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Orange vinyl

RSD First, Limitation: 2000

In 2024, Little Big Town releases their first, highly anticipated Christmas album. The album includes eleven Christmas songs, both new and classic. At record stores starting RSD Black Friday on Olive Garden green vinyl.

“I went mourning without the sun; I am a companion to owls.”

In the autumn/winter of 2010, Singapore-based April Lee and Ricks Ang of Aspidistrafly (also founders of Kitchen. Label) embarked on the recording of their second album A Little Fable in Japan in collaboration with several artists. Fascinated by the patina of time and themes of folklore, A Little Fable narrates a surrealist procession of tales, twelve compositions simmering one into the other lyrically and picturesquely. This album sees the duo returning to a warm, organic palette of closely-whispered vocals, fingerpicked guitar, string arrangements and their trademark texture-focused arrangements. Featuring guest collaborators Kyo Ichinose, Seigen Tokuzawa, haruka nakamura, Junya Yanagidaira (ironomi), honagayoko, Akira Kosemura, Janis Crunch and more.

A dusty bottom drawer of forgotten memoirs is unlocked, and the album opens with a mourning, solitary cello while a harmonium drone forebodes an oscillating motif of glockenspiel tones, or sprinkled stars if you will. In Landscape With A Fairy, a tale of loss and longing during the earliest dawn mist – the world in its daily transition – is daubed in the hues of intensified sunlight, foliage or shadows, only to be diffused and faded by time, not unlike Andrei Tarkovsky’s polaroids of the Russian countryside. April Lee’s intimate vocals and acoustic guitar gently break the silence of a cold morning, backed by graceful string flourishes arranged by Kyo Ichinose. Kitchen. Label’s very own haruka nakamura and Junya Yanagidaira (ironomi) add harmonizing colors of the guitar and piano respectively.

Tracing the mysterious migration routes of nocturnal animals, Homeward Waltz skips home along a breadcrumbed-path with ephemeral glimpses of forest sights, ornamented by violins and other curious sounds before fulminating into a amorphous guitar drone, as Seigen Tokuzawa’s improvised cello strokes drift and wander with split-second apparitions in the night sky. Sounds of wooden creaks and early morning spoon-in-coffee stirrings permeate the spontaneous atmosphere of Cocina. honagayoko’s quaint and chopped piano phrases waltz with spliced vocals and flute.

Emerging from the darkened foliage into a vast, cryptic hemisphere, the second half of the album teeters on the frailty and transitoriness of the world. A Little Fable’s voyage reaches a turning point by SEA OF Glass. Ricks Ang constructs a prolonged arpeggio of sonorous looping guitar motifs that float in and out of focus, reverberating almost like a narcotic percussion across tumultuous oceans. Now distanced and gauzy, sounds of surging waves open Countless White Moons in a misty indefiniteness, yet held together charmingly by Akira Kosemura’s luminous piano. The elusive narration in Language OF Flowers tells of a deliberate escape from the passage of time with a folkloric enchantress who wordlessly casts her spells. In Gensei, April Lee relates an unspoken anguish in her tender, wavering vibrato while Janis Crunch’s somber piano and chorus vocals loom like a harbinger of death. The last chapter Twinkling Fall, the second track to feature haruka nakamura, now shuts the drawer of secrets, dissipated monochrome colours restored once again to full bloom.

A Little Fable is available on CD and the digital format on 15th December 2011. The physical CD copy comes in a 48-page artbook edition (21 x 15cm) featuring photographs and collages by April Lee and Miu Nozaka, with styling by Rika M. Orrery, who have, from their expeditions during the making of this album, directed a dream sequence around the encompassing atmosphere of a secluded hilltop cottage, a forest hued in the splendor of autumn and distant, rocky shores.

Orange Vinyl.
Record is close to near mint.
Includes original inner sleeve.

NYC’s 75 Dollar Bill began its prolific career in 2012, after percussionist Rick Brown—a veteran of the indie underground (Fish & Roses, Run On, V-Effect)—and noise scene guitarist and multi-instrumentalist Che Chen—connected via MySpace. Since that initial jam session, when Brown began experimenting with his signature plywood crate drum rhythms, they have released three LPs and a clutch of self-released cassette and digital releases. Last year’s double album I Was Real received serious critical acclaim—The Wire calling it 2019’s Album of the Year. On their first live album, Live At Tubby’s, 75 Dollar Bill assembled a unique “little big band” [Sue Garner on bass, Cheryl Kingan on sax, Steve Maing on guitar, Jim Pugliese on percussion and Karen Waltuch on viola] for the small Kingston, NY club show. Recorded on the last day of their spring tour, the record puts a new perspective on themes from their body of work: a little more intimacy, a little more freedom, a little more controlled chaos. Brown’s idiosyncratic rhythms are all the more hypnotizing in Tubby’s cozy setting, and Chen’s furious guitar work cuts and hums with sounds seemingly only attainable on stage. It’s an album both challenging and immediate. The expanded 75 Dollar Bill’s affinity for improvisation and the avant-garde even leads to a rousing take on the Ornette Coleman classic, “Friends And Neighbors” that feels right at home in their own repertoire. The listener can’t help but feel present and part of the communal joy and catharsis being shared here in this room. This performance at Tubby’s turned out not only to be the last show of their tour, but the last show possible as the pandemic hit. Originally offered as a digital-only release on 75 Dollar Bill’s Bandcamp, Live At Tubby’s now documents a highlight and closure of sorts; this kind of musical improvisation and community interaction being on hold for the foreseeable future. This double album on Grapefruit will have to tide everyone over until it can all happen again.

No Obi, with inserts.

Japanese pressing with OBI and insert. Faintest foxing on obi and back cover. Record is close to NM.

With golden voice and silver-dipped pen Grant-Lee Phillips presents another milestone in a career brimming with the like. Little Moon is track after track of well-anchored classic American music - rock and folk swirl under clouds of cinematic strings for a primer on the art of the timeless tune. His legendary well of melody is in full display on Little Moon, with even the most lilting piano ballad standing comfortably on a thick, powerful trunk ('Older Now'). Long one of Los Angeles' most sought after songwriters, Grant-Lee meets Little Moon with positive inspirations including the birth of his daughter Violet ('Violet') and a creative calm that saw the songs well up organically from earlier live collaborations with drummer Jay Bellerose, producer bassist Paul Bryan and keyboardist Jamie Edwards. Captured live in the studio with limited overdubs, the album keenly chronicles the sunny day feel of the songs and that ever-elusive in the moment groove of a finely-tuned band working out equally finely-crafted. Upon Little Moon's 2009 release, American Songwriter named it "His strongest album ever." This limited edition pressing is on burgundy color vinyl and limited to 1,000 copies worldwide.

