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Willie Nelson wants it known, despite being divorced twice and married thrice before writing the album — including one that was spurred by his second wife finding a maternity ward bill from his eventual third — that Phases and Stages is and was not autobiographical. “The overall theme was not a reflection of my own life,” he said in his 2015 biography It’s A Long Story: My Life. “I was simply making up a story. Sure, I’d gone through breakups and heartaches of my own. What human soul hasn’t?” But when you make an album like Phases and Stages, the most devastating, humanistic divorce record of all time — and be beaten by an ex-wife after she sews you into your sheets — people begin to believe the album is about you and your ex-wives.

Record Store Day 2023 first time officially reissued on vinyl since 1988. Limited to 500 copies. Rasman Maxwell Udoh was one of the best things to come out of the Nigerian music scene in the 80s and 90s. Born on the 29th of August 1959 and passed away on the 18th of December 2014, his 55 years on earth were a memorable time that resulted in many contributions to the musical heritage of Nigeria, and the messages he spread through his lyrics are still treasured by the downtrodden even today. Maxwell Udoh was a true pioneer, and his musical legacy is more than relevant, even to this day.

After he left Oron’s Methodist Boys High School in 1980, Maxwell’s uncle Patrick Peter Udoh took him under his wing. As a professional musician with The Doves Rock Band, Patrick taught him all he could until the band’s dissolution, which prepared Udoh for the trailblazing career that he would soon be embarking upon. Maxwell Udoh and His Masses Militia Band took Nigeria by storm with their debut album ‘Forward Ever, Backward Never’. The record was a massive hit that opened his route to greatness, taking his reputation far beyond the shores of Nigeria and winning him several music awards.

The fame that Maxwell would claim from this would skyrocket him into his election as chairman of the Performing Musicians Association of Nigeria. As a naturally inclined musician and charismatic leader type since childhood, his journey is a series of natural progressions that sequentially delivered to him the many stages of the recognition he deserved.

Rasman Maxwell Udoh was renowned as an advocate for social justice, as well as one of the first few Africans to sing authentic reggae in its true form. His musical catalogue overall helps tell the story of a man who was larger than life and is cherished both in Africa and the world over to this day. Maxwell’s independent albums and singles are classics for the ages and stand firmly and triumphantly as paragon examples of the best of Nigerian music.

On the album we are proudly presenting you today (‘Survival Of The Fittest’ recorded in Nigeria in 1972) the listener is treated to six mind blowing tracks filled with excellent reggae, funk, soul, boogie and disco influences. Also included is the heavy hitting smash-hit “I Like It (Don’t Stop)” that was featured on the ’’Khruangbin: Late Night Tales” album. Fans of Maxwell will be proud that he was chosen as a representative of Nigeria on these ongoing and acclaimed series. A great accreditation for Maxwell Udoh and a big deal to say the least. All of the above makes ‘Survival Of The Fittest’ a real must-have for collectors and fans alike.

Tidal Waves Music now proudly presents the First ever vinyl reissue of this landmark Nigerian album originally released on Average records in 1988 (OG copies go for large amounts on the second-hand market). This is also the first time these recordings are being released outside of the African continent. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip and features the original artwork. Released exclusively for Record Store Day (uk/europe) 2023 and available in participating stores on April 22, 2023.

Jackson Dean - "On The Back Of My Dreams" / Jackson Dean's On The Back of My Dreams is a textured body of work, where each song was derived from a moment of imagination from Dean's mind, giving listeners a look into the depth of his artistry. Already one of Nashville's most intriguing artists with his strong gravel-tone vocals, wayward spirit, intentional songwriting and overall mystique, Dean embarks on an impressive new chapter, delivering an aspirational and captivating vocal performance that is striking with both swagger and intellect. 2 LP set on mystic smoke color vinyl.

Vinyl with a couple of light scuffs. With original inner sleeves. Cover with slightly bumped corner. Beautiful copy, overall closer to NM.

Overall close to NM.

