Search "beatles" 562 Items

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

Dark Horse Records and Record Store Day are excited to announce a multi-year partnership to release limited Zoetrope picture disc pressings of George Harrison’s entire studio album catalog. The first two titles in the RSD exclusive series — Wonderwall Music and Electronic Sound — will be available on Record Store Day in April 2024. Limited to 8,000 units globally and exclusive to Record Store Day, each unit is individually numbered in silver foil and includes an insert reproducing theoriginal artwork. As a direct result of The Beatles’ keen curiosity about experimental music and other avant-garde artistic expression, Apple Records launched its short-lived Zapple subsidiary in February 1969 as a forum for unfettered sonic exploration, or, as announced at the time, “more freaky sounds.” George’s Electronic Sound and John Lennon and Yoko Ono’s Unfinished Music No. 2: Life with the Lions, both released in May 1969, were Zapple’s only releases before it was closed down. Electronic Sound’s cover art, painted by George, depicts his Moog IIIp synthesizer (which was later used on four tracks by The Beatles on their album Abbey Road) with the four modules from which the sound was synthesized. Each side of the Electronic Sound LP featured one exploratory long-form work.

Dark Horse Records and Record Store Day are excited to announce a multi-year partnership to release limited Zoetrope picture disc pressings of George Harrison’s entire studio album catalog. The first two titles in the RSD exclusive series — Wonderwall Music and Electronic Sound — will be available on Record Store Day in April 2024. Limited to 8,000 units globally and exclusive to Record Store Day, each unit is individually numbered in silver foil and includes an insert reproducing the original artwork. Released in November 1968, George Harrison’s Wonderwall Music was the first solo album released by a member of The Beatles and the first LP to be released by Apple Records. The soundtrack music for director Joe Massot’s debut feature-length film, Wonderwall, the predominantly instrumental album is an intricate, vibrant tapestry of Western rock music and compositions in an Indian classical style.

Released in 1971 while Gil was living in London, this is the third self-titled release from the bossa nova and tropicalia legend. Gil recorded this album while in political exile from his native Brazil and its somber, straightforward tone is a welcome change from the experimental, psychedelic assault of his 1969 long player. Featuring 8 originals and a brilliant cover Steve Winwood's 'Can't Find My Way Home,' this Water release also contains 3 bonus tracks including covers of Jimi Hendrix and The Beatles. A tropicalia classic.

First-ever vinyl release of the long rumored 1969 studio album (plus related acetate and 45 only tracks) from pre- Hotlegs/10cc duo Godley & Creme, during their days as Frabjoy And Runcible Spoon. Classic UK late 60s psychedelic/folk/pop sound recorded at Advision Studios with support from future 10cc colleagues Graham Gouldman and Eric Stewart. In mid-1969, legendary British R&B/psychedelic entrepreneur Giorgio Gomelsky signed two Manchester-based art students, renaming them Frabjoy And Runcible Spoon. Envisaging the pair as a British Simon And Garfunkel, Gomelsky recorded an LP with them for release on his Marmalade label. A pre-LP single appeared, but sadly the album’s release was aborted. 53 years later, Grapefruit Records released on CD this missing piece of the pre-10cc jigsaw puzzle. Now we’re lucky to present a vinyl version. *Insert with liner notes by David Wells and rare photos / memorabilia Recommended if you like Pete Dello, Graham Gouldman, Bee Gees, Simon & Garfunkel, Beatles, Rubble and Fading Yellow comps…

In 2004, California-based indie band Golden Shoulders followed up their highly acclaimed debut with their second album, Friendship Is Deep. Now, on the twentieth anniversary of its release, the album most requested by their fans for a vinyl release is finally set for one on Unspun Heroes. Described as “one of the great semi-lost albums of the 21st Century”, the album showcases singer, songwriter, and band mainstay, Adam Kline’s knack for lyrical hooks and penchant for catchy melodies. But, like friendship, this is deeper than its pop sensibilities might suggest.

From the moment the opening track I Will Light You On Fire opens with its simple piano refrain and vocal harmonies you know you’re listening to something worthy of further exploration. From this building of tension between its temporary aural chaos and the beauty that ultimately emerges, you’ll be hooked. Yet, scratch beneath the surface and you’ll find this is an album that carries with it a political, pro-peace, and pro-humanity message, albeit somewhat more satirical than you might expect of a band hailing from America’s West Coast. This is particularly notable on tracks such as Golden Soldiers and the Committee, where Kline’s turn of phrase and wit shines through, cleverly weaving words so they create detailed poetic mosaics.