Highway Heroine Bakersfield Twang backed by the Buckaroos! Got your ears on? This album collects Kay Adams’ live studio cuts from the Buck Owens Ranch Show. Along with Tammy, Patsy and Loretta, Kay was one of country’s first female artists who elevated women in the genre. Gritty and country-to-the-bone, let this one spin & cut a rug! Pressed on pink vinyl!

More info on the color coming soon.

with booklet

CD comes in a soft case, instead of the original crystal case.
All booklets included.

Take part in the sound of Bogota's eclectic cumbia scene that permeates the ritual sonido of this new 7" Vinyl by Conjunto Media Luna, out now on Little Beat More!

Enter the labyrinth that transcends the danceable and psychedelic, guided by the Colombian accordion and ecstatic percussion of their slow-pitched beat.

The 7" includes 2 songs taken from the debut album "Noches de media luna", with the iconic "Conjunto Media Luna" and "Perdi´ mis temores" featuring colombian rappers N. Harden & Mismo Perro!

Take part in the sound of Bogota's eclectic cumbia scene that permeates the ritual sonido of this new 7" Vinyl by Conjunto Media Luna, out now on Little Beat More!

Enter the labyrinth that transcends the danceable and psychedelic, guided by the Colombian accordion and ecstatic percussion of their slow-pitched beat.

The 7" includes 2 songs taken from the debut album "Noches de media luna", with the iconic "Conjunto Media Luna" and "Perdi´ mis temores" featuring colombian rappers N. Harden & Mismo Perro!

"The most underrated songwriter of our times" - Los Angeles Review Of Book.

Why you'll love it...
“Alan Jackson’s 'A Lot About Livin’ (And a Little ’Bout Love)' is maybe the most straight-ahead album to top the country charts in the modern era. It’s an album that could have come out in 1992, 2002 or 1972, in that it’s built on the pillars of country music: honest songwriting and a kickass band. It’s an album that strips all artifice and is easy to love; you just get the straight dope of Jackson’s life lessons on everything from romantic disappointment to how to get over a fight with your wife. It’s a rare album that delivers on its title — nothing more, nothing less."

Story has the power not only to entertain, but to shed light. Matt Wheeler invites you on a journey into story with 'Wonder of It All', a collection of songs based on classic works of literature - namely 'The Little Prince', 'Watership Down'', 'The Horse & His Boy', 'The Hobbit', & 'Orthodoxy' - woven together by engaging audiobook-style narrative story pieces. The vinyl version of the album also features instrumental versions of all of the songs.

After the very successfull "jimmy Widener" first issue on the label dedicated to Hillbilly musice: "red Barn Record", We had dig a little more into our personnal shellac collection to offer you the complete Bullet sessions, 1950-52 of this obscure but very talentful "proto" rockabilly band. Two year before Elvis recordings at SUN, you already feel the wind of musical change' a coming!

The Engineers, Abas Miraftab and Reza Agah, recorded and produced this 7’ "Persian Girl" sometime in the late 60s or early 70s. The first edition was independently pressed outside of Iran and only a few copies exist today. Little else is known about the band's music or history.

This stereo recording by far is the best & strongest rhythmic Persian music ever recorded the power burned in the grooves is immense. Turn the volume up, it will make you feel happy to listen & dance to.

"First Flight" documents about 40 minutes of jams recorded during the third week of my September residency at Nublu last year, and, for me, this show was just about the most enjoyable hour of music I played all year.

The ideal of the residency was to mix things up with special guests, different band lineups, and varied set lists, keeping things fresh and new week-to-week, and this show was the wild card of the bunch.

That's because although Ryan and I have played together for years, and Dave and Spencer have played together for years, neither half of the band had ever met each other. I was tangentially aware of Dave and his music and was intrigued by what I'd heard, so I thought it was a cool idea when Chris Tart, the residency promoter, suggested a collaboration.

So, about 30 minutes after we'd all heard each others voices for the first time, we got up and played for a little over an hour, uninterrupted. The only thing discussed beforehand was that we shouldn't discuss anything beforehand - not a key or a riff to start with, nothing - so as to preserve maximum spontaneity.

I think this music demonstrates a real connection on stage. In other words, each player was completely present and actively listening on the bandstand. Listening back, there are moments I can hear Ryan saying - musically - "Hey, let's go over here! Check this out!," or Spencer being like "Wouldn't it be cool to go down this path?" And we followed. And it was cool.

In my mind, that listening thing is the number one most important factor in any collaboration or cooperative effort, but especially in improvised music.

And I think it's fair to say that a little more listening, a little more presence, would do the whole world some good right about now, don't you think?

-Chris Forsyth

The album chronicles a show performed by Baez in a bullring, naturally, in Bilbao, Spain, in 1988, and it demonstates what makes her such a draw overseas. Half of the collection, side two of the LP, consists of songs sung in Spanish.
»This record was made in a bullring in Bilbao, Spain, in 1988. It is dedicated to the Mayor and the people pf Bilbao, who came out between thunderstorms to see me perform. The song in Catalan "Txoria Txori" is about a sweet little bird ... I want to thank Pasku who taught it to me, and thank the Bilbao public for singing it so beautifully.« — Joan Baez. Illustrations by Joan Baez; additional vocals Mercedes Sosa.

Neil Young’s extensive tour with Crazy Horse in 1976 comes after the release of On The Beach in 1974 and two albums, Tonight’s The Night and Zuma, the following year. The first live appearances with the new Crazy Horse with Frank (Poncho) Sampedro replacing the deceased Dan Whitten consist of four shows in ten days in little clubs and bars in northern California, dubbed the “Rolling Zuma Revue.” An extensive world tour was booked, called “The Year Of The Horse,” beginning on March 3rd, 1976 in Nagoya. This was Young’s first visit to Japan and he played seven shows in Nagoya, Osaka, Fukuoka, and Tokyo.

