This spring, Craft Recordings officially re-launched Original Jazz Classics, reimagining the long-running reissue imprint with audiophiles and vinyl collectors in mind. Now the series closes out the year with three more essential titles: The Tony Bennett Bill Evans Album, the Dave Brubeck Quartet’s Jazz at Oberlin and The Cats, which captures Tommy Flanagan, John Coltrane, Kenny Burrell and Idrees Sulieman on the cusp of stardom. Offering the highest-quality listening experience, each album features lacquers cut from the original master tapes (AAA) by Kevin Gray at Cohearent Audio, 180-gram vinyl pressed at RTI and tip-on jackets, replicating the original LP artwork. Additionally, albums will be available digitally in 192/24 HD audio. The rollout begins October 27, while all titles can be pre-ordered today.

First launched in 1982 under Fantasy Records, Original Jazz Classics served as a home for the label’s impressive jazz catalog, which had grown to include thousands of celebrated titles from Prestige, Galaxy, Milestone, Riverside, Debut, Contemporary, Jazzland and Pablo. Over the next three decades, OJC became the go-to source for jazz reissues—and faithfully presented more than 850 memorable albums. Given Craft Recordings’ shared passion for meticulous preservation and quality, it was a natural step to relaunch Original Jazz Classics.

Since making its return, OJC has garnered attention from critics on both sides of the Atlantic. Speaking to the reissue of Workin' With the Miles Davis Quintet, All About Jazz hailed, “The detail that went into this precious document is of the highest order,” while Record Collector exclaimed, “The album sounds stupendous . . . it looks fabulous too.” On Bill Evans’ Waltz for Debby, Tracking Angle lauded the reissue in a perfect score review, “the best-sounding of all the pressings. . .the whole line will be worth watching and buying quickly before they sell out.” and Glide Magazine noted, “This pressing . . . deserves mention for how absolutely clear the sound is, making the listener almost feel like the trio is in the room with you.” PopMatters, meanwhile, loved the LP’s “stunning sound quality and faithfully reproduced artwork.” Analog Planet was “very pleased with . . . Thelonious Monk With John Coltrane,” elaborating, “The sound quality feels much fuller, rounder, and richer . . . The overall flavor of the new vinyl mastering by Kevin Gray felt just right, and in keeping with the original intent of the recordings . . . dead-quiet in terms of disc surface noise. The vinyl is thick, dark, and, most importantly, well-centered.”

Read more on OJC’s latest releases below, and stay tuned for announcements regarding forthcoming titles in 2024.

Tommy Flanagan, John Coltrane, Kenny Burrell, Idrees Sulieman: The Cats (Available October 27)

Long renowned for its music, Detroit became a hotspot for the emerging sounds of bebop, inspiring innovators like Miles Davis, Charlie Parker and John Coltrane to visit, while serving as an incubator for locals, including pianist Tommy Flanagan and guitarist Kenny Burrell. It was there that Flanagan met Coltrane and, when he and Burrell relocated to New York, they reconnected with the saxophonist at Rudy Van Gelder’s Hoboken studio in the spring of 1957.

At the time, all three musicians were on the verge of stardom. Coltrane was in between stints with Miles Davis and was about to begin a career-changing, months-long residency with Thelonious Monk. Burrell was a sought-after sideman, who had played with the likes of Tony Bennett, Billie Holiday and Benny Goodman, and was fresh off recording his debut as a leader. Flanagan had recently appeared on Sonny Rollins’ landmark album, Saxophone Colossus, and would soon become Ella Fitzgerald’s full-time accompanist. During this particular session, however, Flanagan would serve as the de-facto leader.

Joined by esteemed trumpeter Idrees Sulieman, as well drummer Louis Hayes and bassist Doug Watkins (both top players in the Motor City scene), the group performed four upbeat Flanagan originals: “Minor Mishap,” “Eclypso,” “Solacium” and the nearly 12-minute closer, “Tommy’s Time.” Flanagan, Watkins and Hayes also deliver a standout trio performance of the Gershwins’ standard “How Long Has This Been Going On?” The sole ballad offers Flanagan a moment to shine particularly bright, as he delivers a poignant and nuanced performance on the piano.

A hard-bop classic, The Cats was released by Prestige Records in 1959. AllMusic praises, “From the opening number … you realize something special is happening. Flanagan is energized, playing bright and joyous melody lines, comping and soloing like the blossoming artist he was. Coltrane is effervescent and inspired. . . . The Cats is a prelude to much more music from all of these masters that would come within a very short time period thereafter.”

Scroll down to view the tracklist and click here to pre-order The Cats.

The Dave Brubeck Quartet: Jazz at Oberlin (Available November 10)

One of the most important and innovative figures in the post-war cool jazz movement, pianist Dave Brubeck became one of the genre’s biggest stars during his six-decade-long career. While his catalog contains numerous landmark recordings, one of his earliest was captured in 1953 at an unlikely venue: Oberlin College. At the time, it was a rare occurrence for a jazz artist to perform outside of a nightclub—let alone at a concert hall or school. However, after an Oberlin student caught Brubeck on stage in San Francisco, he persuaded the Ohio college to book the rising musician.

The Bay Area pianist brought members of his evolving quartet, which included bassist Ron Crotty, drummer Lloyd Davis and alto saxophonist Paul Desmond (who would remain with Brubeck for years and compose his biggest hit, “Take Five”). The set—which was comprised of five standards, including Juan Tizol’s “Perdido,” Hoagy Carmichael’s “Stardust” and Jerome Kern’s “The Way You Look Tonight”—offered Brubeck the opportunity to showcase his complex yet approachable style. Recorded by engineers at the college radio station and released by Fantasy as Jazz at Oberlin, it became one of the first instances of cool jazz on tape.

Declaring the album to be “Brubeck’s First Great Jazz Moment,” The Guardian’s John Fordham explained that the musician’s delivery “indicated new directions for jazz that didn’t slavishly mirror bebop, and even hinted at free-jazz piano techniques still years away from realization.” DownBeat’s Nat Hentoff, meanwhile, hailed it as “the best of Brubeck on record.” The concert itself also marked a turning point for the genre, helping to legitimize jazz as a serious art form. In the coming years, jazz artists would be booked more frequently at concert halls, while colleges and universities across the country (including Oberlin) would expand their studies beyond the confines of classical music.

Scroll down to view the tracklist and click here to pre-order Jazz at Oberlin.

Tony Bennett and Bill Evans: The Tony Bennett Bill Evans Album (Available December 1)

When Tony Bennett and Bill Evans recorded their first of two albums together in 1975, it marked a rare moment in pop culture—when a pair of equally respected but vastly different icons could combine their talents, while elevating each other’s artistries in the process. Bennett was an internationally renowned singer, who had built a name for himself interpreting pop and jazz standards. Evans was one of the most innovative pianists in jazz music, who was revered for his conversational interplay and lyrical compositions. Best known for his work in trio settings, Evans rarely played with singers. He did, however, have a great appreciation for Bennett, which he professed in a 1968 Billboard tribute to the singer.

Several years later, the two legends finally met at Fantasy Studios for an intimate and somewhat spontaneous affair. Joined only by producer Helen Keane and an engineer, Bennett and Evans selected material and loosely worked out arrangements. An amalgamation of both men’s backgrounds, the set married pop (“Days of Wine and Roses,” “Young and Foolish,” “We’ll Be Together Again”) with jazz, including Evans’ own “Waltz for Debby” (featuring lyrics by Gene Lees). The session allowed Bennett to prove his chops as a serious jazz singer, while Evans offered thoughtful accompaniment—with ample improvisational interludes.

The Tony Bennett Bill Evans Album was an enormous success upon its release, leading to a follow-up, 1977’s Together Again. Since then, reverence for the recording has only grown. AllMusic hailed it as “one of the best albums of either’s career,” while All About Jazz called it “one of the most memorable vocal-piano duets committed to vinyl.” NPR included the album in their Basic Jazz Record Library, with the AFI’s Murray Horwitz declaring, “This is the American art song tradition at its finest. . . . Both men are masters, they know exactly what they want to do with each song, and they make a splendid interpretation every time. It’s one of those records when you can truly say it doesn’t get any better than this.”

Scroll down to view the tracklist and click here to pre-order The Tony Bennett Bill Evans Album.

Album Tracklists:

The Cats (Vinyl)

Side A

1.      Minor Mishap

2.      How Long Has This Been Going On?

3.      Eclypso

Side B

1.      Solacium

2.      Tommy’s Time

The Cats (Digital)

1.      Minor Mishap

2.      How Long Has This Been Going On?

3.      Eclypso

4.      Solacium

5.      Tommy’s Time

Jazz at Oberlin (Vinyl)

Side A

1.  The Way You Look Tonight

2.  How High The Moon

Side B

1.  These Foolish Things

2.  Perdido

3.  Stardust

Jazz at Oberlin (Digital)

1.   The Way You Look Tonight

2.   How High The Moon  

3.   These Foolish Things

4.   Perdido

5.   Stardust

The Bill Evans Tony Bennett Album (Vinyl)

Side A

1.      Young And Foolish

2.      The Touch Of Your Lips

3.      Some Other Time

4.      When In Rome

5.      We’ll Be Together Again

Side B

1.      My Foolish Heart

2.      Waltz For Debby

3.      But Beautiful

4.      Days Of Wine And Roses

The Bill Evans Tony Bennett Album (Digital)

1.      Young And Foolish

2.      The Touch Of Your Lips

3.      Some Other Time

4.      When In Rome

5.      We’ll Be Together Again

6.      My Foolish Heart

7.      Waltz For Debby

8.      But Beautiful

9.      Days Of Wine And Roses

Craft Recordings’ acclaimed Small Batch vinyl series returns with an audiophile pressing of Thelonious Monk’s Brilliant Corners. A landmark title in the pianist’s celebrated catalog, the 1957 album not only introduces several Monk originals, but also features an all-star line-up of talent, including Sonny Rollins, Max Roach, and Paul Chambers. Shipping September 8th and limited to just 4,000 copies worldwide, Brilliant Corners can be pre-ordered today exclusively at CraftRecordings.com/SmallBatch.

Handpicked from Craft’s extensive catalog, each Small Batch release offers discerning listeners the highest-quality, authentic sound – distilled to its purest form. As with all albums in the series, Brilliant Corners features lacquers cut from the original tapes (AAA) by Bernie Grundman and pressed on 180-gram vinyl at RTI using Neotech’s VR900 compound. This one-step lacquer process (as opposed to the standard three-step process) allows for the utmost level of musical detail, clarity, and dynamics while reducing the amount of surface noise on the record. The limited nature of these pressings guarantees that each record is a true representation of the original lacquer and is as close as the listener can get to the original recording.

Each copy is individually numbered and encased in a foil-stamped, linen-wrapped slipcase featuring an acrylic inset of the original artwork. The vinyl disc ­– extractable through a unique, frictionless ribbon pull tab – is housed in a reproduction of the album’s original tip-on jacket from Riverside Records and protected by an archival-quality, anti-static, non-scratching inner sleeve. New liner notes from the GRAMMY® Award-winning music historian, journalist, and producer, Ashley Kahn complete the package.

Since launching in 2020, the Small Batch series has drawn accolades from both sides of the Atlantic. Speaking to The Vince Guaraldi Trio’s Jazz Impressions of Black Orpheus, Marc Mickelson of Audio Beat hailed it as “[One] of the very best reissues I’ve come across. . . . It was created with extreme care, and it lives up to the goal of being closer in sound to master tape. It’s an LP with music and sound to savor.” Analog Planet’s Mark Smotroff called Relaxin’ with the Miles Davis Quintet “A wonderfully open-sounding record…I felt I was getting a nice sense of what the original recording – and the original records – sounded like, yet with the sonic benefits of Grundman’s mastering touch.” Reviewing Yusef Lateef’s Eastern Sounds, Dan Margolis at DownBeat simply declared “The music is amazing,” while Jamie Atkins at Record Collector praised John Coltrane’s Lush Life, noting, “Craft have done a superlative job; the packaging is elegant and the sound is flawless. . . . There’s a depth and vivacity that brings out the best in these sessions.”

