wild ride.

But the Pretty Things took their music seriously and developed into one of the more innovative rock bands of the 70s, much admired by groups and artists from Led Zeppelin to David Bowie. As well as recording hit singles and albums, the Pretties were also heard live in action on BBC radio shows that captured their dynamic performances with remarkable clarity and presence.

We are fortunate that this audio heritage has been carefully preserved and has now been digitally restored for future generations to enjoy. Repertoire is proud to present this comprehensive 6 CD collection that provides over seven hours of non-stop R&B, original songs and new concepts.

Such seminal BBC shows as Saturday Club presented by DJ Brian Matthew and Top Gear by John Peel, who also hosted his own regular Sunday Concert, welcomed the band to their studios where they’d romp into everything from Pretty Thing favourites like ‘Big Boss Man’, ‘Road Runner’ and ‘Buzz The Jerk’ to the experimental ‘Defecting Grey’. Check out 1968’s ‘SF Sorrow Is Born’, an hypnotic and mysterious ri! that might well have infuenced today’s groups like Kula Shaker.

There is more broadcast material from the 1970s and even into the 2000s with BBC shows hosted by Mark Lamarr and Marc Riley that bring the band’s history up to date with vibrant versions of ‘Belfast Cowboys’, ‘Singapore Silk Torpedo’ and even a revival of their first hit single ‘Rosalyn’.

This superb box set has informative liner notes by Richard Morton Jack, progressive rock historian and editor of Flashback magazine, and includes an interview with Phil May discussing the recordings. Repertoire’s Chris Welch also interviews founder member guitarist Dick Taylor, who reminisces about the early days of the Pretty Things and pays tribute to his old friend Phil May who sadly passed away in 2020.

Double 180g, magenta marble vinyl.This Album Features the greatest hits by (Initially known as "Charlie Cuckoo,") the band soon simplified their name to "Charlie." After some early singles, they found success with "She Loves to Be In Love" in 1978. However, lineup changes and label issues plagued them, leading to disbandment in 1983 after their hit "It's Inevitable" failed to save them. In 1986, Terry Thomas revived the band for "In Pursuit of Romance," but it was more of a solo effort due to various circumstances.

Japanese pressing without OBI, with insert. close to NM

Creedence Clearwater Revival is arguably the definitive American rock band. Hailing from the San Francisco Bay Area and borrowing heavily from the musical traditions of the Deep South, the gritty and powerful foursome served up a potent stew that appealed to a broad audience not just in the States but around the world. Their creative arc was relatively brief yet highly influential, and some five decades after their heyday, their straight ahead raw energy continues to echo in the rock and pop sounds of the modern day.



The 1968 release of the band's self-titled album paralleled the flowering of the San Francisco music scene, but the CCR phenomenon had little in common with the "San Francisco Sound." The Creedence Clearwater Revival album was anchored by rock and blues standards such as Dale Hawkins's "Susie Q" and Screamin' Jay Hawkins' "I Put a Spell on You," (both of which became immediate hits) as well as original material by John Fogerty, who was to emerge as one of rock's most omnipresent hitmaking songwriters in the years that followed.



Mastered at half-speed at Abbey Road Studios, benefiting from an exacting process that allows for an exceptional level of sonic clarity and punch, bringing this classic recording a new vibrancy. The 180-gram vinyl LP comes housed in a handsome tip-on jacket replicating the packaging of the original pressing.

180g Vinyl LP Reissue Mastered at Half-Speed at Abbey Road Studios



Creedence Clearwater Revival is arguably the definitive American rock band. Hailing from the San Francisco Bay Area and borrowing heavily from the musical traditions of the Deep South, the gritty and powerful foursome served up a potent stew that appealed to a broad audience not just in the States but around the world. Their creative arc was relatively brief yet highly influential, and some five decades after their heyday, their straight ahead raw energy continues to echo in the rock and pop sounds of the modern day.



It was in January 1969 that Creedence released the first of its three Top Ten albums that year, Bayou Country. The product of frontman/songwriter John Fogerty's fascination with Louisiana swamp-rock and R&B, Bayou Country is chock full of classics including "Proud Mary," "Born on the Bayou," the Little Richard cover "Good Golly Miss Molly," the eight-minute plus "Graveyard Train" and the seven-minute plus "Keep on Choogling."



Mastered at half-speed at Abbey Road Studios, benefiting from an exacting process that allows for an exceptional level of sonic clarity and punch, bringing this classic recording a new vibrancy. The 180-gram vinyl LP comes housed in a handsome tip-on jacket replicating the packaging of the original pressing.

This collection of material shows the roots of a concept which the world knows as Creedence Clearwater Revival. John, Tom, Doug and Stu went on to tour the world and make innumerable hit discs, but these records remain a fascinating example of the birth of a band.

Double 180g, violet vinyl.This Album Features the greatest hits by (Initially known as "Charlie Cuckoo,") the band soon simplified their name to "Charlie." After some early singles, they found success with "She Loves to Be In Love" in 1978. However, lineup changes and label issues plagued them, leading to disbandment in 1983 after their hit "It's Inevitable" failed to save them. In 1986, Terry Thomas revived the band for "In Pursuit of Romance," but it was more of a solo effort due to various circumstances.