Golden Shoulders is a loose and ever-changing lineup of international talent, with Kline as the kingpin and sole songwriter. Given the pedigree of those whose talents grace the album – among them, Todd Roper and Greg Brown (Cake), Josh Klinghoffer (PJ Harvey, Rhcp, Pearl Jam), Neal Morgan (Joanna Newsom, Fleet Foxes), and Dan Elkan (Broken Bells) – it’s no surprise the compositions and attention to detail present in each and every one of the 14 songs is top notch. It’s this pleasing mix of accomplished individuals, and their mishmash of influences, which lend a pinball effect to the set of stylistically diverse songs on Friendship Is Deep. Collectively though, the music you’ll hear has a focus, one that channels late 90’s Brendan Benson, the poppier side of 80’s Violent Femmes, and even the mid-60’s flair of the Beatles’ Rubber Soul.

Graham was born on May 10th 1946 in Manchester, England. He was given his first guitar at age eleven and started forming and working with local bands at age fifteen. Inspired by The Beatles and encouraged by his parents Betty and Hymie, who often helped him with lyrics and song titles, Graham started writing songs.

He had his first hit as a songwriter in 1965 writing 'For Your Love' for the Yardbirds and also wrote their follow up hits 'Heart Full of Soul' and 'Evil Hearted You'. In the same year The Hollies recorded his song 'Look Through Any Window' followed by 'Bus Stop' in 1966 as well as hits with Herman's Hermits 'Listen People' and 'No Milk Today'.

In 1972, along with Eric Stewart, Kevin Godley and Lol Creme, he formed 10cc. He co-wrote many of their hits including Rubber Bullets,I'm Not In Love,The Things We Do For Love and Dreadlock Holiday.

During the 1980s Graham formed 'Wax' with the late Andrew Gold. They enjoyed chart success in Europe with hits Right Between the Eyes and Bridge To Your Heart.

Graham was inducted into the Songwriters Hall of fame in 2014 and received the BMI (Broadcast Music Inc) icon award in 2015.

Grant Green’s musical style evolved to embrace jazz-funk as the decade turned to 1970. The guitarist’s vibrant album Green Is Beautiful is a highlight of the era with his distinctive tone shining on a set that included covers of James Brown (“Ain’t It Funky Now”), The Beatles (“A Day In The Life”) & Burt Bacharach (“I’ll Never Fall In Love Again”).



This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Officially reissued for the first time on vinyl here's a definitive pop psych masterpiece, originally released in 1968 on Dunhill Records. It's not a legend that John Lennon named the band after an art book by Yoko Ono. The Beatles were closely involved in their early career, signing them to Apple Publishing. Lennon and McCartney produced their single "Lullaby". Here's their debut album with extra tracks taken from their 1967-1968 London Session Apple.

Following on from his UK top 10 album "Seeking New Gods" Gruff Rhys is pleased to announce his forthcoming soundtrack to the film The Almond And The Seahorse via Rough Trade Records. The soundtrack will be released as a foil numbered, limited edition double-LP, on yellow vinyl with a fold out film poster and digitally. The 22-track album comprises original songs and instrumental score, all composed by Gruff Rhys. Recorded between 2021-2022 with a host of featured musicians including members of the National of Orchestra Wales, the music features throughout the forthcoming film of the same name, starring Charlotte Gainsbourg, Rebel Wilson and Celyn Jones. Set for release in early 2023, the film tells the story of archaeologist (Rebel Wilson) and an architect (Charlotte Gainsbourg) and their fight to re-imagine a future after a traumatic brain injury leaves them adrift from the people they love. The title of the film itself refers to the nicknames given to the parts of our brains that lay down new memories and hold on to the old ones. Tonally, the soundtrack compliments the movie perfectly: the drama of the subject matter and the human relationships is counterbalanced by the film"s wry humour and lightness of touch, and the varied compositions and styles on Gruff Rhys" score and compositions reflects that. "The soundtrack for The Almond & The Seahorse was recorded largely in pandemic conditions so it was a matter of recording in bursts of possible activity in various friends" studios, homes and even scout halls as chance permitted. It"s a varied quilt work as a result. "Gruff notes. "As sonic flagpoles I wanted to signify the film"s location in Liverpool and the Wirral by liberally, but hopefully not too obviously, using the Mellotron synthesizer (as famously used in Strawberry Fields by the Beatles & therefore in my mind it represents that great city sonically) and the Cello as a nod to its use by Gwen"s character in the film.""I was encouraged by Mike Jones the editor to take things to a more aco...