“A classic album should be both era- and genre-defining,” argues Ashley Kahn. “Thelonious Monk, who released LPs for an 18-year run from 1952 to ’71, ultimately delivered more than one. But there’s no question which was his first true classic – the one that still checks off all the boxes and continues to serve as a worthy introduction to his musical legacy. It is Brilliant Corners.”

A brilliant, eccentric, and prolific pianist, Thelonious Sphere Monk (1917–1982) was a transformative figure in jazz music. One of the genre’s most recorded artists (second only to Duke Ellington), Monk has long been revered for his enduring compositions (including multiple jazz standards), his unorthodox melodic structures, and his revolutionary approach to the piano.

When Monk signed to Riverside Records in 1955, however, he was struggling to capture mainstream audiences. It had been nearly a decade since his earliest sessions as a leader (including titles under Blue Note and Prestige Records) and while he was well respected by critics and peers, commercial success continued to elude him – a concern that was further compounded by the loss of his New York City cabaret card, which forbade him from headlining clubs in the city. But soon, his fortunes would change.

Brilliant Corners was recorded during three sessions at New York’s Reeves Sound Studio, beginning on October 9, 1956, just one day before Monk’s 40th birthday. With Riverside co-founder Orrin Keepnews serving as producer, Monk recorded in two different quintet settings. The first featured tenor saxophonist Sonny Rollins (then a fast-rising star), alto saxophonist Ernie Henry, bassist Oscar Pettiford, and bebop pioneer Max Roach on drums. Together, they debuted two tributes to the pianist’s friend and patron, Baroness Nica de Koenigswarter: “Ba-lue Bolivar Ba-lues-are” and “Pannonica” (featuring Monk on the celesta). Several days later, the group reconvened to record another Monk original, “Brilliant Corners.”

The final session, captured in December, featured Rollins and Roach, with the addition of bassist Paul Chambers and trumpeter Clark Terry. Monk led the musicians through “Bemsha Swing,” an original co-written with bassist Denzil Best, which debuted on record in 1952. Monk also delivered one solo performance, selecting Harry Barris’ classic ballad, “I Surrender, Dear.”

Released in April 1957, Brilliant Corners was transformative for Monk’s career, delivering him a major comeback. The album was met with wide acclaim, including from DownBeat’s Nat Hentoff, who proclaimed it “Riverside’s most important modern jazz LP to date.” Within months, Monk’s cabaret card was reinstated. That summer, he had a standing engagement at The Five Spot with John Coltrane, which became the hottest ticket in town. Later that year, Monk released two more acclaimed albums on Riverside: Thelonious Himself and Monk’s Music, while DownBeat declared Brilliant Corners to be “1957’s most praised LP.” In 2003, the album was among the first 50 recordings chosen for the Library of Congress’s National Recording Registry, while over the decades, Brilliant Corners has ranked regularly as an essential jazz title.

Click here to pre-order Brilliant Corners

Brilliant Corners Tracklist

Side A:

1. Brilliant Corners

2. Ba-lue Bolivar Ba-lues-are

Side B:

1. Pannonica

2. I Surrender, Dear

3. Bemsha Swing

Craft Recordings celebrates the 10th-anniversary of Get Up!, the best-selling album from acclaimed singer-songwriter Ben Harper and blues icon Charlie Musselwhite with a vinyl reissue. Set for release on November 3rd and available for pre-order today, the album includes the hit “You Found Another Lover (I Lost Another Friend),” plus such rousing favorites as “I Don’t Believe a Word You Say,” “I’m In I’m Out and I’m Gone” and “Get Up!” Instantly regarded as a modern-day blues classic, the album captivated a multi-generational audience, topped Billboard’s Blues chart and earned a GRAMMY® along the way.

Singer, songwriter, producer, and multi-instrumentalist Ben Harper established himself as one of the era’s most exciting and thought-provoking artists through his 1994 debut, Welcome to the Cruel World. Hailed for his socially conscious lyricism and soulful blend of folk, alt-rock, roots, and blues, the young artist continued to build momentum with such best-selling titles as 1999’s Burn to Shine (featuring the hit “Steal My Kisses”), 2003’s Diamonds on the Inside and 2006’s Both Sides of the Gun. Now a three-time GRAMMY winner, Harper has released 17 studio albums (many with his band, The Innocent Criminals) while he has collaborated with the likes of Dhani Harrison and Joseph Arthur (as Fistful of Mercy), Toots and the Maytals, Natalie Maines and Mavis Staples.

Throughout his nearly six-decade-long career, Blues Hall of Famer and harmonica virtuoso, Charlie Musselwhite, has remained one of the most respected musicians in his genre, with a catalog that now spans over 40 solo and collaborative albums. Born in Mississippi and raised in Memphis, the GRAMMY-winning artist began his career in Chicago, where he established himself as a key figure in the ’60s blues revival scene – rising alongside the likes of Paul Butterfield, Buddy Guy and Junior Wells. After releasing his seminal 1967 debut, Stand Back! Here Comes Charley Musselwhite's Southside Band, Musselwhite relocated to San Francisco – becoming a fixture in the counterculture scene and expanding his repertoire far beyond the blues. Over the years, the in-demand blues icon has worked with a broad range of artists, including Muddy Waters, Bonnie Raitt, Tom Waits, Cyndi Lauper and Eddie Vedder.

Musselwhite and Harper first crossed paths in 1996, when they were both on the bill at Australia’s Byron Bay Blues Festival. Harper, then a rising star, had long admired the harmonica player and asked for an introduction. The musicians hit it off instantly and, a year later, found themselves in a session together alongside one of the blues’ most important figures, John Lee Hooker. The elder bluesman recruited Musselwhite – a lifelong friend – and Harper to perform his classic “Burnin’ Hell” for his 1998 album, The Best of Friends. After that initial project, Harper and Musselwhite continued to collaborate – on stage, as well as in the studio, with Harper guesting on Musselwhite’s GRAMMY-nominated 2004 album, Sanctuary, and Musselwhite joining Harper on bonus tracks for Both Sides of the Gun. Finally, in 2012, the stars aligned for the two artists to release a full album together.

Produced by Harper, alongside Chris Goldsmith (Dan Hicks & His Hot Licks, The Blind Boys of Alabama) and engineer Sheldon Gomberg (Rickie Lee Jones, The Living Sisters), the timeless album blended the Delta and Chicago traditions of blues with gospel, roots, country and R&B. Joined by guitarist Jason Mozersky, bassist Jesse Ingalls and drummer Jordan Richardson, the duo recorded ten tracks – all of which were written or co-written and sung by Harper.

Each song paints a vivid portrait of emotions – from the heated “I Don’t Believe a Word You Say” and the impassioned “Blood Side Out” to the coy honky-tonk of “She Got Kick.” Another highlight is the swaggering “I’m In I’m Out and I’m Gone,” which Harper once called “one of the crown jewels of the album,” adding that it “contains one of the greatest harmonica solos in history.” The defiant title track, meanwhile, is driven by an irresistible bass groove and sparse – yet powerful – instrumentation.

One of the most poignant moments comes from the stripped-down break-up song “You Found Another Lover (I Lost Another Friend),” in which the intuitive interplay between Harper’s emotive vocals and Musselwhite’s lyrical musicianship shines particularly bright. Another powerful track is “I Ride at Dawn,” which depicts modern-day warfare. Speaking to the track at the time of release, Musselwhite noted, “Real blues has depth and substance.… More than just music, [these songs] are reflections of life.”

Get Up! was unleashed in January 2013 and became an instant critical and commercial sensation. In addition to debuting atop Billboard’s Blues Albums chart, Get Up! entered the Billboard 200 at No.27 and was a Top 10 album on the Rock chart, while “You Found Another Lover (I Lost Another Friend)” was certified Gold by the RIAA. The album also earned top marks from the likes of Mojo, Rolling Stone, and the BBC, the latter of which declared that it “sets the standard for 21st-century blues.” PopMatters called the album “a marriage made in blues heaven,” while AllMusic hailed Get Up! as “a successful combination of two talented veterans feeding off each other’s dusky, creative spirit.” The following year, Get Up! earned a GRAMMY for Best Blues Album.

After the success of Get Up!, which marked Musselwhite’s 29th LP and Harper’s 11th, the musicians reunited in 2018 for a follow-up, No Mercy in this Land. In addition to their celebrated collaborations, both artists have remained busy with their respective solo careers. At 79 years old, Musselwhite shows no signs of slowing down and is enjoying his status as a blues legend. Last year, he released his latest album, Mississippi Son, while he will be making several live appearances this fall (see below). Harper, meanwhile, released Wide Open Light in June. Featuring the single “Yard Sale” with Jack Johnson, Wide Open Light marks the singer-songwriter’s 17th studio album. Harper, who has spent much of the year on tour in North America, Europe, and Australia with The Innocent Criminals, will continue to perform across the US through October (dates below).

Click here to pre-order Get Up!

Get Up! Track List

Side A

1.      Don’t Look Twice

2.      I’m In I’m Out and I’m Gone

3.      We Can’t End This Way

4.      I Don’t Believe a Word You Say

5.      You Found Another Lover (I Lost Another Friend)

Side B

1.      I Ride at Dawn

2.      Blood Side Out

3.      Get Up!

4.      She Got Kick

5.      All That Matters Now

Ben Harper & The Innocent Criminals tour dates:

September 9: San Diego, CA – Doors of Change “Concert of Hope” (Ben Harper with Whitney Shay opening)

September 16: Felton, CA – Santa Cruz Mountain Sol Festival

September 23: Sacramento, CA – Farm-to-Fork Festival

September 29: Richmond, VA – The National (with Mendeleyev opening)

September 30: Ocean City, MD – Oceans Calling Festival

October 1: Bridgeport, CT – Sound on Sound Music Festival

October 3: Portland, ME – State Theatre (with Mendeleyev opening)

October 4: Hampton Beach, NH – Hampton Beach Casino Ballroom (with Mendeleyev opening)

October 6: Burlington, VT – The Flynn (with The Jack Moves opening)

October 7: Buffalo, NY – UB Center for the Arts – Mainstage Theatre (with The Jack Moves opening)

October 8: Albany, NY – The Egg Center for the Performing Arts (with The Jack Moves opening)

October 10: Royal Oak, MI – Royal Oak Music Theatre (with The Jack Moves opening)

October 11: Cincinnati, OH – The Andrew J Brady Music Center (with The Jack Moves opening)

October 13: South Bend, IN – Morris Performing Arts Center (with The Jack Moves opening)

October 14: Milwaukee, WI – The Riverside Theater (with The Jack Moves opening)

October 15: Prior Lake, MN – Mystic Lake Casino Hotel – Mystic Showroom (with The Jack Moves opening)

Charlie Musselwhite tour dates:

September 14: Portland, OR – PDX Jazz Festival at Revolution Hall

September 24: Albuquerque, NM – New Mexico Jazz Festival (with Curtis Salgado)

October 28–November 4: San Diego, CA – Legendary Rhythm & Blues Cruise

Craft Recordings honors the inimitable Wes Montgomery on his centennial with an expanded edition of his classic 1962 LP, Full House. Captured at Berkeley, CA’s Tsubo coffee house, the album marks the influential jazz guitarist’s sole live session for Riverside Records and features stellar performances by all, including tenor saxophonist Johnny Griffin, pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb. Presented as The Complete Full House Recordings, this brand-new collection has been remastered from the original analog tapes by Joe Tarantino, with lacquers cut by Kevin Gray at Cohearent Audio. Pressed on 180-gram vinyl at Germany’s Optimal Media, the 3-LP set is housed in a gatefold jacket, complete with new liner notes by journalist and author Bill Milkowski (Downbeat, Jazziz, Guitar Player). An exclusive new Riverside Records T-Shirt is also available to order at CraftRecordings.com alongside the album.