Years in the making – ‘Hey, Mr. Devil' presents a Raucous Revival Tent of Fallen Rockabilly Icons, Public Access Evangelists and Hellfire Puppeteers. Limited Edition Deluxe Gatefold LP with exclusive scholarly liner notes by Alvin Lucia! Full dynamic range 2024 remasters!

The appetite for The Zombies material has increased over the years, and has continued to grow since their induction to the Rock and Roll Hall of Fame in 2019. They have now become the subject of a soon to be released major documentary covering their ongoing career called ‘Hung Up On a Dream’ directed by Robert Schwartzman. Disbanding before their seminal Odessey & Oracle album was released, Rod Argent and Colin Blunstone have revived the band with a new touring line-up and album, while original bass player Chris White has continued his career as a songwriter and producer. The Best of The Chris White Experience is a limited edition 12” album release for Record Store Day 2024, featuring 10 tracks from Chris’ considerable production and writing catalogues. Produced on heavyweight 180g vinyl, it comprises selections from throughout the last 50 years and contains rare and unreleased performances. Including appearances from The Zombies, Argent, Diana Dors, Colin Blunstone and more remastered and available on vinyl for the very first time. This release will not be available in any other physical or digital formats.

Jojo Hiroshige is probably best known as the main driving force behind Japanese noise band Hijokaidan and its numerous transformations. His group Slap Happy Humphrey - formed with fellow Alchemy Records noise maker and Angel’in Heavy Syrup singer Mineko Itakura - was in some ways a departure from Hiroshige’s typical noise undertakings. On their first and only LP, the self-titled record is immersed in opposites and contrasts that work in tandem - of folk and noise, of calm and rupture. P-vine is delighted to present the first ever vinyl reissue of the 1994 album with an iconic Japanese obi strip attached.

As a revival of Doji Morita’s hauntingly bleak folk swept across Japan in the early 90s, so too did Hiroshige wish to step into Morita’s dark fantastical world armed with his guitar. With cover songs selected from Morita’s first four albums, Itakura’s vocals bring out the ethereal charm of Morita's writing across these tracks with third member and Subvert Blaze frontman, Hiroaki Fujiwara, backing her on acoustic guitar and violin. Against this backdrop of the duo’s acid folk harmonies, Hiroshige finds opportune moments to thrust his most volatile concoctions of noise and blissful distortion.

Maria Muldaur is a singer who was part of the American folk music revival in the early 1960s. P-vine is reissuing two albums released on Black Top Records by this diva who has spun American roots music.

"Meet Me At Midnite" is an album released in 1994 under the production of John Porter, known for his work with Buddy Guy and B.B. King. It features Maria's captivating vocals, enveloping listeners in the sultry atmosphere reminiscent of a hot summer night in the American South. Tracy Nelson, Bill Payne and Shaun Murphy of Little Feat, and Don Bryant & Ann Peebles are among the contributors, with Dan Penn also credited as a songwriter. With a prominent horn section, the album showcases songs with influences from Southern soul, such as the evocative "Sweet Simple Love," truly embodying the Memphis high sound. Alongside her previous work "Louisiana Love Call," this album stands as a significant piece in her career narrative.

Maria Muldaur is a singer who was part of the American folk music revival in the early 1960s. P-vine is reissuing two albums released on Black Top Records by this diva who has spun American roots music.

Released by Black Top Records in 1992, this album, as the title "Louisiana Love Call" suggests, is lovingly sent from New Orleans, making it a special addition to her career dedicated to pursuing the music of Louisiana.

Featuring collaborations with old acquaintances like Amos Garrett and Dr. John, as well as Aaron & Charles Neville, this album kicks off with a quintessential New Orleans Second Line Beat, "Second Line," by John Cleary. The title track, adorned with Aaron Neville's vocals and Amos Garrett's guitar, along with covers like J.J. Cale's "Cajun Moon" and two duets with Dr. John, "Best Of Me" and "Layin' Right Here In Heaven," make this album a gem filled with songs exuding the essence of the American South.

The vinyl edition comes with 6 high-quality lithograph art prints (by UK illustrator Hannah Alice) representing each of the birds on the album, held in a heavy board die-cut gatefold sleeve. This unique packaging is fully interactive - the cover image is interchangeable with any of the prints. Remastered by Brian Pyle from original tapes. Bert Jansch was often quoted as saying "I'm not playing for anyone, just myself" and this feels no more apparent than on 1979's 'Avocet', his beautifully meditative paean to British birds. For fans of Jansch this is often the album that is singled out as his best work. The freedoms...