Portland"s Jerry Joseph is a bonafide "triple-threat", a prolific and accomplished songwriter, a powerful singer and a memorable performer. In his four-decade career; as a solo artist, with the Jackmormons, supergroup Stockholm Syndrome, his two-piece The Denmark Veseys, his beloved 80s cult band, Little Women, or most recently with Drive-by Truckers backing him; he has continuously toured the world, including such unlikely locales as Lebanon, Israel, Kurdish Iraq, India, Cambodia and Afghanistan, and released a steady stream of albums.Baby, You"re The Man Who Would Be King was recorded in NYC and produced by Eric "Roscoe" Ambel, and features a band made up of some of New York"s best players.

Released when Dolly Parton was 27 years old, the introductory track of My Tennessee Mountain Home finds her reading an old letter she wrote to her parents when she left home to chase a music career in Nashville at age 18. Her dispatch from Music City embodies a familiar feeling, no matter where you come from: going off on your own, only to find you miss all the trappings of home that you never noticed or appreciated.

‘Where I came from, people never dreamed of venturing out. They just lived and died there,’ she told Playboy in 1978. ‘To me, a little kid coming from where I did and having that ambition and sayin’ I wanted to be a star, people would say, “Well, it’s good to daydream, but don’t get carried away.”’

Songs My Friends Wrote is an album I've been threatening to make for years. It's a bunch of tracks that are my versions of a bunch of...songs my friends wrote. I'm fortunate to count a lot of world class songwriters as good pals and I wanted to shine a little light on some of my favorite examples of their work. In most cases I've picked relatively obscure songs that have always spoken to me, even though many of them won't be so familiar to people. The best part about recording all these tunes was that they reminded me of all the people who I haven't been able to hang out with for the past two years because of the plague we've all been dealing with. All of these tunes bring a smile to my face and I hope they do the same for you. - Corb Lund

180g Vinyl.Continuing the work begun on her acclaimed 2019 albumThis World is Too _____ For You, Emily Wells' newest releaseIn The Dark Moving reimagines the original tracks hailed byNPR as "visionary" and "mind-blowing." Initiallycommissioned by Saint Paul Chamber Orchestra's LiquidMusic Series and Metropolis Ensemble, this latest recordingoffers a thoughtful, minimal companion piece to theoriginal music in the form of Wells, her guitars, and nothingelse. Recorded solely by Wells in her Harlem studio duringthe summer of 2019, she reflects, "I'm interested in gettinganother look at a song, both in performance and recording.It keeps the song a living thing. I began working on theserecordings out of curiosity. I wanted them to be the sort ofthing a person could put on quietly at the end of the day ona little speaker and watch the light drain."

With a timeless, emotive vocal quality reminiscent of the great Nina Simone, Danish vocalist Nana Rashid is proud to present "Music For Betty", her debut on April Records, this spring. Backed by critically acclaimed trio Little North, the record presents 8 gems which showcase an artist with a commanding stage presence and a knack for storytelling that belies her youth. Walking a tightrope between an homage to her idols and an undeniably modern, self-assured performance, the vocalist places herself in the present through her charged lyricism, and political/spiritual undertones.The heart and soul of everything Rashid does is rooted in the belief that music can remind us of what we have in common - our humanity. A reference to the first track "Poor Blue Betty", the album"s name is a tribute to the parts of ourselves we dismiss but still so badly desire as they are what make us whole. The eight tracks on the record were written and chosen out of a wish to make music for the dismissed parts of Rashid"s soul as a tool to reintegrate them into herself.A follow-up to her 2016 release "Sorrow In Sunlight", her use of piano trio Little North adds an extra dimension to the cohesion of the music. Appearing on the cover of Spotify"s "State of Jazz" playlist (twice!) and with a glowing review in Downbeat Magazine for their 2022 album "Familiar Places", their subtle musicianship shines a light on Rashid"s power-ful vocal and allows the lyricism and songwriting to speak for themselves.The arrangements are naked and raw, yet elegant. The piano trio has a dusty and at times almost cinematic sound to it. In other places, the trio slides into punchy, organic pression supporting the wailing messages of unfairness and sorrow. From the spacious, Scandinavian-jazz tinged "Goodbye My Love", to the world of texture and extended techniques from pianist Benjamin Norholm Jacobsen in "Johnny Guitar" to the laid-back groove of "Mother, Father" with an American attitude, the album flows through a sea of influences, grounded by i...

Fred Cole’s legendary 1961-1966 band. The 12" is a straight reissue of the 1968 LP (unfortunately originally released as "The Lollipop Shoppe" but now returned to the real name of the band). One 7" features artwork from the Weeds' 1971 single and contains the 4 songs released as The Weeds (originally on separate 7", one released 1971 and the other 1966 which includes cover of Them's "Little Girl"). The other 7" features artwork from the 1968 Lollipop Shoppe 7" but since those two cuts were included on the LP, this features 4 other songs, "Someone I Knew" and "Through My Window" from the 1969 single, and "Who's it Gonna Be" and "Mr. Madison Avenue." Instead of pressing a double album that could have provided more material, this package was done intentionally to house all the essential cuts (and all the original artwork of the LP and 7" releases)."

Michael Hurley's first new studio record in 12 years features eleven songs recorded in Astoria, Oregon during the brief time of year when the foxgloves bloom. Hurley had been workshopping the set at home for the past few years. Friends and collaborators came into town and contributed from afar. The songs are lifted by violin, organ, upright bass, banjo, percussion - but at the center, of course, is the enigmatic Snock, whose songs have grown only more unique and more 57 years after his debut album (First Songs - Folkways, 1964). It could only be Snock. Heartbreaking, heartfelt, easy and carefree. The glorious opener "Are You Here For The Festival" - punctuated by a pair of violins - came to him while working in the garden. "Little Blue River" floats by on a cloud. The haunting "Jacob's Ladder" sounds beamed in from another era. Or dimension. Foxgloves is as comforting and wonderful as any Hurley record that has come before it.

Mexican Singer/Songwriter Graciela Maria has been singing since she was a little kid. Having livied in Mexico City for many years, she was part of the mexican electronic music scene and made music with local producers signal deluxe.

In 2009 she met berlin based producer Robot Koch in New York at his show at Coco66 in Brooklyn.
They started making music together and Grace was featured on Robot's album “Death Star Droid” as well as on the Ep “Listen To Them Fade”. 2009 marked the beginning of a journey both musically and geographically for Graciela, as she moved from Mexico City to Berlin and started playing shows wolrdwide with Robot Koch.
They played everywhere from the Sonar Festival in Barcelona to some obscure art festivals in Bulgaria and Tunesia.