Set for release on November 10th and available for pre-order today, The Complete Full House Recordings can also be found on 2-CD as well as in 24/192 hi-res and standard digital. Rounding out all formats is a variety of alternate takes and outtakes, including two previously unreleased performances: an alternate take of Montgomery’s “S.O.S.” as well as the complete unedited master take of “Full House,” featuring Montgomery’s originally played (and previously replaced) guitar solo restored.

One of jazz music’s most influential and innovative guitarists, Wes Montgomery (1923–1968) was revered for his warm, soulful tone and his unique approach to his instrument. Eschewing the standard guitar picks, the self-taught musician opted to pluck the guitar strings with the side of his thumb, while his extensive use of parallel octaves contributed to his distinctive sound. It was a technique that would not only be adopted by other jazz artists but also by many of the rising rock guitarists of the day.

Born and raised in Indianapolis, Montgomery got his big break with Lionel Hampton, joining the legendary vibraphonist’s big band in 1948 before partnering with his brothers, vibraphonist/pianist Buddy and bassist Monk, with whom he performed as The Mastersounds or The Montgomery Brothers. At the end of the decade, the guitarist embarked on his prolific career as a leader, signing to the legendary jazz label, Riverside Records, and releasing his debut, A Dynamic New Sound: Guitar/Organ/Drums, in 1959. Yet, while Montgomery certainly wowed his contemporaries in the studio, it was often felt that the musician was at his best during club performances. And so, in 1962, Riverside’s founder and producer, Orrin Keepnews, sought to capture that magic, booking an evening at Berkeley’s Tsubo coffee house (a short-lived jazz hotspot that would soon become the storied folk and blues club Jabberwock). Recorded in front of an audience, the set would be a hybrid of a recording session and a concert, allowing the band to perform multiple takes of each tune.

Taking place on June 25, 1962, the session paired Montgomery with Chicago tenor saxophonist Johnny “The Little Giant” Griffin, alongside the Wynton Kelly Trio (pianist Kelly, bassist Paul Chambers and drummer Jimmy Cobb—all three of whom made up Miles Davis’ celebrated rhythm section). On the program was a variety of bop, blues and ballads. In his liner notes, Milkowski writes, “Full House captures Wes at the top of his game as he electrifies the audience of students, jazz fans and hipsters with his inventive and inherently melodic improvisations, propelled by the superbly swinging rhythm section.” Both Montgomery and Griffin, he adds, offer powerhouse performances, with “a take-no-prisoners approach on the individual solos.”

The original, six-track album (released in November 1962) opens with the sprightly Montgomery original “Full House.” The waltz-time tune showcases the guitarist’s use of octaves, which he sprinkles throughout. Milkowski praises, “The vocabulary is refreshingly modern, full of surprising filigrees and inventive harmonic implications as the piece evolves. Wes . . . play[s] cat-and-mouse with his own facile single-note lines before going all-in on the parallel octaves.” Griffin, meanwhile, brings “pungent tones, hip phrasing, and a kind of inherent swagger that reflects his own bad-ass persona. By the five-minute mark, the Little Giant is pouring it on, nonchalantly double-timing the pulse while digging deep for blue notes.”

The quintet slows things down with a straightforward reading of the Lerner/Lowe standard “I’ve Grown Accustomed to Her Face” (from the 1956 musical My Fair Lady), before picking the pace back up with Dizzy Gillespie’s “Blue ’N’ Boogie.” Kelly’s rhythm section shines particularly bright in this bop classic, keeping the nearly 10-minute-long performance moving as Montgomery and Griffin strut their stuff. Then, they return to another Montgomery original—the Latin-tinged “Cariba”—in which they deliver several standout solos, including those by Kelly and Chambers, before reimagining the Harold Arlen/Johnny Mercer ballad “Come Rain or Come Shine,” with a jaunty swing, led by Cobb’s tight brushwork on the drums.

The original album closes with Montgomery’s energetic “S.O.S.,” several takes of which are featured in The Complete Full House Recordings, including the previously unreleased “S.O.S. (Take 1).” Milkowski notes that “this take is brimming with energy.” Another version, “S.O.S. (Take 2)” (originally released on The Alternative Wes Montgomery), finds the group tackling the challenging piece with ease and features a particularly outstanding solo from Griffin.

Also included in The Complete Full House Recordings is a previously unreleased take of the title track. The original album version of “Full House” was, in fact, a composite of two takes in which Montgomery’s guitar solo was edited in. Now, for the first time, listeners can hear the complete unedited master take, with Montgomery’s originally played (and previously replaced) guitar solo restored. The collection also compiles alternate takes (all previously released on either Wes Montgomery: The Complete Riverside Recordings or The Alternative Wes Montgomery) of “Cariba,” “Come Rain or Come Shine” and “Blue ’N’ Boogie,” as well as two renditions of Mel Tormé’s ballad “Born to Be Blue.” Both takes, which do not feature Griffin, showcase the phenomenal interplay between Montgomery and Kelly’s trio—first with a subdued approach and then with a more energetic attack.

Praised by Downbeat as catching “Montgomery at the blazing top of his form,” Full House secured Montgomery’s place as a bona fide jazz star and has long been considered an essential title from his all-too-brief career. Following his time at Riverside, Montgomery would turn his focus primarily to pop-oriented music and found significant crossover success with instrumental covers of the era’s biggest hits—several of which earned him GRAMMY® Awards.

Montgomery, who passed away unexpectedly in 1968, not only left behind a beloved canon of music but also an impact that continues to reverberate. “Wes Montgomery forever changed the language of the guitar,” writes Milkowski. “Generations of guitarists who followed in his wake were swept away by the warmth of his tone, the freedom and fluidity of his ideas, and the persistent swing in his unerring time feel.” Among his immediate disciples were contemporaries like Joe Pass, Pat Martino and George Benson. In the following decades, stars like John Scofield, Pat Metheny and Lee Ritenour continued the through line, while rising guitarists like Randy Napoleon, Tim Fitzgerald and Mimi Fox keep Montgomery’s legacy alive today.

Click here to pre-order The Complete Full House Recordings

The Complete Full House Recordings Tracklist (3-LP)

Side A:

1. Full House

2. I’ve Grown Accustomed To Her Face

3. Blue ’N’ Boogie  

Side B:

1. Cariba

2. Come Rain Or Come Shine

3. S.O.S.

Alternate Takes & Outtakes

Side C:

1. Full House (with originally played Montgomery solo restored)*

2. Blue ’N’ Boogie (Take 1, Alternate)

Side D:

1. Cariba (Take 1, Alternate)

2. Come Rain Or Come Shine (Take 1, Alternate)

Side E:

1. S.O.S. (Take 1, Alternate)*

2. S.O.S. (Take 2, Alternate)

Side F:

1. Born To Be Blue (Take 1, Outtake)

2. Born To Be Blue (Take 2, Outtake)

*Previously Unreleased

The Complete Full House Recordings Tracklist (2-CD/Digital)

Disc 1

1. Full House

2. I've Grown Accustomed To Her Face

3. Blue ’N’ Boogie  

4. Cariba

5. Come Rain Or Come Shine

6. S.O.S.

Disc 2 – Alternate Takes & Outtakes

1. Full House (with originally played Montgomery solo restored*)

2. Blue ’N’ Boogie (Take 1, Alternate)

3. Cariba (Take 1, Alternate)

4. Come Rain Or Come Shine (Take 1, Alternate)

5. S.O.S. (Take 1, Alternate*)

6. S.O.S. (Take 2, Alternate)

7. Born To Be Blue (Take 1, Outtake)

8. Born To Be Blue (Take 2, Outtake)

*Previously Unreleased

On May 15, 1953, five of jazz’s most influential musicians – Charlie Parker, Dizzy Gillespie, Charles Mingus, Max Roach, and Bud Powell – gathered at Toronto’s Massey Hall for what would result in their first and only known recording as a quintet. While only a small audience was able to experience it in person, this historic evening was captured on tape. The resulting album, The Quintet: Jazz at Massey Hall, would become one of the genre’s most essential and celebrated releases.

Now, Craft Recordings commemorates the 70th anniversary of this singular concert (2023) with Hot House: The Complete Jazz at Massey Hall Recordings, a definitive collection that presents the entirety of the evening’s recorded material by the members of this quintet. Arriving November 17 and available for pre-order today, the 3-LP, 2-CD and digital release features meticulous 24-bit audio restoration and remastering by the GRAMMY®-winning engineer, Paul Blakemore. Lacquers for the vinyl edition were cut by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl. Beginning today, fans can stream or download "Wee (Allen’s Alley)" (no overdub), featuring all five of The Quintet.

Rounding out both physical formats are rare photos from the evening, plus two essays that offer fascinating behind-the-scenes stories. The first is by David Scharf, whose father, Alan Scharf, was among the concert’s organizers and was one of the photographers who documented the event. The second was written by Don Brown, an attendee at the show, who provides a captivating play-by-play account of the evening.

This 19-track box set includes the quintet’s original 12-inch Debut Records LP release (featuring bass overdubs by Mingus), plus all six quintet tracks without overdubs, as well as performances by the Powell/Mingus/Roach trio, and Roach’s “Drum Conversation,” making it the complete collection of the recordings of these five jazz legends that were captured on that extraordinary evening – and, with the latest technology in audio restoration ­– the best listening experience yet.

Organized by Toronto’s New Jazz Society, the concert booked at Massey Hall in May 1953 presented the leaders of the bebop movement: alto saxophonist Charlie “Bird” Parker (billed on the subsequent LP as “Charlie Chan,” due to contractual restrictions), trumpet player Dizzy Gillespie, pianist Bud Powell, bassist Charles Mingus, and drummer Max Roach. At the time, each player was at the forefront of modern jazz, having revolutionized the genre on their respective instruments, while Gillespie, Powell, Mingus, and Roach all considered Parker to be an influence. Although their paths had crossed individually over the years, this particular evening was the first and only time that all five musicians would record as a quintet. Recognizing the importance of the event, Mingus set up recording equipment; later releasing the concert on Debut Records, the label he co-founded a year earlier with Roach.

Compilation producer Nick Phillips explains, “This legendary live concert recording was not only the only time that these five modern jazz giants recorded together as an ensemble, but it was also the last authorized recording that bebop pioneers Charlie Parker and Dizzy Gillespie made together. The incredible playing ­– especially the incendiary musical fireworks that Parker and Gillespie spurred from each other – more than matches the enormous historical significance.”

Organizers assumed that the 2,753-capacity venue would easily sell out, given the supergroup-status line-up. What they didn’t consider, however, was the evening’s heavyweight championship fight between Rocky Marciano and Jersey Joe Walcott. Only about a third of the tickets sold. In his essay (which first appeared on JazzWax.com in 2009), Dan Brown recalls that the night began inauspiciously. After a brief opening set by a 17-piece big band, billed as the “CBC All Stars,” the headliners took to the stage.

Brown recalls, “One got the impression that nothing had been worked out by the musicians beforehand.” Powell, who struggled with his mental health and substance abuse, was visibly under the influence. Parker, Brown writes, “walked out looking like an unmade bed…carrying a white plastic alto saxophone. We later learned his Selmer was in the pawnshop.” Gillespie, meanwhile, “seemed more interested in the championship fight than the proceedings at hand [and] kept slipping backstage between solos” to hear updates on the radio.

