CD only subsidiary of Seelie Court , limited 300 copies editions in card Gatefold sleeves, all issued with co operation of the bands/artists, under contract.
Post Arcadium psychedelic folk masterpiece, lost since 1969, just one original acetate LP exists, valued at £7000+, the LP has an intense pagan mood and deals with themes of alienation, notably in Outsider, it sounds very similar to Comus with flutes, violins but replaces the insanity of Comus with dark folked out melancholia. Short at 22 mins. With songwriting and lead vocal by Miguel Sergides who crafted the psych LP masterpiece by Arcadium. Accomplished and meticulous prog folk genius.

The fourth release in Tom Waits' series of skid row travelogues, Small Change proves to be the archetypal album of his '70s work. A jazz trio comprising tenor sax player Lew Tabackin, bassist Jim Hughart, and drummer Shelly Manne, plus an occasional string section, back Waits and his piano on songs steeped in whiskey and atmosphere in which he alternately sings in his broken-beaned drunk's voice (now deeper and overtly influenced by Louis Armstrong) and recites jazzy poetry. It's as if Waits were determined to combine the Humphrey Bogart and Dooley Wilson characters from Casablanca with a dash of On the Road's Dean Moriarty to illuminate a dark world of bars and all-night diners. Of course, he'd been in that world before, but in songs like "The Piano Has Been Drinking" and "Bad Liver and a Broken Heart," Waits gives it its clearest expression…

For the Good Times brings together two early 1970s albums from alto/tenor Rusty Bryant: 1973's For the Good Times and 1974's Until It's Time for You to Go. Both albums find Bryant combining pop and soul-jazz with the aid of electric pianos and funky guitars. Things get started with tepid versions of the title track and Roberta Flack's "Killing Me Softly With His Song," both veering dangerously close to Muzak territory. The pieces are salvaged, however, by Joe Beck and Hugh McCracken's guitar work and Hank Jones' steady hand at the keyboards. Bryant turns in his best solo on a groovy version of "Theme From Deep Throat" that's propelled forward by bassist Tony Levin and drummer Steve Gadd. Musically, things pick up a bit on the last six tracks…

Narrated by Robert Powell this work was released by Virgin Records in 1975. Great album sleeve with a noteworthy credit being Mike Oldfield assisting on guitars. The album itself comprises of two parts, Rime Of The Ancient Mariner 1 & 2. Oldfield's association with David Bedford went back to The Kevin Ayers and the Whole World band. While Oldfield was flexing his creative muscle and getting frustrated within the confines of that band he confided more and more with David Bedford and struck up a strong rapport with the keyboard player that lasted long after 1975.

Recorded in 1976 and released the next year, Body Love, Vol. 2 was intended as a soundtrack for a pornographic film. Nothing wrong with this in and of itself, but it is hard to imagine that Schulze's trance-inducing electronic improvisations would be considered an appropriate soundtrack for sex. "Nowhere - Now Here" has a basic beat and spacy synths, but after 18 minutes, when the harpsichord solo starts, the simple prog rock absurdity of it shows that Schulze isn't taking his assignment too seriously. The dubbed-out introduction to "Stardancer II" shows a different side of Schulze's muse, but as it gets interesting, the regular synths start up and things return to normal. "Moogetique" is an atmospheric closer, 12 minutes of slowly undulating synths and ambient echoes…

The first album by the British jazz-funk and prog-rock band Clancy, formed by key members like Ernie Graham, Colin Bass, and David Skinner who had previously been part of major bands in the 60s and 70s British rock scene such as Eire Apparent, Uncle Dog, Help Yourself, and Velvet Opera. The album is dominated by a fantastic jazzy AOR sound throughout.

5CD + 1 DVD set. Rubber Soul is the sixth studio album by the English rock band the Beatles. It was released on 3 December 1965 in the United Kingdom on EMI's Parlophone label, accompanied by the non-album double A-side single "We Can Work It Out" / "Day Tripper". The original North American release, issued by Capitol Records, contains ten of the fourteen songs and two tracks withheld from the band's Help! (1965) album. Rubber Soul was described as an important artistic achievement by the band, meeting a highly favourable critical response and topping sales charts in Britain and the United States for several weeks.