Even back in 1987, Guided By Voices was not content to release just one album in a year—Sandbox was released in the summer of that year following Devil Between My Toes’ appearance that February. Likewise, in similar GBV style, the sound and approach of the two albums could not be more different. Where Devil mostly mines a darker, lo-fi psychedia, along with several instrumental explorations, Sandbox is sunny, direct, has a bigger, crunchier sound, and zero instrumentals. Where Devil has a murky and impressionistic black and white photo of a rooster for a cover, Sandbox sports a full color photo of the band relaxing on a lawn on a sunny day. Let’s also recall that unlike today, in 1987 a full-color album jacket wasn’t just a little more expensive than a black and white one, it was way more expensive. Right up front, the band was communicating that this was a more commercially ambitious endeavor, while behind the scenes they rented better gear for a bigger sound, and tackled more sophisticated arrangements and honed in on the hooks and harmonies of the songs. Of all the band’s early self-released albums, Sandbox differs the most from the sound fans would later associate with the group, which is in itself a recommendation. Nowhere else will you hear the perfectly rendered three-part harmonies of “Long Distance Man,” direct Beatles quotes, or Robert Pollard reveling in his southern Ohio drawl. It’s also true that one of the more enjoyable aspects of the record is finding all the places where the band’s future is indeed foreshadowed. Simply put, Guided By Voices just can’t help but be a little weird, even when attempting something like a power pop album. At the close of the opening track, Pollard announces, “Ladies and gentlemen! Back by popular demand for your entertainment and spiritual enlightenment...Electric Jam Soul Aquarium!” a truly “wtf is happening here” moment. Or the stripped down gloom of “Trap Soul Door”—a track that could be right at home on nearly any later GBV album wherein Pollard intones, “Just one spark can start a hell of a fire.” Little did he know how true that statement would become.

Flutterama, the seventh album from Half-handed Cloud is a record of 18 jubilant indie-pop songs by John Ringhofer, investigating spiritual incompetence with lively arrangements and radiant melodies that skillfully dissolve into deterioration using herky-jerky tape manipulation, analog wow-and-flutter, and an animated orchestra of home-recorded sound effects. Ringhofer's work on Flutterama was mainly inspired by late '50s/early '60s pre-synthesizer academic tape music (Henk Badings, Tod Dockstader, Ilhan Mimaroglu, Malcolm Pointon), along with Frances Mary Hunter Gordon's adolescent liturgies (recorded at Abbey Road during The Beatles era), turbid sights and sounds in Guy Maddin films, R. Stevie Moore's home-taped pop universe, Alberto Burri's stitched wound burlap assemblages, Lou Barlow/Dinosaur Jr's lo-fi "Poledo" sound collage (which name-checks Jesus), Julie Canlis book A Theology of the Ordinary, Wallace Berman's visual collage, and The Raincoats' magnificently shaky D.I.Y. aesthetic.The tape machine itself plays a vital role in the album's drive, interrupting moments of ecstasy and revelation with varispeed pitch shifts and grainy decay. These tape-fiddled tunes - recorded on a 16-track reel-to-reel recorder - employ surprisingly little synthesizer ("it felt like cheating," says Ringhofer). He preferred to craft most of the album's effects the long way, frequently going behind the back of rock instrumentation by hand-feeding 1/2" magnetic open reel recordings of deflating balloons, chord organs, tablecloth swipes, piano (occasionally tracked with a baby on his lap), brass, some guitars, and a quickly-cranked half-speed music box. Ringhofer was assisted by long-time Half-handed Cloud contributor Brandon Buckner on drums, and single-song backing vocals from Anacortes, WA songsmith John Van Deusen.

The best of Harry Benson’s era-defining Beatles portfolio captures them on the road, performing, relaxing, composing and acting in A Hard Day’s Night. From their famous pillow fight in Paris to their first U.S. tour, Benson’s luminous black-and-white photographs show intimate glimpses of George, John, Paul, and Ringo during peak Beatlemania.

With the Beatles

Backstage pass to the Fab Four

In early 1964, photographer Harry Benson received a call from the photo editor of London’s Daily Express, who asked him to cover the Beatles’ trip to Paris. It was the beginning of a career-defining relationship, which would both make Benson’s name and produce some of the most intimate photographs ever taken of the Beatles.