In late 1996, after two years of persistent touring,Chisel was eager to document its quickly evolvingsound. Decamping from their native D.C. toBrooklyn's Rare Book Room, the power trioof Ted Leo, Chris Norborg, and John Duganteamed with engineer Nicolas Vernhes and cameaway with Set You Free, a remarkable, but largelyoverlooked, classic of the era. Originally issuedon the venerable Gern Blandsten imprint in April1997, Set You Free presaged the turn of the century60s rock revival, providing a counterpoint tosecond-wave emo. This deluxe 25th anniversaryedition has remastered and expanded theoriginal's 17-song track list with five period alternatesand rarities, plus a booklet of lyrics, photos, andan essay by Jes Skolnik. Get ready for the invasion.

On vinyl for th efirst time. Reissue of “Being and Nothingness,” the acclaimed 2012 sophomore album from California neo-thrashers Hexen “Being and Nothingness” saw the band continue evolving the combination of old-school ferocity, with a more progressive new-school technicality and dark and socially conscious lyrics that helped them stand out in the fiercely competitive Southern California thrash revival that birthed acts such as Warbringer, Fueled By Fire, Merciless Death, Bonded By Blood and Exmortus. “Being and Nothingness” - originally released by Pulverised Records – saw original Hexen co-guitarist Artak Tavaratsyan return to the band after a hiatus of several years, bolstering the foundation laid on the previous record by the shredding guitar assault of Ronny Dorian, the precise drumming of Cruz and the dextrous bass and searing vocals of Andre Hartoonian. The band's second album – which featured cover art from renowned metal artist Kristian Wåhlin aka “Necrolord” (At The Gates, Dissection, Emperor) - was hailed by Metal Underground as “a roaring spectacle of glossy solos and intricate song writing” and was praised as “one of the more impressive thrash albums” of 2012 by Sputnik Music. Hexen disbanded soon after the release of “Being and Nothingness,” with band members turning their focus to academic and collegiate endeavours and Cruz joining Warbringer.

Revival is a folk EP showcasing Annahstasia’s uncompromising vision, recorded live by the artist and her band over a one-week period in a Joshua Tree Airbnb. She sought a DIY recording experience in order to center the ‘’human aspect'' of her music, something she was missing in her previous work — like the less stripped-back collaborative album Sacred Bull she made with Jay Cooper (which led to her opening for Lenny Kravitz throughout Europe in 2019).

‘’Folk as a genre is rooted around the essentials, there’s no fluff, there’s just the expression of your life experience in your standing and the world and your cultural viewpoint,'' Annahstasia said in an interview with VMP. ‘’I’m borrowing aspects from places that I might not even know that are just subconsciously in my space that to me elicit power, strength, this feeling of capability and warmth. All of those things symbolize power to me, so when I’m making my music as a folk artist, my folk music is directionally guided, inspired and motivated by making people and myself feel empowered.''

Each song on Revival, recorded in a single take, is driven by that self-determination and goal of empowerment. As the title implies, it’s a sort of rebirth for the artist, whose name even translates to ‘’resurrection'' in Greek. The result is a stunning and serendipitous project built to stand the test of time.

Rarely does a band come along that seems to have it all-the look, the music, the chops, fan support, and the production. This band has the "it" factor. Introducing Human Code. Produced by Dino Elefante, whose illustrious career spans over 300 records with rock icons like Kansas, Petra, Mastedon, John Elefante, and Guardian, as well as George Ochoa (Recon, Woldview, Deliverance). Human Code's debut album Break The Silence is a hard hitting rock album with Melodic metal influences and a supergroup of seasoned veterans. Michael (Lee) Drive, former lead vocalist of Barren Cross, lends his powerful voice to the band, while George Ochoa, a virtuoso guitarist and keyboardist known for his work with Deliverance, Recon, Worldview, and Vengeance, brings his rich musical experience to the table. Drummer Terry Russell, previously of Word recording artist Holy Soldier, adds his dynamic rhythms, and Todd Libby, a skilled bassist and keyboardist who has graced stages with Recon and Worldview, completes the lineup. This 10-track powerhouse of an album delivers hard-hitting, face-melting rock that transcends the typical 80s metal revival. It's heavy both musically and lyrically. "When Dino told us that it was one of the best things he's heard in 20 years, I was skeptical," admitted Greg at Girder Records. "But wow, was he 100% accurate in his assessment." Tracks like "Socially Incorrect" and the title track "Break The Silence" are poised to become timeless anthems. The best bands have staying power, and their songs endure. Trust us when we say, "This album exceeds all expectations." With seasoned professionals who have perfected their craft, this collection of rock anthems, combined with an unparalleled stage presence, is second to none.

Although only 23 years old, Liam Grant's become a leading force in a much needed third wave revival of American Primitive music. The path was paved from the blues by Fahey, Basho, Kottke and so on, followed with a second coming heralded by folks like Jones, Rose, Basho-Junghans and others. Despite his age, Liam's the very definition of "an old soul" and while he draws on a wide variety of contemporary influences, he also channels a comprehensive history of the blues as well as a deeper energy that informs both his playing and songwriting. Features contributions from Mike Gangloff of Pelt, Grayson McGuire, and Ethan WL.