Originally released as 3-LP + 7" in 1972. Fillmore: The Last Days is a live album, recorded at the Fillmore West in San Francisco, California from June 29 to July 4, 1971. It contains performances by 14 different bands, mostly from the San Francisco Bay Area, including Santana, the Grateful Dead, Hot Tuna, Quicksilver Messenger Service, and the New Riders of the Purple Sage. It was released by Columbia Records in June 1972 as a three-disc LP. It was re-released by Epic Records in 1991 as a two-disc CD.

With a limitless supply of dirty riffs, snarling vocals, and timelessly catchy, anthemic choruses, AC/DC is one of the most important and most lasting forces in hard rock. Founded in the early '70s by Scottish-born brothers Malcolm and Angus Young, the Aussie band exploded onto the international stage in 1979 with the release of their multi-platinum-selling sixth album, Highway to Hell. The death of charismatic frontman Bon Scott in 1980 threatened to derail the group, but AC/DC powered through. They recruited Geordie vocalist Brian Johnson and unleashed their most successful effort to date, Back in Black, which has become the second best-selling album in history. The band continued to help define the sound of hard rock and metal throughout the '80s, '90s, and beyond, spawning countless imitators and enjoying steady, consistent commercial success. They also became one of the best examples of arena rock, playing to enormous crowds as the years went on, and rocking as hard as ever on studio albums like 1990's pop-glinted The Razor's Edge and 2020's Power Up, both of which reached the upper tiers of multiple charts.

A rare set of live Texas honky tonk from the mid-60s by one of the true titans of country music. Fully remastered and in mono with new booklet essay and photographs. Not many icons of 1950s and 1960s country music ever made a live album during country’s golden age. One of the select few who tried was George Jones, whose producer H.W. “Pappy” Daily hired mobile equipment and taped George and the Jones Boys at Houston’s famous honky-tonk Dancetown USA sometime in early 1965. Although he claimed to have a cold, George was in fine form that night, but significant audio problems that could not have been easily fixed in the 60s caused Daily to shelve the tapes and abandon the notion of releasing any kind of live set on his most eminent discovery.

This is the third in series of expanded versions of albums by Etta James, one of the greatest and most influential recording artists of our times. The original 10-track album is bolstered with 14 bonus titles recorded between 1962 and 1965. Together they show Etta's many sides, from the punchy soul of Pay Back and Only Time Will Tell to gorgeously orchestrated revivals of jazz standards such as Lover Man (Oh Where Can You Be), with a few Nashville-cut country tunes included for good measure. Track selection by Mick Patrick, with notes by Garth Cartwright.

As more ensembles perform and record Steve Reich's Music for 18 Musicians, its status as a minimalist masterpiece is increasingly affirmed. Ensemble Signal's 2015 release on Harmonia Mundi is one of several amazing performances that have matched Reich's original ECM New Series recording in technical brilliance and expressivity, and it has even earned the composer's approval for being, "…fast moving, spot on, and emotionally charged." Under the direction of Brad Lubman, Ensemble Signal maintains a relentlessly steady pulse and articulates the interlocking patterns with absolute precision, though the shifting tone colors are perhaps a little clearer in this performance than in other recordings. The microphone placement is not so close that individual instruments stand out, but there is enough separation of parts to allow some sense of direction and the orientation of the smaller sub-groups of pianos, xylophones, marimbas, strings, clarinets, and voices. This is a mesmerizing performance that will transfix listeners, and the music is so compelling that it will linger on well after the CD stops. Highly recommended.

This is a totally unique recording featuring very rare studio demos! Taken from the soundboard during the Golden Heart sessions sometime 1994/95. Includes five very good unreleased songs. Song number 10 is very very nice, but not written by Mark Knopfler unfortunately. The sound quality is good. Also featured on this official bootleg are 5 songs from the Hamburg 2001 radio broadcast, also in very good sound quality.

Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records.

On this recording, Paul Lewis performs two major works of the keyboard repertoire. Decidedly programmatic, Mussorgsky's Pictures at an Exhibition is more commonly heard today in Ravel's orchestral version. However, the original for solo piano is both a technical tour-de-force and a brilliant example of the composer's coloristic gifts. The pairing is Schumann's Fantaisie Op.17, a work whose movements originally had evocative titles (Ruin, Triumphal Arch, Constellation). The 'program' was removed before publication, but the 'pictures' Schumann intended listeners to imagine remain.