In Paris, Benson captured the Fab Four in the midst of a pillow fight at the George V Hotel, a spontaneous moment which came to epitomize the spirit of the band—Benson himself has called it the best shot of his career. Later that year, he followed the group on the road for their debut U.S. tour, documenting their appearance on The Ed Sullivan Show, their surprising encounter with Cassius Clay, and the hysteria of New York Beatlemania. Benson also photographed George Harrison’s honeymoon in Barbados, documented the Beatles on the set of their debut movie A Hard Day’s Night, and was present on the now infamous 1966 tour when John Lennon said that the Beatles were “more popular than Jesus.”

Previously out-of-print, this re-edition brings back the best of Benson’s luminous black-and-white Beatles portfolio. Complemented by quotes and newspaper clippings from the period, an introduction by the photographer himself adds exciting personal testimony to these iconic images of the greatest band in musical history.

The photographer
Glasgow-born Harry Benson has photographed every US President since Eisenhower, the Civil Rights movement, and was next to Robert Kennedy when he was assassinated. As well as The Beatles, he has shot some of the biggest personalities of the last 50 years, including Michael Jackson, Elizabeth Taylor and Her Majesty The Queen. In 2009, he was made Commander of the British Empire (CBE).

Hardcover, 23.6 x 33.3 cm, 2.34 kg, 272 pages

Herself Is The Moniker Of Multi-Instrumentalist Gioele Valenti, Also Known As Juju In More Recent Years (Fuzz Club) Or As Part Of The Psych Project Lay Llama's. Herself's Work Was Described By Critics As The Harmonious Meeting Between Sparklehorse, Gravenhurst And Will Oldham. Valenti's Songwriting Takes Inspiration From Low-Fidelity Apocalyptic Folk, Crooning And Pop; Boasting A Rather Extensive Discography. Well Rooted In Tradition, His Music Often Ventures In The Realms Of Subtle Experimentation. His New Album "Rigel Playground" Prepares The Listener For A Journey Through Cosmic Folk, In Which Traditional Brit Pop Flirts With An Alt Vein, As If The Beatles And Sparklehorse Would Meet The Torments Of Nick Drake And The Intimacy Of A Mike Scott. Continuing A Long List Of Illustrious Collaborations (Amaury Cambuzat Of Ulan Bator, John Fallon Of The Steppes,Capra Informis Of Goat, Among Others), The Prestigious Guest On This Record Is Jonathan Donahue From Mercury Rev, A Group Of Absolute Prominence In The International Indie Panorama, Which In Addition To Having Lent His Voice To The Single "The Beast Of Love" - As Herself Says - Informs The Essence Of The Entire Record. Not Surprisingly Mercury Rev Chose Herself To Support Them During Their Italian Tour Last Year.

Osaka based psych-rock three piece Hibushibire return after a long break, with a new line up and a stunning third album.

Following the successes of their debut album 'Freak Out Orgasm!' (2017), the follow up ‘Turn On, Tune In, Freak Out’ (2019) and two very well received UK tours. The band headed home to Osaka, Japan and then, the pandemic hit.

During this downtime, guitarist/vocalist Changchang decided to create a new power trio. Enter Tetsuji Toyoda (Bass/Vocals) & Aoi Hama (Drums/Vocals). The new trio have spent the last three years writing new music, playing live and honing their sound in Japan, and a short well received tour of Taiwan with Riot Season labelmates Dope Purple. And now finally, Hibushibire mark 2 is born properly.

“Hibushibire has returned after a change of members. A psychedelic, progressive work, suitable for a new beginning"

Entering the studio with Acid Mothers Temple/Mainliner guru Makoto Kawabata in the producer chair (and also as a guest musician) once again, the band recorded album number three, 'Magical Metamorphosis Third Eye’. Makoto also adds some of his own trademark guitar howls through out the album, perfectly complimenting Changchang’s own growing prowess.

Here the band have taken their trademark psych-rock blasts and blended them perfectly with some more trippy, dare I say sweet progressive psychedelic sounds.

“The idea of this album is based on the theme of "occultism and mysticism". But it's not a serious thing, it's about the things we like (UFOs, pyramids, psychic phenomena, shamanism etc) and we all had fun while making it. In terms of what makes it different from the previous Hibushibire albums, it’s where AOI HAMA's vocals are present. I had wanted to use a female vocalist for a long time, so it was a good feeling!”

Like the bands first two albums, 'Magical Metamorphosis Third Eye’ is very much an album of two halves. Side one again is full of killer shorter tracks, while side two is reserved for a blinding majestic 20 minute epic ‘Ayahuasca Witch Abduction’.

Perhaps the biggest musical surprise here though is probably track two, the beautifully mellow tripped out ‘We Won't Go Back To The Past’, which sounds like it’s been beamed straight out of the late 60s/early 70s.