It goes without saying that the global metal scene would not be the same without SEPULTURA. For 35 years now, the Brazilian icons are not only a band revered worldwide; they have been, are and forever will be at the very forefront of Thrash Metal, trailblazing ever since they released their long-since legendary debut album “Morbid Visions” in 1986. While quickly establishing themselves as leaders of the second wave of Thrash already in the late eighties, to this day they never came even close to stagnation. “Quadra”, their mighty new undertaking, is proof of a will unbroken, a thirst unquenched and a quality so staggeringly high it’s a wonder this band doesn’t implode. Now three albums deep into what may very well be their strongest incarnation yet – uniting the talents of old-school members Andreas Kisser (guitars, vocals) and Paulo Xisto Pinto Jr. (bass), vocal force of nature Derrick Leon Green (vocals) and drummer Eloy Casagrande – SEPULTURA are an unleashed power to be reckoned with, uniting bucketloads of experience and youthful vigour in a totally revived way.

The two-piece rock band Taika’s (帯化) 3rd album ‘On Chitou Jichi’ (御池塘自治), originally released in 2023, is now available on vinyl. The album’s folkloric vocals and krautrock-inspired repetition swirl together with environmental sounds, creating an immersive atmosphere. The interplay between the post-Fourth World Revival soundscapes and the raw, earthy physicality rooted deep within the music blurs the line between the nostalgic and the novel, each reflecting echoes of the other.

In this album, Taika explores the residual sense of "foreignness" within the now-commonplace rock band format in Japan, re-examining it and injecting new possibilities for "translation" and reinterpretation into those gaps.

This release includes a large poster-style lyric sheet. Additionally, it comes with a download code for the digital version of ‘On Chitou Jichi,’ as well as a code for a destructive remix of Taika’s track “Kouraku Biyori” by the up-and-coming dub techno artist Yo, who is signed to Taika’s independent label, Zōen Keikaku.

This is a masterpiece album released in 1993 on Alchemy Records by Masonna, a solo project of Mazo Yamazaki who is acclaimed as one of the leading artists of Japanoise along with Merzbow and Emergency Staircase. It is finally being revived on vinyl!

Why you'll love it...
“Dave Van Ronk was bemused by the title of this album. He didn’t think of himself as a folksinger and had mixed feelings about what he wryly called ‘the Great Folk Scare’ of the 1960s. And yet, he was a central figure on that scene and this album was instrumental in shaping a new sense of what it meant to be a folk musician. A generation of guitarists took him as a model and honed their skills on his arrangements of ‘Come Back Baby’ and ‘Cocaine Blues,’ and his masterful reimagining of older traditions made him a defining voice of the folk-blues revival, showing that a young, urban performer could reshape songs from rural sources into modern, personal statements that were as rough and honest as anything from the hills or prairies.”

Why you'll love it...
“The moment country music was born, it started dying — at least according to a particular substrate of purists. For decades, they have dug in their heels for fiddle, for mandolin, for harmonies. Every so often, they get a win, pulling the rope over to their side in the endless tug-of-war between country music that incorporates the pop trends of the day (for both creative and commercial reasons), and country music that prioritizes mining the music’s widely mythologized tradition.

Marty Stuart was one of those artists. On 1982’s Busy Bee Cafe, the singer and mandolin player flaunted his real country bona fides via both his prodigious picking and the gaudy talent among the album’s personnel — earned in the course of a career that had already, apocryphally, lasted a decade in spite of the fact that Stuart was just 24 years old when the album was released. Far from being an appetizer to Stuart’s eventual commercial success, Busy Bee instead showcases his deep reverence for his musical forebears, radio playability be damned. The folksy release falls in line with a persistent strain of traditionalism even more than it does the commerce-minded revivals of Strait and Skaggs — a strain that endures today, fueled in part by inspiring performances like those captured on this album.”

In late 1996, after two years of persistent touring, Chisel was eager to document its quickly evolving sound. Decamping from their native D.C. to Brooklyn's Rare Book Room, the power trio of Ted Leo, Chris Norborg, and John Dugan teamed with engineer Nicolas Vernhes and came away with Set You Free, a remarkable, but largely overlooked, classic of the era. Originally issued on the venerable Gern Blandsten imprint in April 1997, Set You Free presaged the turn of the century 60s rock revival, providing a counterpoint to second-wave emo. This deluxe 25th anniversary edition has remastered and expanded the original's 17-song track list with five period alternates and rarities, plus a booklet of lyrics, photos, and an essay by Jes Skolnik. Get ready for the invasion.

Originally released in 2008, Mariee Sioux’s Faces in the Rocks immediately elevated the songwriter to the vanguard of a burgeoning California folk revival alongside Joanna Newsom, Devendra Banhart, Vetiver, and Alela Diane. Although Mariee had already made a name for herself as a touring member of Brightblack Morning Light, it was not until the release of Faces in the Rocks that Mariee’s agile fingerpicking and impressionistic songwriting made her one of the movement’s leading figures. Whale Watch Records (Assorted Orchids, Bingo Club) is proud to present this first-ever pressing of Mariee’s beloved modern folk classic on “Bone”-colored vinyl.