As the band kicked off with a searing rendition of Juan Tizol’s “Perdido,” however, it was clear that the interplay between the musicians would be the main event. “Onstage, the friendly musical rivalry sparked a melodic firestorm,” adds Brown. “Out of anarchy and chaos, musical genius prevailed.” The lively set also included two originals by Gillespie, “Salt Peanuts” and “A Night in Tunisia” – both of which were already jazz standards, as well as bebop classics by Todd Dameron (“Hot House”) and Denzil Best (“Wee” aka “Allen’s Alley”). On the other end of the spectrum, the quintet delivered an engaging rendition of the Jerome Kern standard “All the Things You Are” before seamlessly transitioning into Thelonious Monk’s “52nd Street Theme.”

Also featured on the album is Max Roach’s nearly four-and-a-half-minute drum solo, “Drum Conversation,” which demonstrates the breadth of his genius, followed by six selections from Powell, Mingus, and Roach. Powell’s virtuosic talents are on display, as he leads the trio through favorites from the Great American Songbook (including Cole Porter’s “I’ve Got You Under My Skin,” George Gershwin’s “Embraceable You,” and George Shearing’s “Lullaby of Birdland”) plus his own “Sure Thing.”

Following the concert, Mingus, Alan Scharf, and other members of the New Jazz Society traveled to Toronto radio station CKFH, where they borrowed a studio to listen back to the recordings. Alan’s son, David, recalls in his essay, “This was the moment when the group listened and discovered Mingus’ bass had not been recorded. My father blamed the sound technician for the evening. He showed up for the gig, drunk. . . Enraged, Mingus took the tapes and left the studio.”

Back in New York, Mingus overdubbed bass lines on the quintet’s six tracks. He and Roach released three 10-inch LPs in 1953 on the Debut Records label, with volumes 1 and 3 featuring quintet recordings and volume 2 featuring the Powell/Mingus/Roach trio. Later, in 1956, they issued The Quintet: Jazz at Massey Hall 12-inch LP (featuring the quintet performances with Mingus’ bass overdubs), a year after Parker’s untimely death. Over the decades, The Quintet: Jazz at Massey Hall would only grow in its importance. Giving the record a coveted five-star rating, DownBeat’s Nat Hentoff wrote, “Let me recommend your getting this set and digging the cabinet-level conference yourselves.” In their 2009 “50 Great Moments in Jazz” roundup, The Guardian named it, “one of the greatest recorded live shows in jazz,” while All About Jazz hailed the recording as “one of the treasures of the American Jazz Canon.” AllMusic called it “A legendary set, no matter how or when or where it's issued,” and NPR added the album to their Basic Jazz Record Library, with the NEA’s A.B. Spellman declaring, “It is a fabulous, fabulous set.” In 1995, The Quintet: Jazz at Massey Hall was inducted into the GRAMMY® Hall of Fame.

Click here to pre-order Hot House: The Complete Jazz at Massey Hall Recordings

Hot House: The Complete Jazz at Massey Hall Recordings tracklist (Vinyl)

Disc One

Without Bass Overdubs

Side A

1.  Perdido

2.  Salt Peanuts

3.  All the Things You Are/52nd Street Theme

Side B

1.  Wee

2.  Hot House

3.  A Night in Tunisia

Charlie Parker – alto saxophone

Dizzy Gillespie – trumpet

Bud Powell – piano

Charles Mingus – bass

Max Roach – drums

Vocals on “Salt Peanuts”: Dizzy Gillespie and Charlie Parker

Disc Two

Side C

1.  Drum Conversation

2.  I've Got You Under My Skin

3.  Embraceable You

4.  Sure Thing

Side D

1.  Cherokee

2.  Hallelujah*

3.  Lullaby of Birdland

Bud Powell – piano (except “Drum Conversation”)

Charles Mingus – bass (except “Drum Conversation”)

Max Roach – drums

*This selection was misidentified as “Jubilee” on earlier releases.

Disc Three

The Quintet: Jazz at Massey Hall

(With Bass Overdubs)

Side E

1.  Perdido

2.  Salt Peanuts

3.  All The Things You Are/52nd Street Theme

Side F

1.  Wee

2.  Hot House

3.  A Night in Tunisia

Hot House: The Complete Jazz at Massey Hall Recordings tracklist (CD)

Disc 1

Without Bass Overdubs

1. Perdido

2. Salt Peanuts

3. All the Things You Are/52nd Street Theme

4. Wee (Allen’s Alley)

5. Hot House

6. A Night in Tunisia

7. Drum Conversation

8. I’ve Got You Under My Skin

9. Embraceable You

10. Sure Thing

11. Cherokee

12. Hallelujah*

13 Lullaby of Birdland

Charlie Parker – alto saxophone (1-6)

Dizzy Gillespie – trumpet (1-6)

Bud Powell – piano (except “Drum Conversation”)   

Charles Mingus – bass (except “Drum Conversation”)

Max Roach – drums

Vocals on “Salt Peanuts”: Dizzy Gillespie and Charlie Parker

*This selection was misidentified as “Jubilee” on earlier releases.

Disc 2

The Quintet: Jazz at Massey Hall

(With Bass Overdubs)

1. Perdido

2. Salt Peanuts

3. All the Things You Are/52nd Street Theme

4. Wee (Allen’s Alley)

5. Hot House

6. A Night in Tunisia

Charlie Parker – alto saxophone

Dizzy Gillespie – trumpet

Bud Powell – piano

Charles Mingus – bass

Max Roach – drums

Vocals on “Salt Peanuts”: Dizzy Gillespie and Charlie Parker

Craft Latino proudly announces a vinyl reissue for Tito Puente’s foundational Latin jazz masterpiece, El Rey Bravo. Originally released on Tico Records in 1962, the album includes the legendary bandleader and percussionist’s iconic hit, “Oye Cómo Va,” plus enduring favorites like “Tombola” and “Tokyo de Noche.” Set for release November 10th and available for pre-order today, El Rey Bravo features (AAA) lacquers cut from the original master tapes by Kevin Gray at Cohearent Audio and is pressed on 180-gram vinyl. Completing the package is a vintage-style tip-on jacket featuring the album’s classic design. Additionally, for the very first time, fans can experience El Rey Bravo in 192/24 hi-res audio on select digital platforms. In addition, a Canary Yellow color vinyl exclusive, limited to 500 copies, with exciting bundle options that include a commemorative Tito Puente T-shirt is being offered at Fania.com. Vinyl Me, Please is also releasing a 180-gram Orange Crush exclusive variant.

This reissue offers a fitting cap to Craft Latino’s year-long centennial celebration of the influential artist. Throughout 2023, the label has honored Puente’s vital contributions to Latin music through exclusive digital content and a series of releases, including 180-gram vinyl pressings of Puente’s 1972 classic, Para los Rumberos, and his best-selling 1985 album, Mambo Diablo.

In the late 1940s, an exciting new sound was taking root in New York jazz clubs, as Puerto Rican and Cuban musicians settled in the city, introducing Afro-Cuban and Caribbean rhythms to American audiences. Within a few years, everyone was dancing to the cha-cha-chá and mambo, thanks to a host of inspired young artists, including Tito Puente (1923–2000). The Manhattan-born, Puerto Rican percussionist honed his craft under the legendary Cuban bandleader Machito, who was instrumental in bringing Afro-Cuban jazz to America. Puente furthered his studies at the prestigious Juilliard School, where he received a degree in conducting, orchestration and theory. Before long, he was leading his own orchestra and by the end of the ’50s, “The King of Timbales,” as he was lovingly known, was one of the era’s most successful bandleaders, with multiple hit albums to his name, including 1958’s Dance Mania.

When 1962’s El Rey Bravo arrived on Tico Records, more than a decade into Puente’s career, the bandleader and his orchestra were at the height of their prowess. El Rey Bravo cements the band’s status, as they deliver a dazzling set of original dancefloor numbers—all primarily comprised by Puente. Among the highlights is the fiery opener, “Malanga con Yuca” (“Potatoes and Beans”), the joyful “Batacumba” (“Brazilian Beat”) and the cinematic “Tokyo de Noche” (“Tokyo After Dark”)—a rare instrumental track that features standout flute and violin solos. One of the album’s few covers is “Tombola” (“Circus”), written by the legendary team of Augusto Algueró and Antonio Guijarro for the 1962 Spanish musical of the same name.

The centerpiece of the album, however, is “Oye Cómo Va.” Praised by AllMusic as “one of the brightest, most exuberant Latin performances of the century,” the song was written by Puente as a classic cha-cha-chá, with an inviting title that borrowed from the chorus, “Oye cómo va/Mi ritmo” (“Listen how it goes/My rhythm”). While the infectious song was certainly a favorite of fans at the time of its release, “Oye Cómo Va” would become an international hit nearly a decade later, thanks to Carlos Santana. With his band, Santana, the Mexican-born guitarist transformed the classic tune into a psychedelic anthem of unity, swapping the song’s original horn section for a Hammond B3 organ and electric guitar.

This updated rendition of “Oye Cómo Va” was released in 1971 as the second single off Santana’s sophomore album, Abraxas. It was a major hit for the band, peaking at No.13 on the Billboard Hot 100, and landing in the Top 10 in Mexico and Canada. But it also gave a middle-aged Puente a significant boost. On his 1999 live album, Mambo Birdland, Puente introduced “Oye Cómo Va” with a tribute to Carlos Santana: “He put our music, Latin rock, around the world, man. And I’d like to thank him publicly ’cause he recorded the tune and he gave me credit as the composer of the tune. So since that day, all we play is Santana music.”

Thanks to artists like Santana (who also covered Puente’s song “Para los Rumberos” in 1972), the bandleader enjoyed a career resurgence. At the same time, salsa music was reaching peak popularity. As a reluctant forefather of the genre, Puente’s status as a cultural icon only continued to grow. “Oye Cómo Va,” meanwhile, would become a standard, covered over the decades by numerous artists, including Julio Iglesias, Celia Cruz, Natalie Cole and the Ventures, to name a few. Santana’s rendition of the song would be inducted into the Latin GRAMMY® Hall of Fame in 2001 and the GRAMMY Hall of Fame a year later, while it ranks on a variety of lists, including Rolling Stone’s “500 Greatest Songs of All Time.”

Puente never slowed down and continued to remain in the public eye until his death in 2000. During his five-decade-long career, the tireless artist released more than 100 albums and wrote over 400 compositions, while he collaborated with the biggest names in music, including Quincy Jones, Dizzy Gillespie and Celia Cruz. Among other achievements, he performed at the 1996 Summer Olympics’ closing ceremony, appeared in a variety of films (including 1987’s Radio Days, 1992’s The Mambo Kings and the 2000 documentary Calle 54) and even made a cameo on The Simpsons. Throughout his life, Puente’s influential work was celebrated with an array of honors, including five GRAMMYs, Billboard’s Latin Music Lifetime Achievement Award and the prestigious National Medal of Arts from the United States Government.