2024 marks the 40th anniversary of Bruce Springsteen's 'Born In The U.S.A.' Although it would become his biggest selling album with seven top 1 0 singles on the Billboard Hot 100, Luther Dickinson of North Mississippi Allstars says "any of those songs could be played with acoustic guitar alone and still be great." Taking this idea as its premise, 'Dead Man's Town: A Tribute to Born in the U.S.A' strips the album's twelve indelible originals to the core, with contributions from Jason Isbell & Amanda Shires, Low, Nicole Atkins, Justin Townes Earle, Blitzen Trapper, Joe Pug, Trampled by Turtles, and more. Rolling Stone premiered Jason Isbell and Amanda Shires' Dave Cobb-produced cover of "Born I n The U.S.A," saying these artists are "reimagining 'Born in the U.S.A. with a reduced approach more influenced by that of the acoustic, "Nebraska."

Isbell says of his cover, ""Born In The U.S.A." is one of my favorites because so many people have seemingly misunderstood the lyrical content and the song's overall tone. When you listen to the demo, the dark, minor key arrangement makes it clear that this is not strictly a song of celebration. We wanted to stay true to that version." Amanda Shires adds, "I love that the song paints a picture of struggle in the face of the American dream, and the irony in the chorus is delivered with such force that it nearly transcends irony altogether."

More than 10 years ago, Vincent Dupas, Jean-Baptiste Geoffroy and Jérôme Vassereau created Binidu in parallel with their respective bands, Fordamage and Pneu, then very singular and of the most joyful french rock music. Their collaboration is a trek that started from green and sunny pastures to sink over time into mountains surrounded by storms. Binidu holds nothing back in composition, always ready to reinvent himself with each new album.

After "Yes", the first fresh and luminous one released in 2013, the second "Nouvel Ancient" in 2018, more adventurous and kind of lost in an apocalyptic world, the trio returns today just as adventurous but more in a peaceful way with "// ", a creation mostly focused on his appetite for the acoustics and electronics combination. A long-distance running music, which, from the top of the ridge lines, looks at the world with lucidity, embracing the entire landscape, valleys, towns, all the way to the sea.

It is their label, Kythibong, which, on the occasion of the festivities around his twentieth birthday, brings Binidu out of his brief hiatus. 2022 therefore sees the trio reunite and begin to compose a new repertoire with a strong desire to play at a low volume and thus be able to perform in a wide variety of locations. They then broached the composition of the third album changing their instrumentarium. The drums are now reduced to a split snare drum and a hi-hat, the modular synthesizers take an important place in the composition, Jérôme and Vincent play on small amps, the latter exchanges his electric guitar for an acoustic Parlor, and the sound of the voice is now devoid of any effect.

Over the course of rehearsals, Binidu starts to imagine “//” as an overall piece with five linked long compositions. Thirty-five minutes of music, alternating very acoustic phases and other electronic ones, creating supernatural spaces, moments of reflection, some pop, hypnotic and/or rhythmic bursts.

Following on from last year’s acclaimed Vrindavan 1982 by rudra veena master Z.M. Dagar, Black Truffle is thrilled to present a pair of archival releases from the Dagar Brothers, among the most revered 20th century exponents of the ancient North Indian dhrupad tradition. The vocal duo of Moinuddin and Aminuddin Dagar (sometimes referred to as the ‘senior’ Dagar Brothers to distinguish them from their younger siblings, Zahiruddin and Faiyazuddin Dagar), belonged to the nineteenth generation of a family of musicians in which dhrupad tradition has been kept alive through patrilinear transmission, each generation undergoing a rigorous education of many years’ duration that can include singing up to twelve hours each day.