Hailing from the Los Angeles underground of the 1980s, Savage Republic forged an astonishing reputation for themselves as art-punk and industrial pioneers with their legendaryperformances. Their brand of ritualistically tribal exhibitions blurred the boundaries of Post-Punk and Industrial music.Their music incorporates minimialist bass rumbles, exotic and/or militaristic drumming, Arabic melodies, alternate tunings, primal chants and even a bit of surf guitar.Savage Republic released four full length albums in the 1980s, plus several live records and compilation tracks.1989 everything went quiet as the republic scattered to pursue other interests and their labels and distributors folded. After reuniting in 2002 for a brief U.S. tour supporting the boxed-set reissue of their five studio albums by Mobilization Records, several of the members began sharing ideas for new songs, reviving the band officially in 2005.In 2006/2007 Savage Republic added drum professor Alan Waddington (the Unforgiven) to the line-up and released "1938" on Neurot Recordings, the band"s first studio recording in 18 years. The limited edition "Siam" EP was also released on Neurot Recordings featuring alternate mixes of some of the "1938" material.In 2021 Savage Republic released the album "Meteora" on Gusstaff Records and during the tour promoting this album in January 2023, the band also played a concert in Wroclaw, Poland. It became not only a document of this route, but also a kind of summary of their entire history.The album is released in CD format (the entire concert), as a black LP (over half of the concert) and as a limited red vinyl with an 8-inch vinyl record (lathe-cut) added with a few remaining songs from the concert. Both LP versions were pressed on thick 200g vinyl. Vinyl versions include download codes with the entire concert.

On 12 February 1949 an angry mob stormed into the centre of the Ecuadorian capital of Quito, burning the offices of the city’s main newspaper and its oldest radio station to the ground.

On that tragic day Radio Quito had just broadcast a local adaptation of H.G. Wells’s The War of the Worlds. The novel – first published in 1898 and famously adapted into a radio series by Orson Welles – is one of the earliest stories to depict a conflict between mankind and a hostile race of extra-terrestrials. The large audience - not understanding that it was pure fiction - believed that intergalactic intelligence had invaded the country as all hell broke loose. Thousands began running the streets of Quito looking for shelter, chaos broke out, causing a deadly stampede. People blamed the broadcaster for the tragedy, formed a dense crowd and stormed Radio Quito, setting it ablaze. Several musicians, who were there performing, were killed.

In the decades after the second world war, outer space was on everyone’s mind and the ‘space race’ of the 1950s and 60s not only produced groundbreaking efforts to launch artificial satellites, send space probes to Mars and land a human on the moon, it also had a huge impact on the movie and music industry which was taking advantage of the world‘s fascination with space voyages and lunar missions to create instruments capable of mimicking imaginary interstellar sounds. These synthesised space effects that captivated the imagination of a whole generation of young Ecuadoreans coincided with a period in which workers and musicians from the provinces started flocking to Quito and to the commercial port of Guayaquil, some hoping to find regular work, others looking to break into the musical big leagues by getting hired by one of the prestigious urban radio station. These artists brought riches of rhythms to the major Ecuadorian cities who would soon witness the explosion of what would be known as “Andean Cumbia”.

That fusion, of tropical electronics mixed in with Andean melodies and lyrics describing the cruel reality of migrant workers, achieved massive success. And so while budding Ecuadorian UFOlogy lead to widespread extraterrestrial sightings, Ecuadorian musicians began released various albums consisting of traditional music combined with synthesisers in order to bring their traditional music into the space age. One of these musicians is Polibio Mayorga who had travelled 160km from his hometown of Chisalata to Quito where he showcased his talent as he championed the art of modernising his region’s ancestral rhythms - Huaynito, Sanjuanito, Albazo and many others - using the latest in electronic instruments.

After 4 years with Los Locos del Ritmo, one of Ecuador’s most popular bands, Polibio joined Fadisa (Fabrica De Discos S.A) in 1973 as a solo musician and songwriter before becoming their musical director a year later. While there he would team up with saxophonist extraordinaire Olmedo Torres, and for 10 years they would compose and arrange hits, not only for themselves but also for their fellow artists in the Fadisa family. Although Fadisa had countless labels in their roster, the jewel in their crown was Rondador and it was on that imprint that Polibio would release “Ponchito de Colores” and his famous album “La Farra Está Aquí”. With their novel use of Moog synthesiser, both become huge hit records and were broadcast constantly by Cosmopolita and Marañón de Quito – the two major radio stations of the capital. This led to a surge of interest in Andean cumbia, and the subsequent record sales helped to revive the country’s flagging music industry, turning Polibio into Ecuador’s most influential musician.

Polibio has never considered his music to be “tropical psychedelia” - although he thinks it would make a good name for a band. He has the sense of humour of a genius and the ability to make anyone laugh, yet he remains discreet, eloquent and humble … but as a musician he is daring and visionary, with an intrepid, vigorous style almost impossible to imitate. More than perhaps any of his peers, Polibio Mayorga established a unique place for himself at the vanguard of tropical music.