Click here to pre-order El Rey Bravo

Click here to find the exclusive bundle including the Canary Yellow color vinyl with the commemorative T-shirt

El Rey Bravo tracklist (vinyl)

Side A:

1. Malanga Con Yuca

2. Oye Cómo Va

3. Tokyo De Noche

4. Tombola

5. Traigo El Coco Seco

6. Africa Habla

Side B:

1. Batacumba

2. La Pase Gozando

3. Tito Suena El Timbal

4. Donde Vas

5. Gato Miau, Miau

El Rey Bravo tracklist (hi-res digital)

1. Malanga Con Yuca

2. Oye Cómo Va

3. Tokyo De Noche

4. Tombola

5. Traigo El Coco Seco

6. Africa Habla

7. Batacumba

8. La Pase Gozando

9. Tito Suena El Timbal

10. Donde Vas

11. Gato Miau, Miau

Today, Craft Recordings announces its exclusive line-up of titles for RSD Black Friday, taking place on November 24 at participating independent retailers. This year’s releases include seven limited-edition pressings from a wide range of genres and eras, encompassing everything from midcentury jazz to post-millennium punk. For jazz aficionados, offerings include a mono edition of Gil Evans’ classic 1957 Prestige Records album Gil Evans & Ten and a 50th anniversary edition of Chico Hamilton’s The Master (a 1973 lost gem featuring members of Little Feat). Among this year’s specially curated compilations are Written in Their Soul – The Hits: The Stax Songwriter Demos (featuring newly unearthed early versions of hits from Stax Records’ heyday) and Jazz Dispensary: At the Movies (a collection of cult-classic soundtrack cuts from the likes of Melvin Van Peebles, Isaac Hayes, and Booker T. & The M.G.’s). Other highlights include the first-ever vinyl pressing of Alan Silvestri’s score for the 1992 black comedy Death Becomes Her, as well as a deluxe edition of the soundtrack to Joel and Ethan Coen’s 1984 film Blood Simple (curated and produced by famed composer Carter Burwell himself). Meanwhile, a 10-year anniversary pressing of the long-out-of-print Punk Goes Christmas finds pop-punk acts like Yellowcard and All Time Low delivering their own high-energy versions of holiday favorites.

For more information on our titles, including how to find your nearest participating RSD retailer, visit CraftRecordings.com.

Alan Silvestri – Death Becomes Her (Original Motion Picture Soundtrack) (1-LP; Purple Vinyl)

For nearly four decades, the Academy Award®-winning partnership between director/producer Robert Zemeckis and composer/conductor Alan Silvestri has yielded some of the world’s most beloved films and celebrated scores, including Forrest Gump, The Polar Express, and all three installments of Back to the Future. Released in 1992, Death Becomes Her is no exception. With its satirical and ghoulish look at Hollywood’s quest for eternal youth, this comedy cult classic follows a movie star (Meryl Streep) and novelist (Goldie Hawn) as they feud over the same man – a plastic surgeon, played by Bruce Willis. At the center of the plot is a miracle potion that offers eternal youth, even after death. As things go increasingly awry, the women attempt to maintain appearances over the years, despite a series of ghastly accidents.

In addition to its Oscar®-winning visual effects, Death Becomes Her features an unforgettable score by Silvestri, who deftly captures the film’s tone: grand yet wry, large-scale and symphonic for the supernatural drama, with a lighthearted touch of the macabre. Throughout the film, a devilish fiddle reminds audiences of the Faustian bargain that the characters have made with immortality.

The first-ever vinyl pressing of Death Becomes Her (Original Motion Picture Soundtrack), this expanded edition includes seven cues not featured on the original soundtrack release, as well as an extended version of the original song “Me,” performed by the legendary Meryl Streep. Limited to 4,000 copies worldwide, the soundtrack is pressed on purple vinyl with the original cover art and a printed inner sleeve.

Death Becomes Her (Original Motion Picture Soundtrack) Tracklist:

Side A:

1. Main Title (From The Motion Picture Death Becomes Her)

2. Me

3. Woman On The Verge

4. Lisle

5. The Altar / Sexual

6. A Touch Of Magic

7. Now, A Warning

8. Sempre Viva

9. Another Drunk Driver

10. Self Defense / New Mad Arrives Home

11. Hurry Up, You Wimp

12. It’s Alive

Side B:

1. Violation Of Natural Law

2. To The Morgue

3. Helen Spies

4. She Was A Bad Actress

5. Another Miracle

6. I’ll Be Upstairs

7. Loving You

8. Seal The Room

9. I’d Rather Die

10. Switzerland

11. End Credits (From The Motion Picture Death Becomes Her)

Carter Burwell – Blood Simple (Original Motion Picture Soundtrack/Deluxe Edition) (1-LP; Bloodshot Vinyl)

Another of the most iconic director/composer partnerships in film history, Joel and Ethan Coen’s collaboration with award-winning composer Carter Burwell began with the duo’s 1984 directorial debut Blood Simple. Not only an auspicious debut for the Coen brothers — whose genre-spanning, massively influential filmography includes classics like 2007’s No Country for Old Men, winner of the Academy Award for Best Picture — the independent neo-noir thriller marked the feature-film debut of four-time Oscar winner Frances McDormand. Also starring John Getz, Dan Hedaya, and M. Emmet Walsh, the film centers on the Coen brothers’ signature mix of psychodrama and dark humor as it follows a Texas bartender embroiled in a murder plot involving the bar owner’s young wife.

Also the first feature-film score from Burwell (then the director of the New York Institute of Technology’s digital sound department and a member of an art-pop duo called Thick Pigeon), Blood Simple draws much of its unsettling mood from Burwell’s hypnotic piano melodies and inventive use of manipulated field recordings of industrial machinery. After discovering an immediate chemistry with the Coen brothers, Burwell would go on to score most of their films to date, in addition to earning Academy Award nominations for his work on movies like Todd Haynes’ Carol and Martin McDonagh’s The Banshees of Inisherin. Praised by Time Out New York for “evoking a palpable sense of dread with just a couple of piano keys,” the Blood Simple score appeared in an abbreviated version on a 1987 release from Craft’s sister label Varèse Sarabande (which also featured selections from Burwell’s score to the Coens’ next film, Raising Arizona).

Forty years after recording the Blood Simple score, Burwell has personally curated and produced an all-new mix of the ahead-of-its-time soundtrack. While the original Varèse Sarabande release only included seven tracks from the score (totaling just 20 minutes), this deluxe edition features 13 tracks and 35 minutes from the original multitrack session tapes, including three extended cues. Limited to 3,000 copies worldwide and pressed on Bloodshot vinyl, the LP also includes Daniel Schweiger’s detailed liner notes recounting the genesis of the project and the ever-fascinating Coens–Burwell collaboration.

Blood Simple (Original Motion Picture Soundtrack/Deluxe Edition) Tracklist:

Side A:

1. Crash And Burn

2. Blood Simple

3. Chain Gang

4. Looking At Pictures

5. The March

Side B:

1. Monkey Chant

2. Noise Burn

3. Blood Simpler

4. The Shooting

5. Abby Scampers

6. Empty Bar

7. If I See Him

8. Chariots*

*Bonus Track

Chico Hamilton – The Master (1-LP; Purple Marble 180-Gram Vinyl)

An essential force in the West Coast Jazz scene of the ’50s and ’60s, drummer/bandleader Chico Hamilton possessed a subtle yet immensely creative style that would come to define the cool jazz movement. After getting his start drumming for the likes of Charles Mingus while still in high school in Los Angeles (Hamilton’s hometown and the epicenter of cool jazz), he went on to work with legends like Count Basie, tour as Lena Horne’s drummer, and become a charter member of baritone saxophonist Gerry Mulligan’s highly influential quartet. In a rare move for a drummer in the ’50s, Hamilton founded his own quintet in 1955 and instantly achieved major success, with the Chico Hamilton Quintet quickly emerging as one of the most popular jazz groups of the time — and later gaining recognition as one of the last important West Coast Jazz bands in music history. Before disbanding in the mid-’60s, the quintet cycled through several line-ups (with one version featuring Eric Dolphy) and explored such eclectic styles as chamber jazz and advanced hard-bop, in addition to appearing in films like Jazz on a Summer’s Day (a concert film set at the 1958 Newport Jazz Festival).

Released via Stax Record’s subsidiary, Enterprise Records, Hamilton’s 1973 album The Master finds the world-renowned drummer once again expanding his vast sonic palette and working with members of Southern boogie stronghold Little Feat, including vocalist/guitarist Lowell George, keyboardist Bill Payne, bassist Kenny Gradney, guitarist/vocalist Paul Barrere, and percussionist Sam Clayton. The result is an undeniable hidden gem, merging Hamilton’s melodic and endlessly mesmerizing drumming with a funk-infused, R&B-tinged take on post-bop jazz.

Limited to 4,000 copies worldwide and pressed on Purple Marble 180-gram vinyl in tip-on jacket, the 50th anniversary edition of The Master features lacquers cut from the original tapes (AAA) by Jeff Powell at Take Out Vinyl.

The Master Tracklist:

Side A:

1. One Day Five Months Ago

2. Feels Good

3. Fancy

Side B:

1. Stu

2. Gengis

3. Conquistadores ‘74

4. Stacy

5. I Can Hear The Grass Grow

Gil Evans – Gil Evans & Ten (1-LP; Black 180-Gram Vinyl)

Widely regarded as one of the greatest and most forward-thinking orchestrators in jazz history, Canadian composer/arranger Gil Evans upheld an extraordinary career that included arranging for the Claude Thornhill Orchestra and working with Miles Davis on a series of historic albums, including 1957’s Birth of the Cool and Miles Ahead, 1959’s Porgy and Bess, 1960’s Sketches of Spain, and the 1963 collaborative album Quiet Nights. At the encouragement of Davis, the illustrious Prestige Records ultimately granted Evans his own record date — a turn of events that led to the making of the classic 1957 album Gil Evans & Ten.

Known for his unconventional use of brass instruments — and for his exquisitely complex and often-challenging arrangements — Evans made his debut as a bandleader on Gil Evans & Ten and assembled a tentet comprised of trombonist Jimmy Cleveland, bass trombonist Bart Varsalona, trumpeters Louis Mucci and John Carisi, and French horn player Willie Ruff, among others. With Evans making his recording debut as a pianist, the lush and innovative album also features Steve Lacy (on soprano saxophone, at a time before John Coltrane had popularized the use of that instrument among modern jazz groups) as well as alto saxophonist Lee Konitz (Evans’ colleague in both the Thornhill and Davis units of the ’40s). Along with original compositions like Evans’ exuberant “Jambangle,” Gil Evans & Ten includes his elegantly inventive reworkings of pieces by such diverse artists as Leadbelly and Leonard Bernstein.

Limited to 7,000 copies worldwide and pressed on black 180-Gram vinyl at RTI, this special mono edition of Gil Evans & Ten features (AAA) remastering with lacquers cut from the original master tapes by Kevin Gray (a mastering engineer whose extensive credits in the jazz world include releases by Bill Evans Trio, Ornette Coleman, Art Blakey & the Jazz Messengers, and more).

Gil Evans & Ten Tracklist:

Side A:

1. Remember

2. Ella Speed

3. Big Stuff

4. Nobody’s Heart

Side B:

1. Just One Of Those Things

2. If You Could See Me Now

3. Jambangle

Various Artists – Jazz Dispensary: At the Movies (1-LP; Purple Haze Vinyl)

For the latest installment of the boundary-blurring, mind-expanding Jazz Dispensary series, the homegrown label’s highly discerning sound sommeliers have curated an irresistibly funky selection of songs from midnight movies of the ’60s and ’70s. A movie marathon’s worth of wildly infectious grooves, Jazz Dispensary: At The Movies features can’t-miss classics and deep cuts from Melvin Van Peebles, Isaac Hayes, Booker T. & The M.G.’s, and many more of the soul, funk, and R&B legends behind the soundtracks to a multitude of seminal cult favorites.

A treasure trove of timeless jams, At the Movies kicks off Side A with the euphoric and gospel-inspired “Saturday Night” by Melvin Van Peebles, featured in the famed actor/filmmaker/composer’s musical film Don’t Play Us Cheap (a 1973 release adapted from Peebles’ Broadway production of the same name). Next, Booker T. & the M.G.’s break into the Hammond B-3 organ-driven instrumental “Time Is Tight,” originally recorded for their soundtrack to the 1968 film UpTight and later covered by everyone from The Clash to The Blues Brothers to Buckwheat Zydeco. Another standout on Side A, “The Riot” is a soul-jazz masterpiece performed by Ed Bogas and Ray Shanklin for the score to the 1972 film Fritz the Cat (an adult animated comedy based on the comic strip by R. Crumb).