With Many Places, Graciela Maria's stunning debut album, she steps into the light as more than just a featured vocalist on Koch's electronica and dubstep driven compositions: Her own music breathes the vibe of classic singer/songwriters like Tim Buckley and Elliot Smith, with the music and the production being even more organic and live sounding than on the previous Koch tracks. The songwriting took place all over the world, as Graciela traveled and lived in many places recently, accompanied by her little notebook and her digital camera, which she uses to record song ideas on all the time. The topics she deals with are both surreal and personal and leave it up to the listener to be interpretated.

Producer Robot Koch teamed up with friend and fellow musician Sneaky (Fingathing / Ninja Tune) to create this organic and retro futuristic sounding album, that incorporates Double Bass, Live Drums, Cello and other String instruments and well as a subtle touch of cutting edge electronic production which Robot Koch is know for. The track "Many Places" features a string arrangement by Fiora Cutler.

Graciela Maria is an artist to watch out for in the future as she proves to create timeless pieces of music that are appealing to Indie/pop listeners and lover's of electronic music alike.

Mexican Singer/Songwriter Graciela Maria has been singing since she was a little kid. Having livied in Mexico City for many years, she was part of the mexican electronic music scene and made music with local producers signal deluxe.

In 2009 she met berlin based producer Robot Koch in New York at his show at Coco66 in Brooklyn.
They started making music together and Grace was featured on Robot's album “Death Star Droid” as well as on the Ep “Listen To Them Fade”. 2009 marked the beginning of a journey both musically and geographically for Graciela, as she moved from Mexico City to Berlin and started playing shows wolrdwide with Robot Koch.
They played everywhere from the Sonar Festival in Barcelona to some obscure art festivals in Bulgaria and Tunesia.

With Many Places, Graciela Maria's stunning debut album, she steps into the light as more than just a featured vocalist on Koch's electronica and dubstep driven compositions: Her own music breathes the vibe of classic singer/songwriters like Tim Buckley and Elliot Smith, with the music and the production being even more organic and live sounding than on the previous Koch tracks. The songwriting took place all over the world, as Graciela traveled and lived in many places recently, accompanied by her little notebook and her digital camera, which she uses to record song ideas on all the time. The topics she deals with are both surreal and personal and leave it up to the listener to be interpretated.

Producer Robot Koch teamed up with friend and fellow musician Sneaky (Fingathing / Ninja Tune) to create this organic and retro futuristic sounding album, that incorporates Double Bass, Live Drums, Cello and other String instruments and well as a subtle touch of cutting edge electronic production which Robot Koch is know for. The track "Many Places" features a string arrangement by Fiora Cutler.

Graciela Maria is an artist to watch out for in the future as she proves to create timeless pieces of music that are appealing to Indie/pop listeners and lover's of electronic music alike.

"Charlotte's Amigo is unhinged, but I mean that in the nicest possible way. The cowpunk-tinged hardrockabilly trio is open-hearted, joyous and wickedly funny, yet its superbly crafted melodic rock 'n' roll rides a streak of giddy mania." Creative Loafing Amigo is a rock and roll band. This might sound quaint or even a little passé but its an entirely apt and appropriate description. Amigo is a guitar, a bass, a drum set and buckets full of songs and its members share a proud and unrepentant belief in rock & rolls divine promise and power to shake audience and band alike to their core. The Charlotte, NC-based trio, comprised of guitarist Slade Baird, bassist Thomas Alverson and drummer Adam Phillips, has been putting rubber to road in senses both theoretical and literal since their inception in 2012, developing their keen sense of harmony and interplay, honing their songwriting chops and developing an absolutely white-hot live show which has become the main vehicle for their brand of rock and roll evangelism.

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.

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release. With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra). Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future. Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s. The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release. With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra). Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future. Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s. The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.

To celebrate the 10th anniversary of the band's first full-length studio album, The Oh Hellos present a special re-mastered LP reissue of Through The Deep, Dark Valley on black 180g vinyl.Remastered for the occasion, the reissue offers fans a chance to hear the music in a new light, and refresh their relationship with the album.Through The Deep, Dark Valley is a self-contained concept album, so for best results should be listened to in its entirety, in order, in one sitting."When we first wrote Through the Deep, Dark Valley, we wanted the album to flow like a narrative," says Tyler Heath. "Ever since, it's been a pattern we've found ourselves leaning into more and more with every record. To celebrate that original narrative spirit a decade later, we wanted this anniversary reissue to feel a little like a pop-up storybook that draws you in for the journey. We also enlisted the talented Charlie Kramsky to shine up our old recordings into a new Ten Year Anniversary Remaster."

Open Mics might not always have a great reputation but for Merlin Hydes it brought some good things. On one hand he met his producer Jon Kenzie who is hosting "Bring Your Own Song" in Hamburg and on the other hand playing that Open Mic put him in touch with DevilDuck Records because they are good friends with Jon Kenzie and he told them to check this boy out.A couple of months later the debut album "In Plain Sight" was recorded at Kenzie"s home studio in just three days and is now ready to conquer the world... or at least a little part of it. The idea was to just record the songs in a cosy and easy set up just as in the good old days without thinking too much about it and avoid any perfectionism."In Plain Sight" describes the balancing act between the peaceful country life, the desire to have a yard and a garden and the supposedly exciting and urban city in which you always might feel a bit strange and as you have chicken poop under your shoes", as Hydes explains....

Strut revives a lost recording from the archives in January with a 2002 collaboration between acclaimed South African folk singer Vusi Mahlasela, singer songwriter Norman Zulu and Swedish jazz / soul collective Jive Connection. Sotho folk singer Vusi Mahlasela, dubbed "The Voice" Of South Africa, performed at Mandela"s inauguration in 1994 and has enjoyed his own long relationship with Sweden, regularly embarking on cultural exchanges and forging a strong bond with the Jive Connection band, featuring guitarist / bassist Stefan Bergman and Little Dragon drummer Erik Bodin within its line-up. Although touring regularly, the collaboration has rarely been documented beyond a lone studio album in 1994. This "lost" recording, discovered in the archives of producer Torsten Larsson, also features songwriter / vocalist Norman Zulu and showcases their natural musical chemistry together. Vusi"s songs have traditionally addressed the struggle for freedom and the need for reconciliation and, here, his lyrics are as powerful as ever, ranging from parables ("Prodigal Son") to an unflinching lament on child abuse ("Faceless People"). Jive Connection vary the soundtrack, bringing in hints of reggae, jazz and post-punk alongside traditional township arrangements.