In late 1996, after two years of persistent touring, Chisel was eager to document its quickly evolving sound. Decamping from their native D.C. to Brooklyn's Rare Book Room, the power trio of Ted Leo, Chris Norborg, and John Dugan teamed with engineer Nicolas Vernhes and came away with Set You Free, a remarkable, but largely overlooked, classic of the era. Originally issued on the venerable Gern Blandsten imprint in April 1997, Set You Free presaged the turn of the century 60s rock revival, providing a counterpoint to second-wave emo. This deluxe 25th anniversary edition has remastered and expanded the original's 17-song track list with five period alternates and rarities, plus a booklet of lyrics, photos, and an essay by Jes Skolnik. Get ready for the invasion.

Oriental Beat by Hanoi Rocks gets the redux treatment, officially mixed and revived from the original sessions, and released on March 17th on deluxe vinyl, CD and digital formats. The CD and vinyl come with the song lyrics, checked and approved by Michael Monroe.

Dubbed the “re(al) mix”, this 40th anniversary edition was mixed by Petri Majuri at E-Studios in Finland in collaboration with the band. Vocalist Michael Monroe calls this release “the longest and slowest album project ever,” stating that “40 years in the making, it's not just a remix, but the Real MIX supervised and approved by Hanoi Rocks”.

Recorded in London, UK in 1981, for 200 pounds a day, Oriental Beat was made during the height of the British punk + New Wave movement, when the band was hanging out with everyone from Phil Lynott to the Damned. Hanoi Rocks’ original drummer Gyp Casino says of Oriental Beat that: “Back in the days we gave heart, soul and a bit of pain to make this record something else” but the sound of the album, originally released in 1982, did not match their efforts at the time. Bassist Sami Yaffa called it “the worst sounding album of our career” and Michael Monroe said that “the producer of the album didn’t have a clue what the band was about and his mix of the album was horribly wrong”.

Oriental Beat’s original engineer Peter Wooliscroft, was not a rock producer, and according to Hanoi Rocks’ manager Richard Bishop he “tried to mix the album to sound like Spandau Ballet”. Released before the band could remix or rerecord it, as the label had run out of money, and the master tapes had gone missing, the band has always considered the original mix of Oriental Beat to be a “disaster”. With the tapes mysteriously showing up in the Universal vault recently, the band was finally able to mix and resequence the album the way they wanted it to sound.

Oriental Beat is a defining masterpiece made when Hanoi Rocks was about to explode onto the world scene and written at the absolute peak of lead guitarist Andy McCoy’s creativity as a songwriter. Rhythm guitarist Nasty Suicide says “only now, with stripping it down to the bare essentials and tweaking it to bring out what was really laid down it became our dream come true! This is what it's all about” as this definitive edition of Oriental Beat now fully displays the ultimate arrogance and attitude which defined the band. Monroe says: “now, 40 years after its original release in 1982, we finally got the album sounding as great as it deserves, with no overdubs or samples,” and McCoy adds that: “It's better now than ever. This is what it was meant to sound like. So enjoy it...Another shot of Hanoi Rocks”.

Over the past four decades, the Pacific Northwest has been responsible for producing a specific sound and mindset that has permeated throughout hardcore. This tradition has been passed down the upper echelon of Interstate 5 by bands such as Brotherhood, Undertow, and Trial. The tradition has endured in modern times, but has not seen a worthy predecessor since the youth-crew revival of the mid-2000s. Enact is a straightedge hardcore band from Portland, Oregon, who have taken up the mantle of continuing the area’s legacy with veteran members of the West Coast hardcore scene whos contributions include bands like Blue Monday, GET THE Most, Cutting Through, Dying FOR IT, Dance FOR Destruction, and Xcauterizex. On the record, the Pacific Northwest tradition can be heard in guitarist Kyle’s songwriting, which can be attributed to his tenure in the area; however, Enact draws influence from the Revelation Records/1980s hardcore scene through bands like Bold and Judge, with the refreshing melodic elements found in bands like Burn and Turning Point. The lyrics are channeled through the lens of singer Rikki’s lived experience as a Chicana and include ideas about straight edge as a catalyst for personal growth and healing from trauma, intersectional veganism, challenges to political apathy, and gun violence’s connection to toxic masculinity. The band and label are proud to release this crucial expression of radical politics and urgent ideals. Enact believes that amplifying the voices of Bipoc is essential to hardcore and punk and is dedicated to the work of forging a safe and inclusive community.

Such an elusive British artist, Christine Harwood was sailing the sea of lone folk singers with a sole album of rare beauty. Released in 1970 on small british label Birth, Nice To Meet Miss Christine is still an exercise in pure beauty, a dramatic/magic affair that materialized into thin air and suddenly was gone. Featuring a who’s who of the british prog and psych-folk scene – the late King Crimson alumni Ian McDonald on sax and flute, drummer extraordinaire Pete York, Nucleus and Jody Grind bass player Roger Sutton, Strawbs guitar player Dave Lambert – the album is more than a miraculous rendition of the (acid) folk revival venturing on more audacious territories, as shown in the rare groove of standout track Wooden Ships. Blue eyed soul and yacht rock fanatics take note !