Elsewhere on At the Movies, Peebles joins forces with a then-unknown Earth, Wind & Fire for “Sweetback’s Theme” — an epic instrumental from Peebles’ 1971 feature film Sweet Sweetback’s Baadasssss Song, widely credited with creating the blaxploitation genre. Also including cuts from more obscure blaxploitation films like Black Girl (Ed Bogas and Ray Shanklin’s “B.J.’s Step”) and The Dynamite Brothers (Charles Earland’s “Incense of Essence”), At the Movies features two songs from soul-music superhero Isaac Hayes: “Joe Bell” from the 1974 crime-action film Three Tough Guys, and “Pursuit of the Pimpmobile” from Truck Turner (a 1974 blaxploitation film starring Hayes himself as a former professional football player turned bounty hunter).

Limited to 5,400 copies worldwide and pressed on Purple Haze vinyl, At the Movies features original artwork by Tiffany Chin.

Jazz Dispensary: At the Movies Tracklist:

Side A:

1. Saturday Night – Melvin Van Peebles

2. Time Is Tight – Booker T. & The M.G.’s

3. Joe Bell – Isaac Hayes

4. The Riot – Ed Bogas, Ray Shanklin

5. Incense Of Essence – Charles Earland

6. Sweetback’s Theme – Melvin Van Peebles (feat. Earth, Wind & Fire)

Side B:

1. Wilford’s Gone – The Blackbyrds

2. Carol’s Theme – Steve Krantz Animation, Inc.

3. B.J.’s Step – Ed Bogas, Ray Shanklin

4. Pursuit Of The Pimpmobile – Isaac Hayes

Various Artists – Written in Their Soul – The Hits: The Stax Songwriter Demos (1-LP; Orange Crush Vinyl)

As the home to soul superstars like Otis Redding and The Staple Singers, Stax Records boasted an incredible roster of top-notch songwriters in its heyday, generating a steady stream of iconic songs. Earlier this year, Craft Recordings celebrated the work of those often-unsung heroes with the release of Written in Their Soul: The Stax Songwriter Demos — a seven-disc box set featuring 146 demos (140 previously unreleased) from Stax’s A-list songwriting team. Now, with Written in Their Soul – The Hits: The Stax Songwriter Demos, Craft presents a selection of highlights from that box set, allowing fans to experience the pure unbridled magic captured in the demos to 13 indelible hits.

The opening track to Written in Their Soul – The Hits, Eddie Floyd’s “634-5789 (Soulsville, USA)” arrives as a stark but potent early version of the song famously recorded by Wilson Pickett, who made it a No.1 R&B hit and Top 20 pop single in 1966. On “Respect Yourself” (a 1971 hit for The Staple Singers), Mack Rice delivers an acoustic demo brimming with raw intensity and gloriously defiant attitude. Another Staple Singers smash, the gold-certified “If You’re Ready (Come Go with Me)” cracked the top 10 on the Billboard Hot 100 in 1973 but started out as a softly swaying and soul-stirring track performed by Memphis-born singer/songwriter/producer Homer Banks. And on “Woman to Woman,” Henderson Thigpen brings his impossibly smooth spoken word to a low-slung rendition of the track that would become a signature hit for Shirley Brown in 1974.

Limited to 5,000 units worldwide, this one-of-a-kind compilation has been pressed on Orange Crush vinyl.

Written in Their Soul – The Hits Tracklist:

Side A:

1. 634-5789 (Soulsville, USA) – Eddie Floyd

2. I’ve Got No Time To Lose – Deanie Parker

3. A Woman’s Love – Carla Thomas

4. I’ll Always Have Faith In You – Eddie Floyd

5. Respect Yourself – Mack Rice

6. I’ll Be Your Shelter (In Time Of Storm) – Homer Banks

7. I’ll Be The Other Woman – Shelbra Bennett

Side B:

1. (If Loving You Is Wrong) I Don’t Want To Be Right – Homer Banks

2. I Got To Be Myself – Carl Smith

3. If You’re Ready (Come Go With Me) – Homer Banks

4. Woman To Woman – Henderson Thigpen

5. We Can Love – Eddie Floyd

6. I’ve Got A Feeling (We’ll Be Seeing Each Other Again) – Homer Banks

Various Artists – Punk Goes Christmas (45 RPM 2-LP set; Green Vinyl)

For more than two decades, Fearless Records has turned out a series of compilation albums in which punk, emo, metalcore, and post-hardcore bands reimagine songs from such wide-ranging genres as hip-hop, classic rock, ’80s pop, and ’90s alt-rock. Since launching the series with Punk Goes Metal in 2000, Fearless has also served up themed compilations like Punk Goes Christmas — a 2013 release that marked the fourteenth offering in the Punk Goes... collection and climbed to No. 9 on Billboard’s Top Holiday Albums chart. Featuring pop-punk heavyweights like Yellowcard, All Time Low, and Set It Off, an expanded edition of the long-out-of-print album now arrives just in time for the tenth anniversary of its initial release.

Opening on a moment of unexpected sweetness, Punk Goes Christmas begins with New Found Glory’s gang-vocal-fueled, acoustic-guitar-driven “Nothing for Christmas” (one of many original numbers included on the album). Along with original tracks from Mayday Parade’s Jason Lancaster, The Ready Set, Real Friends, and more, the 16-song compilation also features plenty of punked-up covers, ranging from time-honored classics (Being as an Ocean’s throat-shredding take on Judy Garland’s “Have Yourself a Merry Little Christmas”) to tongue-in-cheek rock songs (Man Overboard’s pogo-ready version of The Kinks’ “Father Christmas”) to holiday-movie favorites (August Burns Red’s riff-heavy rendition of John Williams’ “Home Alone Theme”).

Although the tracklist mirrors the previously released deluxe edition of Punk Goes Christmas (a 2015 digital-only variation featuring four bonus tracks), this marks the first time the bonus tracks will appear on vinyl. Limited to 4,500 units worldwide and pressed on green vinyl, Punk Goes Christmas will be available as a 45-RPM 2-LP set.

Punk Goes Christmas Tracklist:

Side A:

1. Nothing For Christmas – New Found Glory

2. Fool’s Holiday – All Time Low

3. I Had A Heart – Real Friends

4. 12 Days Of A Pop-Punk Christmas – Jarrod Alonge

Side B:

1. Father Christmas – Man Overboard

2. This Christmas – The Summer Set

3. There Will Be No Christmas – Crown The Empire

4. Christmas Lights – Yellowcard

Side C:

1. Home Alone Theme – August Burns Red

2. Merry Christmas, Happy Holidays – Issues

3. All I Can Give You – Jason Lancaster

4. Have Yourself A Merry Little Christmas – Being As An Ocean

Side D:

1. I Don’t Wanna Spend Another Christmas Without You – The Ready Set

2. Sleigh Ride – This Wild Life

3. This Christmas (I’ll Burn It To The Ground) – Set It Off

4. Do You Hear What I Hear? – William Beckett

Craft Recordings is thrilled to celebrate the 40th anniversary of Violent Femmes’ 1983 self-titled debut with a special reissue of the seminal cult classic. Due out December 1st and available for pre-order now, the deluxe 2-CD and digital formats will feature newly remastered audio and over a dozen demos, B-sides, and live performances from the pioneering folk-punk trio — including alternate versions of iconic songs like “Blister in the Sun,” “Please Do Not Go,” “Gone Daddy Gone,” and “Add It Up.” A special 4-disc vinyl box set will follow February 9th, 2024, limited to 5,000 copies worldwide. Housed in a lift-top box with die-cut window detail, this collectible edition offers three 180-gram LPs — the original album, alongside the demos, and live material — plus, a replica 7-inch single (“Ugly”/“Gimme the Car”). The original album and single discs are cut from the original analog tapes, while lacquers for the complete set were cut by Kevin Gray at Cohearent Audio. Both the CD and LP editions will feature an expansive book with new liner notes by journalist and Rolling Stone senior editor David Fricke, complete with interviews with Violent Femmes members Gordon Gano, Brian Ritchie, and Victor DeLorenzo.

Reflecting on the album’s 40th anniversary, bassist Brian Ritchie shares: “I am frequently stopped on the street by people who tell me, ‘Your album changed my life,’ or some variant. I don’t have to ask, ‘Which album?’ because it is implied that they’re talking about the first one. The uncanny thing is that these people range from early teens to septuagenarians, and they all have the same testimony.” Ritchie adds, “Sometimes music is more than just a pleasing sound that entertains. It takes on greater meaning. Multiple generations have found the songs to be relevant in their life situations. Some people say they had sex for the first time listening to it (which I find appalling but whatever) and someone even said, ‘I was conceived to your music.’ Wow.”

Today, fans can visit digital platforms to pre-save Violent Femmes (Deluxe Edition) and stream or download the advance single, “Gone Daddy Gone / I Just Want to Make Love to You (Live).” Recorded in January 1983 at Folk City in New York, NY, this raucous early version of the longtime fan favorite includes a complete verse from Willie Dixon’s 1954 song “I Just Want to Make Love to You” (originally recorded by Muddy Waters). Like all the bonus material featured on Violent Femmes (Deluxe Edition), “Gone Daddy Gone (Live)” was previously unavailable in digital format.

Released on vinyl and cassette in April 1983 — and certified Platinum by the RIAA in 1991, the same year it charted on the Billboard 200 for the first time — Violent Femmes has achieved cult status and served as a perennial discovery for music lovers partial to unbridled expression of teen angst. Just a year prior to recording their debut, Gano (vocals, guitar), Ritchie (bass), and DeLorenzo (percussion) co-founded the band in Milwaukee and got their start performing in the streets (a point of necessity rather than preference, given that local clubs refused to book them and it was too hot to practice in DeLorenzo’s basement). But when members of the Pretenders caught Violent Femmes performing on the sidewalk during a tour stop at Milwaukee’s Oriental Theatre, the legendary British/American band spontaneously added them to the bill at that night’s sold-out show. By the following summer, Violent Femmes had landed a spot opening for punk heroes Richard Hell and the Voidoids at New York City’s Bottom Line — a two-night engagement caught by Fricke himself, who soon penned a glowing review in Musician magazine. “The Violent Femmes don’t just steal the show — they blow a fresh wind of post-punk originality rooted in rockabilly simplicity, the dry, folk twang of quintessential hobo Dylan and the stark bash and graphic lyricism of Lou Reed and the Velvet Underground,” he wrote.

In July 1982, Violent Femmes headed to a Lake Geneva studio and cut their debut album’s 10 songs in just a week, funding the sessions with a $10,000 emergency loan co-signed by DeLorenzo's father. Produced by Mark Van Hecke, Violent Femmes mostly consists of the band’s first takes and centers on a raw and potent sound augmented by their idiosyncratic instrumentation (Ritchie favored an acoustic, mariachi-style bass, while DeLorenzo’s minimalistic drum kit included an upside-down metal tub). “We were using tape, which was expensive, and paying for this record ourselves,” Ritchie says today. “We might have a few, false starts. We’d get a take, then say, ‘That sounds pretty good, let’s try a few more.’” After sorting through a deluge of rejection letters from record labels, the band released their full-length debut via Slash Records (a now-defunct offshoot of the Los Angeles punk zine, also home to punk trailblazers like X, the Germs, the Misfits, the Gun Club, and more).