The band also tip a nod to the Beatles psychedelic classic ‘Tomorrow Never Ever Knows’, but with their own twist of course.

It’s clear with the line up changes, Changchang has decided to expand the bands musical pathway, and he’s achieve stunning results.

The band plan to return to the UK and Europe in 2024 to see friends old and new.

Osaka based psych-rock three piece Hibushibire return after a long break, with a new line up and a stunning third album. Produced by Acid Mothers Temple/Mainliner guru Makoto Kawabata who also guests on the album.

Following the successes of their debut album 'Freak Out Orgasm!' (2017), the follow up ‘Turn On, Tune In, Freak Out’ (2019) and two very well received UK tours. The band headed home to Osaka, Japan and then, the pandemic hit.

During this downtime, guitarist/vocalist Changchang decided to create a new power trio. Enter Tetsuji Toyoda (Bass/Vocals) & Aoi Hama (Drums/Vocals). The new trio have spent the last three years writing new music, playing live and honing their sound in Japan, and a short well received tour of Taiwan with Riot Season labelmates Dope Purple. And now finally, Hibushibire mark 2 is born properly.

“Hibushibire has returned after a change of members. A psychedelic, progressive work, suitable for a new beginning"

Entering the studio with Acid Mothers Temple/Mainliner guru Makoto Kawabata in the producer chair (and also as a guest musician) once again, the band recorded album number three, 'Magical Metamorphosis Third Eye’. Makoto also adds some of his own trademark guitar howls throughout the album, perfectly complimenting Changchang’s own growing prowess.

Here the band have taken their trademark psych-rock blasts and blended them perfectly with some more trippy, dare I say sweet progressive psychedelic sounds.

“The idea of this album is based on the theme of "occultism and mysticism". But it's not a serious thing, it's about the things we like (UFOs, pyramids, psychic phenomena, shamanism etc) and we all had fun

while making it. In terms of what makes it different from the previous Hibushibire albums, it’s where AOI HAMA's vocals are present. I had wanted to use a female vocalist for a long time, so it was a good feeling!”

Like the band's first two albums, 'Magical Metamorphosis Third Eye’ is very much an album of two halves. Side one again is full of killer shorter tracks, while side two is reserved for a blinding majestic 20 minute epic ‘Ayahuasca Witch Abduction’. Perhaps the biggest musical surprise here though is probably track two, the beautifully mellow tripped out ‘We Won't Go Back To The Past’, which sounds like it’s been beamed straight out of the late 60s/early 70s.

The band also tip a nod to the Beatles psychedelic classic ‘Tomorrow Never Ever Knows’, but with their own twist of course.

It’s clear with the line up changes, Changchang has decided to expand the band's musical pathway, and he’s achieved stunning results.

The band plan to return to the UK and Europe in 2024 to see friends old and new.

First ever vinyl reissue of this UK prog-psych album from 1971. Recorded at George Martin’s AIR Studios and originally released on the collectable Vertigo label.

A great mix of pastoral prog, hard-rock, blues and West Coast/Americana: long tracks, soft vocal harmonies, dual guitar…

Hokus Poke formed in London in the late 60s, consisting of Clive Blenkhorn of lead guitar & vocals, Roger Clarke on guitar, Smith Campbell on bass and Jonnie Miles on drums.

Managed by Kenny Lynch, they secured a deal with the legendary Vertigo label. "Earth Harmony", their sole album, was recorded at George Martin's AIR Studios. Released in 1971, it was housed in a fabulous die-cut sleeve with photos taken by John Kelly, famous for his work on the Beatles "White Album".

Honey Child is a Chamber Pop Choir from Los Angeles, led by Opera singer Claire McKeown and featuring Claire Boutelle, Aimee Jacobs, Danielle Mandell, Dayna Richards, Jacquelyn Sky, and Cynthia Zitter. Originally formed as a cathartic place to let go of the pains of a slaughtered heart, Honey Child became a transformative creative endeavor filled with beauty and harmony. The debut album was recorded at EastWest Studios in the famed Studio 3 (Pet sounds). According to McKeown, The goal of the album was to celebrate musicians sharing time and space. We set up for three days and tried to capture as much magic as possible honoring the authenticity of our sound and ability to record live performances. For me, the orchestrations and vocal arrangements of The Beach Boys and The Beatles were huge inspirations for the album along with the vocal delivery of Harry Nilsson, Dusty Springfield, and the dramatic honesty of opera singer Maria Callas."