Standout favorites of Riding Easy Records’ Brown Acid compilation series, White Lightning’s stellar discography of rare and under-appreciated heavy psych, proto-metal rock gets a vital revival for new generations to learn how swinging, swaggering and often blazingly fast rock’n’roll is done. White Lightning was formed in Minneapolis, MN in 1968 by guitarist Tom “Zippy” Caplan and bassist Woody Woodrich after leaving garage psych band The Litter (themselves popular standouts from the Nuggets and Pebbles series of garage rock rarities.) Originally a power trio, the band later expanded to a five-piece in 1969 while shortening its name to Lightning. The quintet’s brilliant and rare 1970 self-titled album on Pickwick International’s P.I.P. imprint provides six of the ten tracks on Thunderbolts Of Fuzz. The original White Lightning trio only released the one 45-rpm single “Of Paupers And Poets” during their existence (on local Hexagon label in 1968, later reissued by major label Atco Records in 1969.) A long out-of-print posthumous album released in 1995 gathered unreleased recordings, three of which are found here. This rounds out this collection of recorded highlights from the band’s rocky history. Taking their name from a particularly potent type of LSD, White Lightning laid out from the start that it was not cute and cuddly ’70s rock. In fact, the band’s aggressive tempos are like punk rock way before punk. However, their dirty blues groove and musical prowess shows the band was more than unrefined ne’er-do-wells, they had true versatility.

"After a gap of seven years, Jintana & Emeralds have returned to charm once again with their genre-hopping blend of doo-wop melodies and futuristic electronic productions. Across these ten tracks, the band seek out fragments of beach-pop, surf and soul of the sixties, and feed them into a Japanese built revival machine. P-vine is delighted to be bringing this album to vinyl format in what’s been a year of celebrating past and new for a band who continue to take life in their stride. The celebrations get underway without hesitation on album opener ‘Oh! Southern Wind,’ where hitomitoi’s spell-binding vocals pull down the covers, setting off a hall of swaying melodies and glistening strings as the corkscrews fly. ‘Love Again,’ with a guest appearance from Stones Throw Records’ almighty Los Retros, is an album highlight, and in the context of the record, his vocals take on peculiar likeness to Tetsuro Yamashita as the band deliver a dreamy modern-day city-pop classic.

Originally released in 1972, Cosmo - the only solo effort from Creedence Clearwater Revival’s drummer Doug “Cosmo” Clifford - was recorded not long after the breakup of the legendary Bay Area band. Encompassing elements of country and R&B, plus plenty of up-tempo hooks, Cosmo includes eight original compositions, plus covers of tracks from the Spencer Davis Group (“I’m a Man”), John Sebastian’s “Daydream” and Doug Sahm’s “She’s About a Mover.” The album features CCR’s bassist Stu Cook on rhythm guitar, legendary sideman and Stax session musician Donald “Duck” Dunn on bass, plus members of Tower of Power on horns. Available for the first time in 45 years, the album is newly remastered by Clifford, pressed on 180-gram vinyl and housed in an old-school-style, tip-on jacket. An essential addition to every CCR or Grateful Dead aficionado’s record collection.

Named for the band’s third lease on life, Third Wind finds Gulfer at a unique moment in their ten-plus year career. When they started in 2011, Gulfer played scrappy, complex math rock influenced by the emo revival. But in 2024 they’ve emerged almost unrecognizable, while still retaining the spirit of what made them all fall in love with Gulfer in the first place.

Third Wind’s stylistic turns are emphasized by deeper texture and simpler songwriting, influenced by the reemergence of 90s alternative and shoegaze. With a new emphasis on atmosphere and more straightforward composition, Gulfer give themselves space to explore audaciously. Album opener “Clean” gets as close to pop as the band has ever been, where “No Brainer” dabbles deftly in downer rock that asks “what even is my fucking place in the world?”

Bold juxtapositions feature elsewhere on Third Wind: pop-punk bruiser “Too Slow” stops on a dime before evolving into a slow burning drum n bass passage, all within two minutes. And then there’s “Heartshape”, a downright love song shrouded in virtuosic performance and electric-acoustic counterpoint. Although these contrasts could be construed as aimless fiddling, their seamlessness is the true essence of Third Wind, indicative of a sage band with a renewed love for what they do.

From the streets of Venice Beach CA, come Ottto, the electric eclectic funk-punk-rock stew who release their first full-length studio album Life Is A Game on March 24th, 2023. Bassist Tye Trujillo, lead vocalist/guitar Bryan Noah Ferretti, and drummer Triko Chavez spill their aggressive groove centric vibe throughout the 10 track, Tim Harkins (Korn, Jerry Cantrell) produced album, as Ottto lead the charge on a full-tilt Old School giant riff revival with pride and raw, unfettered passion. Double-stuffed with melody, Ottto throw it all down within a potent DIY punk attitude, infused with plenty of alternative chemical imbalance! "My Pain", "Skyscraper" and the ultra-dynamic "Night Howlers" are loaded with the sort of grease, grime, and funkified riffage that can only come from the hearts and minds of unpasteurized, raw warriors. If Life Is A Game then Ottto are going at it hard, fast, and without any traditional rules.