Both of-the-moment and strangely timeless, Violent Femmes matches its restless and frenetic breed of folk-punk with Gano’s singular songwriting voice, at turns giddy, acerbic, and painfully vulnerable. “We’re avant-garde because we’re so reactionary,” Ritchie told Rolling Stone in 1983. “We go back to improvisation, to raw emotions and primitive, old-fashioned sounds. And Gordon’s songs make the whole thing accessible.” To that end, the album’s slippery emotionality encompasses everything from the loopy euphoria of “Blister in the Sun” to the plucky desperation of “Prove My Love” to the jittery frustration of “Add It Up” and “Kiss Off” — the latter a track whose iconic mid-song countdown features an ostensibly dashed-off but entirely intentional outburst from Gano. “That’s the way I wrote it – this voice getting so carried away that he forgets what eight is for,” he says. Meanwhile, Violent Femmes’ exquisitely erratic musicality manifests in such unexpected forms as the bluesy catharsis of “Confessions” and the bright and bouncy exotica of “Gone Daddy Gone” (achieved through the band’s use of xylorimba, a xylophone-marimba hybrid).

Released in 1987, the CD version of Violent Femmes featured two extra songs, “Ugly” and “Gimme the Car” — the latter an alluringly sour and sexually blunt track that Gano and Ritchie performed at the former’s National Honor Society induction ceremony his senior year of high school (a turn of events that promptly led to Gano’s expulsion). Both songs originally appeared on a 7-inch released by London-based indie label Rough Trade in 1983.

Upon its arrival in 1983, Violent Femmes quickly earned acclaim from the likes of Rolling Stone, who hailed the album as an “unnervingly precocious debut” by a band “that not only acts like it just reinvented rock & roll but somehow manages to sound like it as well.” Thanks in no small part to its brutally accurate rendering of adolescent heartache and fury — courtesy of Gano, still a teenager at the time of the LP’s creation — Violent Femmes only grew in cultural impact over the coming decades. In fact, Pitchfork later proclaimed that “Violent Femmes are perhaps the greatest mixtape band of its era…For those that encountered the Femmes in this manner, the band’s songs were akin to outsider art — found musical data that offered bracingly unfiltered takes on lust and alienation and the yearning to belong.” In the depths of the ’90s alt-rock boom, the trio also took major hold of the zeitgeist: in 1994’s Reality Bites (released the same year that Violent Femmes performed at Woodstock’s 25th anniversary concert), Ethan Hawke serenaded Winona Ryder with an embittered rendition of “Add It Up,” while a 1995 episode of My So-Called Life opened on Claire Danes joyfully lip-synching “Blister in the Sun.” “It exists as an artifact of history," says DeLorenzo of the band’s debut. “At the same time, it’s been passed down from generation to generation which continues to make it brand new. We’re in a rarified position with that record.”

Over the course of their extraordinary career, Violent Femmes have released nine studio albums, including standouts like Why Do Birds Sing? (a 1991 LP featuring their hit single “American Music,” which climbed to No.2 on Billboard’s Modern Rock chart and has since become an essential song at shows). They’ve also taken the stage at leading festivals like the Coachella Valley Music and Arts Festival (performing a highly anticipated set in 2013), and seen their songs reimagined by major acts like Gnarls Barkley (who covered “Gone Daddy Gone” for their Platinum-certified debut album St. Elsewhere in 2006). To celebrate the 40th anniversary of Violent Femmes, the band recently embarked on a headlining tour of the U.S. — check out the full tour itinerary below and visit vfemmes.com for ticket information.

Click here to pre-order Violent Femmes (Deluxe Edition), or stream/download the advance single and pre-save the album.

Tracklist – Violent Femmes (Deluxe Edition) (2-CD edition):

Disc 1:

1. Blister In The Sun

2. Kiss Off

3. Please Do Not Go

4. Add It Up

5. Confessions

6. Prove My Love

7. Promise

8. To The Kill

9. Gone Daddy Gone / I Just Want To Make Love To You

10. Good Feeling

11. Ugly

12. Gimme The Car

Disc 2:

1. Girl Trouble (Demo)

2. Breakin’ Up (Demo)

3. Waiting For The Bus (Demo)

4. Blister In The Sun (Demo)

5. Kiss Off (Demo)

6. Please Do Not Go (Demo)

7. Add It Up (Demo)

8. Confessions (Demo)

9. Prove My Love (Demo)

10. Special (Live At Beneath-It-All Café, Milwaukee, WI - 9/12/1981)

11. Country Death Song (Live At Beneath-It-All Café, Milwaukee, WI - 9/12/1981)

12. To The Kill (Live At Beneath-It-All Café, Milwaukee, WI - 9/12/1981)

13. Never Tell (Live At Beneath-It-All Café, Milwaukee, WI - 9/12/1981)

14. Break Song (Live At The Jazz Gallery, Milwaukee, WI - 12/8/1981)

15. Her Television (Live At The Jazz Gallery, Milwaukee, WI - 12/8/1981)

16. How Do You Say Goodbye (Live At The Jazz Gallery, Milwaukee, WI - 12/8/1981)

17. Theme and Variations (Live At The Jazz Gallery, Milwaukee, WI - 12/8/1981)

18. Prove My Love (Live At Folk City, New York, NY - 1/26/1983)

19. Gone Daddy Gone / I Just Want To Make Love To You (Live At Folk City, New York, NY - 1/26/1983)

20. Promise (Live At Folk City, New York, NY - 1/26/1983)

21. In Style (Live At Folk City, New York, NY - 1/26/1983)

22. Add It Up (Live At Folk City, New York, NY - 1/26/1983)

Tracklist – Violent Femmes (Deluxe Edition) (digital edition):

1. Blister In The Sun

2. Kiss Off

3. Please Do Not Go

4. Add It Up

5. Confessions

6. Prove My Love

7. Promise

8. To The Kill

9. Gone Daddy Gone

10. Good Feeling

11. Ugly

12. Gimme the Car

13. Girl Trouble (Demo)

14. Breakin’ Up (Demo)

15. Waiting For The Bus (Demo)

16. Blister In The Sun (Demo)

17. Kiss Off (Demo)

18. Please Do Not Go (Demo)

19. Add It Up (Demo)

20. Confessions (Demo)

21. Prove My Love (Demo)

22. Special (Live At Beneath-It-All Café, Milwaukee, WI - 9/12/1981)

23. Country Death Song (Live At Beneath-It-All Café, Milwaukee, WI - 9/12/1981)

24. To The Kill (Live At Beneath-It-All Café, Milwaukee, WI - 9/12/1981)

25. Never Tell (Live At Beneath-It-All Café, Milwaukee, WI - 9/12/1981)

26. Break Song (Live At The Jazz Gallery, Milwaukee, WI - 12/8/1981)

27. Her Television (Live At The Jazz Gallery, Milwaukee, WI - 12/8/1981)

28. How Do You Say Goodbye (Live At The Jazz Gallery, Milwaukee, WI - 12/8/1981)

29. Theme and Variations (Live At The Jazz Gallery, Milwaukee, WI - 12/8/1981)

30. Prove My Love (Live At Folk City, New York, NY - 1/26/1983)

31. Gone Daddy Gone / I Just Want To Make Love To You (Live At Folk City, New York, NY - 1/26/1983)

32. Promise (Live At Folk City, New York, NY - 1/26/1983)

33. In Style (Live At Folk City, New York, NY - 1/26/1983)

34. Add It Up (Live At Folk City, New York, NY - 1/26/1983)

Tracklist – Violent Femmes (Deluxe Edition) (vinyl edition):

Disc 1:

Side A:

1. Blister In The Sun

2. Kiss Off

3. Please Do Not Go

4. Add It Up

5. Confessions

Side B:

1. Prove My Love

2. Promise

3. To The Kill

4. Gone Daddy Gone / I Just Want To Make Love To You

5. Good Feeling

Disc 2:

Side A:

1. Girl Trouble (Demo)

2. Breakin’ Up (Demo)

3. Waiting For The Bus (Demo)

4. Blister In The Sun (Demo)

5. Kiss Off (Demo)

Side B:

1. Please Do Not Go (Demo)

2. Add It Up (Demo)

3. Confessions (Demo)

4. Prove My Love (Demo)

Disc 3:

Side A:

1. Special (Live At Beneath-It-All Café, Milwaukee, WI - 9/12/1981)

2. Country Death Song (Live At Beneath-It-All Café, Milwaukee, WI - 9/12/1981)

3. To The Kill (Live At Beneath-It-All Café, Milwaukee, WI - 9/12/1981)

4. Never Tell (Live At Beneath-It-All Café, Milwaukee, WI - 9/12/1981)

5. Break Song (Live At The Jazz Gallery, Milwaukee, WI - 12/8/1981)

6. Her Television (Live At The Jazz Gallery, Milwaukee, WI - 12/8/1981)

Side B:

1. How Do You Say Goodbye (Live At The Jazz Gallery, Milwaukee, WI - 12/8/1981)

2. Theme and Variations (Live At The Jazz Gallery, Milwaukee, WI - 12/8/1981)

3. Prove My Love (Live At Folk City, New York, NY - 1/26/1983)

4. Gone Daddy Gone / I Just Want To Make Love To You (Live At Folk City, New York, NY - 1/26/1983)

5. Promise (Live At Folk City, New York, NY - 1/26/1983)

6. In Style (Live At Folk City, New York, NY - 1/26/1983)

7. Add It Up (Live At Folk City, New York, NY - 1/26/1983)

7-Inch Single:

Side A:

1. Ugly

Side B:

1. Gimme The Car

Tour Dates for Violent Femmes

10/11 - Queen Elizabeth Theatre (Toronto, ON)

10/12 - Mtelus (Montreal, QC)

10/13 - MGM Music Hall at Fenway (Boston, MA)

10/14 - Ulster Performing Arts Center (Kingston, NY)

10/15 - College Street Music Hall (New Haven, CT)

10/17 - Webster Hall (New York, NY)

10/18 - Starland Ballroom (Sayreville Station, NJ)

10/20 - Rams Head Live! (Baltimore, MD)

10/21 - The NorVa (Norfolk, VA)

10/22 - The National (Richmond, VA)

10/27 - Arizona State Fair (Phoenix, AZ)

11/16 - The Novo (Los Angeles, CA)

11/18 - Darker Waves 2023 (Huntington Beach, CA)

Last holiday season, fans of A Charlie Brown Christmas were given an unparalleled behind-the-scenes look at the making of the classic soundtrack through a selection of never-before-heard studio outtakes in Craft Recordings’ Deluxe and Super Deluxe Editions. Now, the 24-track Deluxe Edition arrives in spatial audio, allowing listeners to seemingly place themselves inside the studio with the Vince Guaraldi Trio, as they create iconic selections like “Christmas Time Is Here,” “Linus and Lucy,” “Skating,” and “O Tannenbaum” to accompany the beloved 1965 PEANUTS animated TV special. Available today in Dolby Atmos, hi-resolution, and standard digital audio formats, A Charlie Brown Christmas (Deluxe Edition) includes the original 11-track album—featuring an upgraded 2022 stereo mix from the original two-and three-track sources by the GRAMMY® Award-winning engineer, Paul Blakemore—plus 13 studio outtakes and highlights from Guaraldi’s sessions, all of which make their debut in immersive spatial audio and are available to listen to now.

Last year, A Charlie Brown Christmas reached new heights—nearly six decades after its debut. In May 2022, the album was certified 5x Platinum by the RIAA, while over the holidays, it reached its highest placement ever (No.2) on Billboard’s Top Album Sales chart, beating its previous peak of No.6 in 2021. A perennial favorite, A Charlie Brown Christmas ranked as the US’s top-selling holiday album on vinyl from 2012–2021, while it remains the best-selling jazz album of all time, alongside Miles Davis’ Kind of Blue. Among other honors over the years, it was inducted into the GRAMMY Hall of Fame and was added to the Library of Congress’s National Recording Registry.