Famed for the meditative purity of their approach to dhrupad, the Dagar Brothers helped to keep the tradition alive in the years after Indian independence in 1947, when the royal courts that had traditionally patronised dhrupad musicians were abolished. Many Western listeners were first introduced to dhrupad by the Dagar Brothers’ tour of Europe in 1964-65 and their LP in UNESCO’s ‘Musical Anthology of the Orient’ collection, both organised by pioneering musicologist and scholar of Indian culture Alain Daniélou. Documents from this tour are especially precious, as Moinuddin Dagar passed away in 1966. Berlin 1964 – The Lost Studio Recording (released alongside Bt115, a newly discovered concert recording from the same trip) presents two unheard side-long performances in crystalline fidelity, recorded at the International Institute for Comparative Studies and Documentation in Berlin headed by Alain Daniélou. These stunning recordings were consigned to the archive because, as Peter Pannke explains in his liner notes, which recount his meeting with Danielou many years after these recordings were made, the tape ran out during ‘Raga Jaijaivanti’, which terminates abruptly soon after the entry of the pakhawaj. Accompanied only by Moinuddin’s wife Saiyur on tanpura and Raja Chatrapati Singh on pakhawaj (a large double-headed drum), the brothers present stunning performances of the severe, serious midnight ‘Raga Malkauns’, set to a ten beat cycle once the pakhawaj enters, and the complex early evening ‘Raga Jaijaivanti’, set to a fourteen beat cycle in its rhythmic section. True to the traditional dhrupad structure, both performances are dominated by the long free-floating alap section, where the notes of the raga are gradually introduced, slowly climbing in pitch and intensity as the two singers trade improvisations that display a stunning range of vocal tones and remarkable subtlety in mictrotonal nuance. The performance of ‘Raga Malkauns’ is divided roughly in half, with the pakhawaj and unison singing entering around thirteen minutes through; Raja Chatrapati Singh’s performance is particularly striking in its endlessly inventive metrical nuance within the overall crescendo and acceleration. On ‘Raga Jaijaivanti’, the alap lasts almost twenty minutes, with Singh joining only for a few minutes of sparse pakhawaj hits before the tape cuts off, the absence of the more active concluding section serving only to magnify the mystical calm the Dagar Brothers establish in this setting of a 16th century love poem. Illustrated with a striking full colour concert photograph, Berlin 1964 – The Lost Studio Recording is accompanied by extensive liner notes by Peter Pannke celebrating musicologist Alain Daniélou, whose study, documentation and promotion of dhrupad was so important for spreading awareness of this great musical tradition, ready to be discovered anew in this stunning recording from two of its master exponents.

While the idea of an album being born of finding peace with oneself is nothing new, in Micah Dailey’s hands it’s a beautifully symbolic harmonizing of past and present. Beginning with an instrumental opening, Flower Festival’s latest album Age offers up an invitation to tilt your ears between jittery analog texture and elegantly fluid drumbeats. But it’s the inward-looking songwriting that makes the best case for Flower Festival’s relatability from his professions of self-hatred to an overall detachment from common culture. Flower Festival’s third full-length album was written at two significantly different times in Micah Dailey’s life, taking music recorded over 8 years ago, revisited and finished with lyrics written today. Much of the album’s influence came from a newfound peace and appreciation for his upbringing. Having grown up in the Middle East, Micah moved back to Arizona in 2011 where an internal tug-of-war rooted in guilt and inadequacies made for some significantly self-deprecating songwriting, as you might imagine being that his album at the time was entitled “Cry Baby”. The push and pull of this mindset made Flower Festival’s album full of artistic parallels that marry the new and the old, without forcing the two. Becoming a father and husband, Micah’s way of living-room-recording had to be adjusted as well, getting to a point of contentment that there might never be a moment of complete quiet, but embracing that there may be faint samples of kids playing or guests chatting. Having created an album in a way that both embraced and let go of significant restraints, a reconciliation derived from Flower Festival’s examination of his artistic ego. Thankfully, Flower Festival’s way of creating art lent itself to a freedom found only when the external and internal pressures of making music “the right way” have all but gone- and from it came an album that was worth waiting for. Mixed and mastered (along with contributions) by the incredible John Dieterich (of Deerhoof), and features other collaborations with Nicholas Krgovich, Qais Essar, Lonna Kelley (Giant Sand) and Michael Krassner (of Califone and Boxhead Ensemble).

Clay Pipe Music is thrilled to announce The Beacons by Vic Mars - the enigmatic producers third LP for the label. Since 2019s Inner Roads and Outer Paths his music has found a new audience having been used as the soundtrack to the game I am Dead by British interactive studio Hollow Ponds.

While his previous two albums were inspired by the pastoral landscapes of Herefordshire, The Beacons, embarks on a journey westward into Wales, inviting listeners into the rugged terrain of the Brecon Beacons and the Black Mountains. Using a darker more ominous sonic palette, and pushing the sound of the Moog synthesizer to the fore, The Beacons captures the feel of mountains silhouetted against dramatic skies, craggy summits and the overall grandeur of the landscape and its rich folklore.

“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.