Kënnlisch, one of the rarest haunting psychedelic acid folk LPs from France, was the work of brothers Philippe and Jean-François Macherey.

Originally released in 1976 on the mega collectable label Le Kiosque d'Orphée, it contains some of the most beautiful sounds to come out of the 1970s alternative music scene.

An instrumental album, it opens with a burst of sunshine vibes and takes them into the experimental scene of French alternative folk avantgarde with a strong Cosmische influence. Beauty is the word, grown over acoustic guitar parts harmonised with the most elegant Moog Satellite lines you'll ever hear to create atmospheres of sound that make this is the perfect record for your mind to float away on a peaceful Sunday morning under a clear blue sky - it does have that therapeutic quality that we miss so much in modern music.

Wah Wah presents the very first official reissue of this mega rare LP, housed in it's original minimalist hand made artwork with the little upgrade twist of silk-screen printing and including a 4-page colour booklet with photos and text provided by the Macherey brothers themselves.

500 copies only!

Initial Lp Pressing On Opaque Breeze Blue Vinyl. New Project By Longtime Members Of Indie-Country Superstar Orville Peck's Band, And Polaris Prize-Listed Band Frigs.Fresh, Reverent Yet Subversive Renditions Of Classic Songs By Dave Van Ronk (By Way Of Karen Dalton's Arrangement), Waylon Jennings, John Cale, Lucinda Williams, The Walker Brothers, And Mistress Mary. "Bria Is An Intimate And Incisive Labour Of Love From Multi-Instrumentalists Bria Salmena And Duncan Hay Jennings. Catapulted By A Deep Sense Of Dread And Confusion In The Depths Of 2020, Salmena Decided To Forgo Writing Her Own Music. "I Wanted To Listen For What Might Reflect My Life Back To Me," She Says, "Six Tracks That Could Be My Mirror." The Result Is A Pointillistic Knockout Of An Ep That Weaves A Landscape Both Luscious And A Little Rogue; Showing Us Exactly What Good Songs Can Do.Bria's Internal Turbulence Seemed To Mirror Last Year's External Instability. When Jennings And Back-Up Singer Jaime Mccuaig Moved To The Outside Inn, A Hobby Farm In Hockley Hills, Ontario, Bria Soon Joined. The Farm's Living-Room-Turned-Studio Proved An Ideal Setting F...

Little we know about this long lost gem coming from the outskirts of the Commonwealth. But as far as we know, beautiness lies inside. That is the case of the sole album of mysterious australian band Extradition. Released in a small run on local independent label Sweet Peach in 1971, the self titled album stands as one of the most accurate acid folk rendition outside the UK realm. Formerly a three piece Extradition struggle on their personal behavior forging a rural set up that pursue the ‘think green’ revolution. It could be the English folk revival or the West Coast flower power, but the album introduce a different state of mind, far away from the chaotic suburbs of the counter culture. Lost on the isle, the acoustic set up of the band brings joy and happiness, a new age that reflects the multiple essence of the four elements. While the opener ‘ A Water Song’ brings to mind the course of a small river ‘A Love Song’ sets the mood for a long lost medieval folk tale. Acoustic guitar, small percussion, natural found sound and the celestial voice of Shayna Carlin (also member of cult band Tully, a weirdo surf-psychedelic affair) all of the elements above literally conjure for an ambient album before the definition was fully embraced by a massive audience.

Why you'll love it...
Following the massive success of her 2017 album Highway Queen, Nikki Lane was uncertain whether she wanted to make another album. Exhausted from touring, she spent time at home and was happy lending support to fellow artists like Sierra Ferrell, Lana Del Rey and Spiritualized.

‘’I hadn’t made a record in years and did not really feel interested in making another one,'' she shared. ''What I realized was how many little nuggets I was sitting on.''

Connecting with Queens of the Stone Age frontman Joshua Homme, Lane entered the studio for her next album. With talent on the album like Queens of the Stone Age collaborators Alain Johannes (guitar), Dean Fertita (organ), Michael Shuman (bass), Matt Helders of Arctic Monkeys (drums), Carla Azar of Autolux (drums) and Matt Pynn (steel player), Denim & Diamonds marks Lane's massive return.

Limited to 1,000 copies, the VMP exclusive edition of Denim & Diamonds is pressed on 1LP Seaglass vinyl at United Record Pressing. The album will arrive in a single direct-to-board, foil stamped and numbered jacket along with an 11x22 poster. The album is mastered by Gavin Lurssen of Lurssen Mastering.

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Tired Girls is the third full-length studio album by Bay Area singer-songwriter and multi-instrumentalist Anna Hillburg. Co-produced and recorded with Jason Quever of the Papercuts, the pair created an album for lovers of finely crafted and supremely catchy chamber pop.

As always, Hillburg’s voice takes center stage, but for Tired Girls she made a conscious choice to dig deeper into her trumpet skills and make more elaborate horn arrangements than her previous records. Lyrically, Hillburg dives into what it is to be a contemporary woman, and how one perseveres, finds inspiration, creates, loves, and lives.

Recorded throughout 2022 at Quever’s studio, the two built dreamy soundscapes with long-time collaborators Logan Kroeber on drums (The Dodos), Josh Miller on bass (Chime School, Extra Classic), and Yea Ming Chen on keys.

The entire record has a real “Ladies, trust your gut” feeling, unsurprisingly, as Hillburg says she tends to write songs about “the reality of womanhood and feminism but ya know, why not make that a little ‘dancey’?” As a collection, Tired Girls marks her arrival as an artist who has hit their stride. Each track shows her talent and progression as a songwriter and performer.