The first color pressing of this title. We’re talkin’ Tex-mex Rock ‘N’ Roll! In this show from January 21, 1981, Doug Sahm (aka Sir Doug) reunites with original band members Augie Meyers and Johnny Perez, along with the legendary Alvin Crow on guitar and Speedy Sparks on bass for a no-holds-barred, rip-snortin’ Texas rock ‘n’ roll revival. Back in the day, the SIR Douglas Quintet was Texas’s answer to the British Invasion. With the arrival of the Beatles, Sir Doug & Co. saw their chance to break out the rough, Chicano-influenced rock they had been playing in the joints around San Antonio. They donned English-looking suits and hit the charts with “She’s About A Mover” in 1965. Nobody was quite sure where they came from, but they rode the English-pop wave to fame. There’s something contagious about Augie’s cheesy, pumping Vox organ chords and Sir Doug’s chang-a-chang rhythm guitar over Johnny’s Mexican drumming style, drenched in psychedelia, that stood out from everything else at the time. And it still does today. You may not be able to sit down through “She’s About A Mover” or “Mendocino,” but that’s OK. Doug is no longer with us, but you can be sure that somewhere he’s still kickin’ out the jams. - Terry Lickona (Producer Austin City Limits®)

Limited to 300 copies. Out of print for years, and remastered from original source tapes, this RSD First release comes on colored vinyl with new art and new full color inserts.

Flower Pedals/Knife Fight/Revival/In Your Head/Diamonds/Vibrations/Electric Séance/Lou Reed/Motorcycle/Smiling

The new EP from American Nightmare and their first 10" vinyl release. Dedicated To The Next World is AN refusing to rest on legacy. The legendary hardcore punk band returns with four new songs that sound like classic and future AN, stripped down and sped up to their trademarked urgency and live violence. With stream of conscious lyrics and existential dread, these are revival songs for the modern disenchanted. The band’s volatile mix of traditional American hardcore, dark aesthetics, and singer Wesley Eisold’s (cold Cave) emotional lyrical prose set a new creative standard for the worldwide hardcore community. "How I Got Away" recalls AN's anthemic hardcore sound a la tracks "We Are" and "The World Is Blue." "Self Check-Out" is a minute-long punk blister. "Real Love" flies like speed fueled Stooges and "Praying Hands..." nods to the influences of Bad Brains and Negative Approach. Having started in 2000 and initially breaking up in 2004, the band reunited in 2012 and subsequently launched a second life of lauded shows and records proving that there is life after youth. Recorded live to 2 inch tape by American Nightmare drummer Alex Garcia-Rivera at Mystic Valley Recording Studio in Boston. Mastered and cut for vinyl by Bob Weston at Chicago Mastering Service.

When we talk about british folk revival we should not forget a key figure as Ian A. Anderson, a songwriter on its own and a truly prime mover in the local scene. Currently editor of the ‘world music magazine’ fRoots, Ian A. Anderson first performed in his home town of Weston-super-Mare as a member of the Backwater Jook Band and came to prominence as a member of the Bristol based country blues scene of the mid to late 1960s, performing live and on record, both solo, with Al Jones and Elliott Jackson as the trio Anderson Jones Jackson, and as a duo with ‘globetrotter’ and long time friend Mike Cooper. After two EPs, he recorded his first album, Stereo Death Breakdown, as Ian Anderson’s Country Blues Band, which was released by Liberty/United Artists in 1969. In December 1969, with John Turner, he conceived the record label The Village Thing, for which he was also a producer. The label released two dozen albums by mostly between 1970 and 1974 including influential albums by Wizz Jones, Sun Also Rises, Pigsty Hill Light Orchestra, Steve Tilston, Dave Evans, Lackey & Sweeney, Chris Thompson, Dave Peabody and more, as well as three by Anderson himself. ‘Royal York Crescent’ is proper solo debut was licensed the 13th of Novemebr 1970 and is still considered as a forerunner of the acid folk movement . His lightly fingerpicking was backed by bongos – Ian Turner – and bass/piano – John Turner – providing a dynamic effort for his spectacular lyricism. This long lost classic is finally backing in print for your necessary uplifting entertainment.

The world-renowned guitarist, Bert Jansch, has long been celebrated for his innovative playing style, influencing generations of musicians and fans alike.
A companion piece to 1966’s Jack Orion, The Ornament Tree gets newly reissued with liner notes from Colin Harper, who wrote the biography of Bert and the new folk Revival, Dazzling Stranger. Bert’s eighteenth studio album comprises Scottish and Irish traditional songs. Filled with ballads like the title song and instrumentals ‘The Rocky Road to Dublin’ and ‘Lady Fair’. Tradition is threaded throughout with the accompaniment of Celtic fiddles, flutes and bodhran. It features performances from Maggie Boyle, Peter Boyle, Steve Tilston and Michael Klein.
It’s been over thirty years since The Ornament Tree’s initial release, here Jansch continues to prove his importance in contemporary folk with this timeless and invigorating offering.