I have never heard before of the Jurchen culture from the Chinese and later East Russian Northlands and as well not of the Nanai People who have risen from the scattered remains of the Jurchen culture wiped out by furiously attacking Mongolian steppe armies some 850 years back. The Great Khans did not leave much variety after sweeping through the taiga towards Western Europe in the 12th and 13th centuries. So the Nanai people came to exist and had their songs and instruments. Some of them were used by composer Alexander Lavrov and singer Kola Beldy who is of Nanian descent in their music on this, Kola Beldy’s fourth album. Just as all his records from the 1980s, this is extremely rare and originals in good shape can cost a small fortune. Just in case they ever turn up somewhere outside the vast Russian country. Now for the very outstanding music that as mentiond above is based on centuries old folk tunes of the Nanai and Jurchen cultures which get slightly updated in the sense of 1989 state oft he art pop and rock and that even in a slightly progressive way. Kola Beldy, already 60 years of age by then, was a long time active folk and pop singer in the Soviet Union who unfortunately passed away only 64 years old in 1993. He owns a full, warm mid ranged voice and chants the ancient melodies in a mystifying way. The instrumentation behind him shows a good variety of old and modern instruments. While the opening track is based mostly on percussion and drum patterns with an eerie grinding sound and later on a jew’s harp added upon which Beldy lays down a melody with a typical far eastern approach in what seems to be Russian language, further tracks contain synthesizer lines and even an electric guitar. Still the overall atmosphere is mostly mystical, solemn and spiritual. I definitely have not heard anything alike before. The more rock oriented tunes could bring back memories of Italian movie soundtracks by Goblin, based on progressive rock and jazz to the mind of the listener, just with these awesome vocals. Italian 90s progressive rockers Presence also had a similar approach. The keyboards, organ, very modern singing bass guitar head towards a very progressive direction here. Art pop, if you want to call it that. Based on ancient Nanian tunes but made timeless and even in 2021 fresh sounding by a very talented band. So, Kola Beldy’s fourth album may not be a mainstream favorite, fans of progressive pop like that of early 80s Goblin, Presence from the early 90s and good ol‘ Peter Gabriel, not for the voice itself but for the songs, will find pleasure in this nifty obscurity which gets reissued now for the first time on vinyl in 32 years.

Steve Gunn and John Truscinski's collaborations are point where experimental instrumental rock and cosmic jazz meet. This is their fourth album overall and first in three years. Gunn-Truscinski Duo fans are intense in their love of these records - they naturally spin off from Steve's solo work but also go in their own directions as well. This track - and album - will be rapturously received by the fans of this project as being cut from a similar cloth that they already know and enjoy but covering some different and previously unworn ground. The first release in the Three Lobed Recordings 20th anniversary series, this should be a title with multiple sales points (Gunn, Three Lobed, other participants in the 20th series).

Enter the Mirage is arguably the most blazing and powerful album yet by The Sonic Dawn. It has an unusual live feel for a studio album, packing much of the raw energy and electricity that has made The Sonic Dawn’s psychedelic concerts famous in the rock underground. Enter the Mirage’s overall theme is freedom. It is about visions that may seem too distant to be real, but only those who take the trip will ever really find out. Frontman, Emil Bureau, explains about the album’s inception: “First I lost my father, then I lost my job and finally I lost my will to be a servant of anything that isn’t peace, love and freedom. It should be simple, but in this world it isn’t. Instead of getting back on the so-called career path, which is generally a dead end, I took a leap of faith, with the band’s support.” Bureau spent half a year in a songwriting frenzy, spawning not only Enter the Mirage by The Sonic Dawn, but also a solo album in the folk genre (available via Heavy Psych Sounds). To give form to these song ideas, the Danish trio rented a space in the gloomiest part of Copenhagen, set up a studio there and rocked out for two months. You hear that roughness, present as a determined attitude from a tightly knit band. With three past albums and some 200 shows under their belt, The Sonic Dawn is a psychedelic group to be reckoned with. However, at the end of their long and laborious creative process, the band was completely broke. Fortunately, friend and former producer, Thomas Vang, allowed them to mix the album in The Village Recording at night, after his own sessions. Thanks to this, and a skillful mastering by Hans Olsson Brookes (Graveyard et al.) Enter the Mirage puts the HIGH back in high fidelity. Turn up the volume and experience The Sonic Dawn.