Originally released in 1972 on Vanguard Records, Bob Frank’s self-titled debut album took elements of Dylan, Johnny Cash, and Ian Tyson and filtered it thru a pot-smoked haze and the infusion of Frank’s long-time friend, Memphis guru Jim Dickinson. Dickinson and Frank shared a mutual admiration that ran so deep that on Dickinson’s own 1972 debut album Dixie Fried (released on Atlantic Records), he recorded one of Bob Frank’s songs “Wild Bill Jones.” But despite the Dickinson/Memphis connection, Bob Frank’s only LP for Vanguard became a forgotten, hard to find relic - until Light in the Attic reissued it to great acclaim in 2014. Now, from Real Gone comes more 1972 Vanguard Bob Frank recordings (all previously unreleased studio songs) coupled with a live set from the Old Quarter in Houston 1973 (the first-ever vintage live Bob Frank recordings to be released). Includes an insert with extensive liner notes detailing Frank’s career self-sabotage by Pat Thomas and the director of the documentary Within A Few Degrees: A Little Gest of Bob Frank, Isaac Pingree. 20 tracks, all unreleased, pressed on stems ‘n’ seeds “marijuana” vinyl.

Tired Girls is the third full-length studio album by Bay Area singer-songwriter and multi-instrumentalist Anna Hillburg. Co-produced and recorded with Jason Quever of the Papercuts, the pair created an album for lovers of finely crafted and supremely catchy chamber pop.

As always, Hillburg’s voice takes center stage, but for Tired Girls she made a conscious choice to dig deeper into her trumpet skills and make more elaborate horn arrangements than her previous records. Lyrically, Hillburg dives into what it is to be a contemporary woman, and how one perseveres, finds inspiration, creates, loves, and lives.

Recorded throughout 2022 at Quever’s studio, the two built dreamy soundscapes with long-time collaborators Logan Kroeber on drums (The Dodos), Josh Miller on bass (Chime School, Extra Classic), and Yea Ming Chen on keys.

The entire record has a real “Ladies, trust your gut” feeling, unsurprisingly, as Hillburg says she tends to write songs about “the reality of womanhood and feminism but ya know, why not make that a little ‘dancey’?” As a collection, Tired Girls marks her arrival as an artist who has hit their stride. Each track shows her talent and progression as a songwriter and performer.

The first volume of San Francisco Moog: 1968-72 introduced the world to a trove of recordings from a little-known hinge point in electronic-music history. Vol. 2 brings to light the rest of tapes—and the rest of the story.

In 1968, Bay Area native Doug McKechnie got hold of one the very first modular Moog synthesizers ever made and began finding his own way to play it. Soon, he was hauling the finicky instrument around to perform improvised concerts at colleges and psychedelic ballrooms, as well as an ill-fated appearance on the bill at Altamont. Some of the performances were recorded, and the surviving tapes—never before released—capture a free-flowing, transportive sound that fills in the gap between the austere mid-century academic avant garde and the expansive cosmic suites of Tangerine Dream and the rest of the Berlin School in the ’70s.

Vol. 2 captures a wider range of sounds and moods, encompassing austere sonic experiments, early sequenced pulses, and melodic etudes.

“These pieces represent amazingly fully formed early approaches to the very idea of musical synthesis...arresting even to modern ears.” — Goldmine

“Presages both Tangerine Dream’s soundtracks and, in its most grimy moments, Acid Tracks.” — The Wire

“The two latest reissues to spin off from our acclaimed Imaginational Anthem Volume 8: The Private Press feature the solo guitar compositions of Russell Potter, recorded in the last waning days of the initial American Primitive explosion. A then obsessed teenaged devotee of John Fahey, Robbie Basho, and Leo Kottke at a time when Punk and New Wave were ascendant, Potter harnessed a similar DIY ethos to his own ends by starting his own label & self-publishing his first record, 'A Stone’s Throw’, while a freshman enrolled at Goddard College in Vermont in 1979. Assembled at the legendary Boddie Records in Potter’s hometown of Cleveland, Ohio, and sprinkled liberally with references to his heroes, from the initial record label name of Fonytone (which more than a little recalls Fahey’s earliest record label, Fonotone), to the arcane song titles and references to obscure rags. Even as he looks to his elders, Potter’s debut release nimbly evinces a complete mastery of his form and is all the more remarkable for one of such tender years, as only the chutzpah of youth can account for such moves as successfully grafting one of your own composition to one of John Fahey’s, as he does here. There’s a very immediate, lovely, and real homespun quality to Potter’s chiming twelve-string compositions that puts it in the realm of those classic records that seem to simply exist outside of time. Shortly after ‘A Stones Throw’, Potter produced & released a 45rpm single by an Ohio bluegrass band featuring the cult singer songwriter Bob Frank performing a cover of Devo’s ‘Mongoloid’, before moving on to his second (and sadly final) album the following year, ‘Neither Here Nor There’. Following an independent study with a Goddard College ethnomusicologist, Potter’s compositions and performance only deepened on his second release — the recording quality steps up a little but loses none of the immediacy, the playing gets more exuberantly virtuosic —but then more reflective too, particularly on the tunes that are influenced by the gorgeous traditional Irish slow airs. He’s still tipping his hat to Fahey occasionally as well, this time with an audacious electric guitar setting of the classic “Dance of the Inhabitant of the Palace of King Philip XIV of Spain.” Though these albums landed at a time when American Primitive guitar music’s 1960s & 1970s heyday was in the rear view mirror, they absolutely look ahead to the genre’s eventual 21st Century resurrection, anticipating both in form & content many of the same concerns you find in the great contemporary work of the last two decades by Jack Rose, Glenn Jones, Daniel Bachman, et al., and as such provide about as fine a stepping stone between these two eras as you’re likely to find.”—Michael Klausman

“The two latest reissues to spin off from our acclaimed Imaginational Anthem Volume 8: The Private Press feature the solo guitar compositions of Russell Potter, recorded in the last waning days of the initial American Primitive explosion. A then obsessed teenaged devotee of John Fahey, Robbie Basho, and Leo Kottke at a time when Punk and New Wave were ascendant, Potter harnessed a similar DIY ethos to his own ends by starting his own label & self-publishing his first record, 'A Stone’s Throw’, while a freshman enrolled at Goddard College in Vermont in 1979. Assembled at the legendary Boddie Records in Potter’s hometown of Cleveland, Ohio, and sprinkled liberally with references to his heroes, from the initial record label name of Fonytone (which more than a little recalls Fahey’s earliest record label, Fonotone), to the arcane song titles and references to obscure rags. Even as he looks to his elders, Potter’s debut release nimbly evinces a complete mastery of his form and is all the more remarkable for one of such tender years, as only the chutzpah of youth can account for such moves as successfully grafting one of your own composition to one of John Fahey’s, as he does here. There’s a very immediate, lovely, and real homespun quality to Potter’s chiming twelve-string compositions that puts it in the realm of those classic records that seem to simply exist outside of time. Shortly after ‘A Stones Throw’, Potter produced & released a 45rpm single by an Ohio bluegrass band featuring the cult singer songwriter Bob Frank performing a cover of Devo’s ‘Mongoloid’, before moving on to his second (and sadly final) album the following year, ‘Neither Here Nor There’. Following an independent study with a Goddard College ethnomusicologist, Potter’s compositions and performance only deepened on his second release — the recording quality steps up a little but loses none of the immediacy, the playing gets more exuberantly virtuosic —but then more reflective too, particularly on the tunes that are influenced by the gorgeous traditional Irish slow airs. He’s still tipping his hat to Fahey occasionally as well, this time with an audacious electric guitar setting of the classic “Dance of the Inhabitant of the Palace of King Philip XIV of Spain.” Though these albums landed at a time when American Primitive guitar music’s 1960s & 1970s heyday was in the rear view mirror, they absolutely look ahead to the genre’s eventual 21st Century resurrection, anticipating both in form & content many of the same concerns you find in the great contemporary work of the last two decades by Jack Rose, Glenn Jones, Daniel Bachman, et al., and as such provide about as fine a stepping stone between these two eras as you’re likely to find.”—Michael Klausman

A very difficult-to-find LP, originally released on a small, independent label. Originally released on a very limited run of vinyl. The original LPs are demanding a nice price on the Asian market. A beautiful recording with absolutely fantastic sound. Includes a performance of her hit song "Diamonds and Rust" as well as the audiophile classic "Famous Blue Raincoat." This may be an under-the-radar title, but it's a can't miss for the discerning audiophile. The album chronicles a show performed by Baez in a bullring, naturally, in Bilbao, Spain, in 1988, and it demonstates what makes her such a draw overseas. Half of the collection, side two of the LP, consists of songs sung in Spanish. Now we've upped the ante even more for true audiophile bliss — the 45 RPM 2LP version reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. Natural tonalities, superb balances, pristine clarity and more are all revealed. »This record was made in a bullring in Bilbao, Spain, in 1988. It is dedicated to the Mayor and the people of Bilbao, who came out between thunderstorms to see me perform. The song in Catalan "Txoria Txori" is about a sweet little bird ... I want to thank Pasku who taught it to me, and thank the Bilbao public for singing it so beautifully.« — Joan Baez. Illustrations by Joan Baez; additional vocals Mercedes Sosa.

Tara Jane O'Neil describes her latest album "Self Titled" as a "singer songwriter" endeavor.

At the invitation and by the design of Mark Greenberg (The Coctails), half of this record was recorded mostly live at Wilco’s Loft Studio in Chicago with a band that included James Elkington, Gerald Dowd, Nick Macri, and Greenberg himself. Another half was made in TJO’s home studio in California with Devin Hoff, Wilder Zoby, Walt McClements and string supervisor Jim James. This album also features the voices of Chris Cohen, Carolyn Pennypacker-Riggs and Joan Shelley. Tara Jane ONeil plays guitar, bass, keyboards and percussion.

As a solo artist she has released eight full-length albums internationally. O’Neil was a founding member of Rodan, the Sonora Pine , amongst other ensembles. She has collaborated on recordings and stages with Papa M, Michael Hurley, Little Wings, Marisa Anderson, Catherine Irwin, Mirah, Mount Eerie, and many many others. She has also performed at clubs, galleries, and DIY spaces around the world and venues such as the Centre de Pompdou, the Whitney Museum of American Art, and All Tomorrow’s Parties. She starred in the cult classic film Half-Cocked. Her visual art work has been shown in cities including London, Tokyo and Portland and has been published in three monographs.

Just three months after the release of the EP “Βεντάλιες Και Σιδερογροθιές (Fans And Iron Fists)”, relentless Mazoha, strikes again with his new album “Τώρα Χορός (Now Dance)”, catching the thread musically, lyrically and emotionally from where he left it on his previous album, “prtthlts”.

As stated by the title and confirmed by the homonymous track and the tracks “Τσιχλόφουσκα (Chewing gum)” and “Ψυχολογικά Τραύματα Social Club (Psychological Traumas Social Club)”, there is an even greater dancing mood, which stems from the thirst for relaxation. Those who have experienced the live gigs of Mazoha know this feeling well. At the same time, in the songs “Ήρωες Πολλοί Αγάλματα Λίγα (Many Heroes Few Statues)”, “Σαν Σκιάχτρο (Like A Scarecrow)” and “New York” the beats, the synths and the vocal lines are typical examples of the dark pop that characterizes his album “Bastardo”. The tracklist is completed with two special tracks: “Ονειρεύομαι Μωρό Μου (Ι Dream Baby)” with the noise-shoegaze intro and the rap stormy vocals, a confessional and denouncing loop that could last forever, and finally “Το Πουτανάκι Σου (Your Little Whore)”, the love song of the album with a chewing gum refrain, flirting dangerously with trash, written to be heard late at night in all bars.

An album of contrasts that dives from despair to redemption and from joy to sorrow, marrying darkness with light. The most Mazoha album so far.

“The first full length LP by Joshua Massad and Dylan Aycock. Massad is a tabla player living in India and studying under Zakir Hussain. Massad and Aycock came together in Tulsa to record live at the legendary Church Studio which was founded by Leon Russell in the ’70s. Over a few nights they captured some moments in the studio before it came under new ownership and just before Joshua moved to India.

“Aycock improvising on 12-string with Massad accompanying tabla and sitar. A flowing river of sound, a meeting of the minds. The little touches that Dylan’s brother Jesse Aycock adds (bits of synth) really sweeten the deal as well. Track two recorded in Leon Russell’s legendary Church Studio.” —Aquarium Drunkyard

“Track one is an improvisation recorded at the home of Joshua Massad’s friend who he was house sitting for and invited me to come play. When I showed up the door was open and he was deep in practice so no words were spoken. I set up a mic and just started playing. We played for forty-five minutes straight and the twenty mins of the first track was culled from that moment. We clicked immediately and that was the first time we ever played together. Joshua is studying and teaching in India now where he’s been since 2019.”