Enter the Mirage is arguably the most blazing and powerful album yet by The Sonic Dawn. It has an unusual live feel for a studio album, packing much of the raw energy and electricity that has made The Sonic Dawn’s psychedelic concerts famous in the rock underground. Enter the Mirage’s overall theme is freedom. It is about visions that may seem too distant to be real, but only those who take the trip will ever really find out. Frontman, Emil Bureau, explains about the album’s inception: “First I lost my father, then I lost my job and finally I lost my will to be a servant of anything that isn’t peace, love and freedom. It should be simple, but in this world it isn’t. Instead of getting back on the so-called career path, which is generally a dead end, I took a leap of faith, with the band’s support.” Bureau spent half a year in a songwriting frenzy, spawning not only Enter the Mirage by The Sonic Dawn, but also a solo album in the folk genre (available via Heavy Psych Sounds). To give form to these song ideas, the Danish trio rented a space in the gloomiest part of Copenhagen, set up a studio there and rocked out for two months. You hear that roughness, present as a determined attitude from a tightly knit band. With three past albums and some 200 shows under their belt, The Sonic Dawn is a psychedelic group to be reckoned with. However, at the end of their long and laborious creative process, the band was completely broke. Fortunately, friend and former producer, Thomas Vang, allowed them to mix the album in The Village Recording at night, after his own sessions. Thanks to this, and a skillful mastering by Hans Olsson Brookes (Graveyard et al.) Enter the Mirage puts the HIGH back in high fidelity. Turn up the volume and experience The Sonic Dawn.

Cody Jinks' credible grit and meaningful tattoos are no fad. They define exactly who he really is: someone who was raised on the sounds of country music and metal. Ultimately, Jinks found himself back to where it all began. His father loved the outlaw country icons: Johnny Cash, Waylon Jennings and The Hag. That never ending consistency of incredible music growing up laid some very deep seeds and those early influences shine through his music. Jinks' beloved 2015 album Adobe Sessions, his fourth overall, is available on vinyl for the first time with bonus track "Fast Lane" and Side-D etching. "In 2015 a great crop of fresh faces in country and Americana arose on many people's radars," writes Country Perspective. "Hands down one of the best artists to emerge amongst this group was Cody Jinks...[His] 2015 album Adobe Sessions felt like the awaited breaking out of the next big star in the independent country scene. The album is full of traditional country, plenty of steel guitar and ballads on life and love."

O YAMA O explores a certain domestic and democratic quality of everyday life, born through associations to folk music of Japan and a folding of myth, tradition, and routine; the non-spectacular and the sublime.

Formed of musician and artist Rie Nakajima and Cafe OTO co-founder Keiko Yamamoto, the group has performed since 2014 at venues and festivals such as noshowspace, Ikon Gallery, Wysing Arts Centre, Supernormal, Borealis Festival, Mayhem, and allEars Festival.

Nakajima’s performance often focuses on the use of found and kinetic objects, using modest items such as rice bowls, toys, clockwork, balloons and small motors as instruments to create a “micro orchestra”. Elements are layered into impressive and immersive atmospheres. Yamamoto alternatively floats and charges through this with body and voice; chanting, incanting, thundering, whispering, stamping on the floor.

Their debut album consolidates their musical conversations into keenly paced studio music, the duo working with additional instrumentation and a resolved focus on melody to provide vivid portraits of folkloric Japan in song.

They move between pop and the philosophical, defined by the overall space afforded to texture and movement. In small, delicate sound an intimate musical climate is established that reflects on life, telling stories of improvised clockwork, whispered dreams, small movements of the hand and the rhythm to be found in the shuffle of a deck of cards.
Grandly theatric and dramatic flourishes add solidity to these illustrations, operas driven by the swooping energy and power of Yamamoto’s voice can be playful or emotionally charged, particularly when the duo arrange themselves in ensemble with violinist Billy Steiger and percussionist Marie Roux. Production by David Cunningham creates the shadowy presence of a leftfield Flying Lizards dubwise depth that adds subtle strangeness to the atmosphere. The result is something raw, full-bodied; full of energy, grace and mystery.

Cover has some lamination peeling, but overall is in great conition. Records have very light scuffs but much play wear.

No vinyl of any Manu Chao album has been available for ages. Now the wait is over, all studio & live albums are back on double or triple gatefold vinyl incl. the CD version. Go!

No vinyl of any Manu Chao album has been available for ages. Now the wait is over, all studio & live albums are back on double or triple gatefold vinyl incl. the CD version. Go!