—Dylan Golden Aycock

In the life of any interesting artist, there is the perpetual war between the
simplicity of public perception and the complexities of reality. Consider Hanni
El Khatib, a definitive purveyor of visceral, blues-wracked, punk-spiked,
soul-warped, knife fight rock n’ roll over the last decade. You may be familiar
with him through any one of his four acclaimed solo albums on Innovative
Leisure, his work with Dan Auerbach of the Black Keys, or as one of the rare
polymaths able to artfully blend serrated guitars and hardcore rap on collaborations with GZA and Freddie Gibbs. And while these are all real things that
could accurately yield a sketch of the multi-dimensional Los Angeles-based
artist, they amount to little more than a black and white pencil sketch.
From 2010 until 2017, there was the usual cycle that consumes most working
21st musicians: make an album, and tour it for the next 18 months. Return
home, rinse and repeat. And with it came the predictable pitfalls that ensnare
too many artists whose professional obligations require high-octane performances before 1,000 or more strangers every night. It is a dream until that
one night when it isn’t any longer, and despite his gratitude for his fans and
station in life, El Khatib found himself wracked by depression and anxiety.
What had once been joyous creative outlet felt like a job. In the wake of the
release of 2017’s Savage Times, it became readily apparent that if El Khatib
didn’t make drastic changes to his lifestyle, there might not be a life to speak
of. So he quit drinking, stopped touring, and took an indefinite hiatus from the
studio. But eventually, the desire to create songs slowly returned.
What would eventually become El Khatib’s fifth studio album, the virtuosic
but characteristically raw FLIGHT began as spontaneous experimentation.
Over the last several years, El Khatib had become close friends with Leon
Michels, best known as the mastermind of the soul controllers, the El Michels
Affair, but who has also quietly racked up producer credits for the likes of pop
juggernauts like Lana Del Rey, Rick Ross, Travis Scott, A$AP Rocky, and
Eminem -- as well as frequently working in sessions with Grammy-winning
super-producer Mark Ronson. The finished result is a rollicking sampledelic
opus that recalls the beautiful chaos that the Dust Brothers created on Paul’s
Boutique and Odelay. It’s the type of thing that Dilla and Madlib would’ve
created if they had come up on The Cramps.
The irony, of course, is that for a record that sounds like little else El Khatib
has ever done, it’s the most complete embodiment of who he is as an artist.
It’s a record both dense and intricate yet direct and spontaneous. It is garage
rock, it is hip-hop, it is soul, it is blues, it is psychedelic, but more than
anything, it’s a brilliant Hanni El Khatib record -- one that taps into the adolescent spirit of creation that first stirred him to make songs in the first place.
Here he is on his fifth album, back for the first time.

"The Protection Spells is a collection of songs recorded over a period of several Songs: Ohia tours. Presented here are nine entirely improvised pieces. The approach to these songs involved no rehearsals, no second takes, no additions and no going back. What you have here are songs that just happened in real time. The many musicians on these recordings were friends, bandmates, and, at times, total strangers. I have long hoped to offer the listener a chance to have some of these great accidents on record. It is a direct look at my songwriting process, only a little more risky, and nobody has any idea what direction we are going until we all start working on it together. I think that the years of improvised music I played in the past helped to strengthen the risk-taking with these songs. Here the goal was to still have basic songs without falling into long freak-out noise experiments, saving that kind of exploration for live settings. You will notice the appearances and disappearances of ideas that could never be recreated, not that they are all brilliant, but they are certainly not forced. The seemingly arbitrary moments of strange repetition the lyrics, the clear lack of a preconceived system of established song parts, all are the marks of improvised songwriting. Since even the singing had no idea what the floorplan of the song was to be, there were some unanticipated troubles and some shy steps taken, but I have preserved these mappings of the dangerous musical byroads that Songs: Ohia has always depended on. I hope you enjoy this." - Jason Molina, July 10, 2000

Record Store Day 2021 Release. 1000 copies pressed on Black vinyl & DL card. First time on vinyl for 10 years .The poems of iconic 19th century American writer Emily Dickinson crafted into the esoteric sounds of Josephine Foster. Originally released in 2009, this highly collectable record is now back on vinyl for the first time in over a decade.

Tracklisting: 01. Trust IN THE Unexpected 02. HOW Happy IS THE Little Stone 03. SHE Sweeps With Many-colored Brooms 04. AH Teneriffe! 05. WHO IS THE East? 06. They Called ME TO THE Window 07. This IS THE Land THE Sunset Washes 08. Like Mighty Foot Lights 09. Exultation IS THE Going 10. IN Falling Timbers Buried 11. With Thee IN THE Desert 12. I SEE Thee Better IN THE Dark 13. Your Thoughts Don't Have Words Every DAY 14. MY Life HAD Stood A Loaded GUN 15. Eden IS That Old-fashioned House 16. Beauty Crowds ME Till I DIE 17. I Could Bring YOU Jewels 18. Wild Nights - Wild Nights! 19. Only A Shrine, BUT Mine 20. Tho' MY Destiny BE Fustian 21. What Shall I DO - IT Whimpers SO 22. Heart! WE Will Forget HIM 23. Strong Draughts OF Their Refreshing Minds 24. Tell AS A Marksman 25. THE Spider Holds A Silver Ball 26. Whoever Disenchants 27. Touch Lightly Nature's Sweet Guitar

Originally pressed in a limited run of 1000 numbered copies in December 1974 The Alice Island Band is one of the rarest UK folk private pressings, having sold in auction for over 600 pounds. Little would school friends Keith Hughes, Tim Phillips and Roger Moore imagine that when they formed The Conqueroos blues band back and subsequent projects like Cinderella's Party Songbook from 1967.



By 1974, Keith, Tim and Roger were ready for something special, and the arrival of Cinny - the ‘Princess’ from the principality of Wales - completed the line up for the next LP. They became The Alice Island Band and recorded Splendid Isolation - Tim, Keith and Cinny played, Roger produced and recorded the 14 songs, some of which had been conceived back in 1968.



For those into the UK folk and psych scenes who love the homemade recordings of Peter Howell and John Ferdinando's projects (Tomorrow Come Someday, Alice Through The Looking Glass, Agincourt, Ithaca...), the bare, raw sound of Comus or those impossibly rare folk albums cut through the Deroy Sound Services – but also for lovers of good crafted songs with male & female vocals and mostly acoustic performances.



Done in close cooperation with Keith and Roger who have been very kind to provide original masters, information and photos for the gatefold insert which also includes the original lyrics – here are 500 copies for those who cannot afford or find an original copy. Comes housed in a reproduction of its original sleeve. Order yours before they fly!