When A Charlie Brown Christmas first aired on December 9, 1965, no one expected just how monumental the half-hour animated special would be. Based on Charles M. Schulz’s immensely popular PEANUTS comic strip, the Emmy® and Peabody® Award-winning special captured nearly half of America’s TV audience that night. It would soon go on to become an essential holiday classic and launch one of the 20th century’s most popular franchises. Helmed by veteran TV producer Lee Mendelson, A Charlie Brown Christmas featured an engaging score by the Bay Area jazz pianist Vince Guaraldi. A fast-rising star—best known at the time for his GRAMMY-winning instrumental crossover hit, “Cast Your Fate to the Wind”—Guaraldi paired original cues (“Skating,” the instantly recognizable “Linus and Lucy” theme, and the Yuletide essential, “Christmas Time Is Here,” among them) with traditional holiday fare (including his spirited takes on “O Tannenbaum,” “Hark the Herald Angels Sing,” and “What Child Is This?”).

Now, with recently discovered audio from Guaraldi’s five 1965 sessions, fans of A Charlie Brown Christmas can hear his creative process—as he worked alongside Mendelson and director Bill Melendez to craft the timeless score. Joined by bassist Monty Budwig and drummer Colin Bailey for many of the sessions, as well as bassist Fred Marshall and drummer Jerry Granelli for others, Guaraldi can be heard performing multiple takes of “O Tannenbaum,” “Christmas Is Coming,” and “Christmas Time Is Here,” while a rehearsal of the vocal track (featuring young singers from San Rafael’s St. Paul’s Church Choir) is also included. Additionally, listeners will delight in out-takes of such festive favorites as “The Christmas Song,” “Jingle Bells,” and “Linus and Lucy.”

Music critics around the globe were taken with the Deluxe Edition of A Charlie Brown Christmas upon its release on CD and LP in 2022. Audiophile Review wrote, “The new mix retains the heart and soul of what this best-selling…album was always about, but delivers more air and presence around the instruments and an overall greater sense of detailing…it does sound like you’re closer to being in the studio with the band!” The UK’s Record Collector noted that the bonus material “Allows the listener to be a fly on the wall as pianist Guaraldi and his trio finesse their material with multiple takes in the recording session.” Paste Magazine hailed the album as “Vital for a collector. . . . [It] offer[s] fans a chance to hear how Guaraldi developed his solos and his approach to standards like ‘Greensleeves’ and ‘O Tannenbaum.’ And there’s something wonderfully humanizing about hearing the metronome and false start in the first take of ‘Linus & Lucy.’” Stereophile praised, “Blakemore’s remixes sound great…any student of Guaraldi’s unique approach to jazz will surely find all the bits and pieces interesting,” while JazzTimes declared, “For Guaraldi fans, hearing his different improvisational ideas take shape qualifies as a holiday year-round.”

Click here to experience A Charlie Brown Christmas (Spatial Audio Deluxe Edition)

A Charlie Brown Christmas (Spatial Audio Deluxe Edition) Tracklist:

1.   O Tannenbaum (Dolby Atmos Mix / 2022 Stereo Mix)

2.   What Child Is This (Dolby Atmos Mix / 2022 Stereo Mix)

3.   My Little Drum (Dolby Atmos Mix / 2022 Stereo Mix)

4.   Linus And Lucy (Dolby Atmos Mix / 2022 Stereo Mix)

5.   Christmas Time Is Here (Dolby Atmos Mix / Instrumental / 2022 Stereo Mix)

6.   Christmas Time Is Here ( Dolby Atmos Mix / Vocal / 2022 Stereo Mix)

7.   Skating (Dolby Atmos Mix / 2022 Stereo Mix )

8.   Hark, The Herald Angels Sing (Dolby Atmos Mix / 2022 Stereo Mix)

9.   Christmas Is Coming (Dolby Atmos Mix / 2022 Stereo Mix)

10.  Für Elise Dolby (Atmos Mix / 2022 Stereo Mix)

11.  The Christmas Song (Dolby Atmos Mix / 2022 Stereo Mix)

12.  O Tannenbaum (Dolby Atmos Mix / Take 2 / September 21, 1965)*

13.  O Tannenbaum (Dolby Atmos Mix / Take 3)*

14.  Greensleeves (Dolby Atmos Mix / Take 6 / October 28, 1965)*

15.  Linus And Lucy (Dolby Atmos Mix / Take 1)*

16.  Christmas Time Is Here (Dolby Atmos Mix / Instrumental / Take 1)*

17.  Christmas Time Is Here (Dolby Atmos Mix / Vocal / Rehearsal)*

18.  Christmas Time Is Here (Dolby Atmos Mix / Vocal / #1, Take 4)*

19.  Skating (Dolby Atmos Mix / #7, Take 1 / September 22, 1965)*

20.  Jingle Bells (Dolby Atmos Mix / #3, Takes 1-4 / September 21, 1965)*

21.  Christmas Is Coming (Dolby Atmos Mix / Take 3 / September 17, 1965)*

22.  Christmas Is Coming (Dolby Atmos Mix / #1, Take 3 / September 21, 1965)*

23.  Für Elise (Dolby Atmos Mix / Takes 1-2)*

24.  The Christmas Song (Dolby Atmos Mix / Take 8 / October 28, 1965)*

*First time in Dolby Atmos

Craft Recordings and Jazz Dispensary are thrilled to announce the first-ever vinyl reissue of Johnny Lytle’s long-sought-after soul-jazz gem, People & Love. Full of soaring, funky jams and heady grooves, the latest release in Jazz Dispensary’s acclaimed Top Shelf series showcases the legendary vibraphonist’s talents as a songwriter, musician, and bandleader, as he guides his fellow musicians through five sublime tracks, including extended, soulful covers (“People Make the World Go ’Round,” “Where Is the Love?”) and groovy originals (“Libra,” “Tawhid,” “Family”). The 1973 session also boasts a stellar line-up of players, including Daahoud Hadi (formerly Butch Cornell) on the electric piano and organ, Bob Cranshaw on the electric bass, and harpist Betty Glamann.

As with all titles in the album-centric Top Shelf series—which reissues the highest-quality, hand-picked rarities—People & Love features (AAA) lacquers cut from the original tapes by Kevin Gray at Cohearent Audio and is pressed on 180-gram vinyl at RTI. Rounding out the package is a tip-on jacket, replicating the album’s original art. Out of print for half a century, People & Love makes its return on February 16th and is available for pre-order today—exclusively via JazzDispensary.com.

Touted by the great bandleader Lionel Hampton as “The Greatest Vibes Player in the World,” Johnny Lytle (1932 – 1995) began his career as a drummer, playing with the likes of Ray Charles, Gene Ammons, and Jimmy Witherspoon before switching to the vibraphone in the mid-’50s. By the end of the decade, he was leading his own group and caught the ears of producer/record executive Orrin Keepnews, who promptly signed the dexterous musician. A consummate showman, whose fast-paced performances earned him the title of “Fast Hands,” Lytle built a significant following in the ’60s—recording for Keepnews’ Jazzland, Riverside, and Milestone imprints, among others.

For 1973’s People & Love (originally released on Milestone), Lytle found inspiration from two popular songs of the day: “People Make the World Go ’Round” (made famous a year earlier by Philadelphia soul stars, The Stylistics) and Roberta Flack and Donny Hathaway’s 1972 smash hit, “Where Is the Love.” In addition to delivering inspired renditions of the two tracks, Lytle also borrowed from the songs’ titles to name his own album.

Keepnews, who produced People & Love, wrote in the album’s original liner notes “‘People’ and ‘Love’ are also words that seem strongly descriptive of the kind of music Johnny Lytle has created here. Johnny has always been a notably soulful musician, whose playing has a high emotional content.” What made this particular album stand out in the vibraphonist’s prolific catalog, Keepnews added, was that Lytle was transitioning away from the “hard-driving [and] rhythmic” playing that he first became known for. “There has been a ‘new’ Lytle gradually emerging, and on this record that warmer and deeper attitude takes over,” the producer concludes.

In the studio, Lytle employed a broad palate of instrumentation, played by such talented artists as Daahoud Hadi (formerly Butch Cornell) on the electric piano and organ, Betty Glamann (harp), Bob Cranshaw (electric bass), Marvin Cabell (flute, saxophone), Josell Carter (drums), and Arthur Jenkins Jr. (congas). Together, they delivered a selection of thoughtful, extended jams, including a nearly 12-minute-long rendition of “People Make the World Go ’Round” and the nine-minute-long Lytle original, “Libra.” Other highlights include Hadi’s “Tawhid” and Lytle’s “Family” (sampled by Organized Konfusion in 1997)

In a retrospective review, AllMusic praised, “Everybody knew [Lytle] was a soul man from the word ‘go,’ and People & Love finds him diving ever deeper into the soul-jazz groove. The results are successful, to say the least... Any self-respecting soul-jazz or jazz-funk fan would likely pick this title up based on the fantastic back cover alone. Fortunately, unlike so many other promising jackets, the tunes found inside are just as strong.”

Click here to pre-order or stream People & Love

People & Love Tracklist

Side A

1.  Where Is The Love?

2.  Libra

3.  Family

Side B

1.  Tawhid

2.  People Make The World Go ‘Round

Craft Recordings and Acoustic Sounds are thrilled to announce the latest installment in their acclaimed Contemporary Records Acoustic Sounds series, which heralds a staggering 12 vinyl and hi-res digital releases throughout 2024. These reissues include sought-after albums from Art Pepper, Shelly Manne & His Men, Harold Land, Hampton Hawes, Howard McGhee, Prince Lasha Quintet, Ben Webster, Helen Humes, and Sonny Rollins.

Originally engineered by Roy DuNann and/or Howard Holzer, each LP will boast lacquers cut from the original master tapes (AAA) by the GRAMMY®-winning engineer Bernie Grundman, an audiophile favorite who also happens to be a Contemporary Records alum. All are pressed on 180-gram vinyl at Quality Record Pressings (QRP) and presented in Stoughton old-style tip-on jackets. The complete series is available for pre-order today, with release dates beginning February 23 as detailed below.

Art Pepper Quintet — Smack Up (releasing February 23, 2024):

Saxophonist Art Pepper was considered one of the best altos of his time, just behind Charlie Parker. This 1960 recording, whose album’s title presages the addiction that would soon offline the self-taught musician’s career, features compositions written by fellow saxophonists (including Ornette Coleman’s “Tears Inside” and Buddy Collette’s “A Bit of Basie”). Finding Pepper at his finest, most limber form, his own composition “Las Cuevas de Mario” is a particular standout in 5/4 time and would pop up on his set lists in subsequent years.

Shelly Manne & His Men — At the Black Hawk, Vol. 1. (releasing March 15, 2024):

Shelly Manne, a famed bebop drummer who worked with Dizzy Gillespie and Charlie Parker, also made his name in Hollywood as the sticksman on soundtracks for classic films such as The Wild One and The Man With the Golden Arm. He never lost his passion for playing club shows though, and recorded this album (the first of four volumes) during a 1959 gig at San Francisco’s Black Hawk nightclub in the Tenderloin district. “The extended performances,” says AllMusic, “are easily recommended to straight-ahead jazz fans.” To that end, the album opens with a leisurely take on Gershwin’s “Summertime,” and goes on to dazzle with the swinging waltz of “Blue Daniel.”

Harold Land — The Fox (April 12, 2024):

The Penguin Guide to Jazz Recordings states Harold Land is an “underrated composer with a deep feeling for the blues.” Tracks such as this album’s title track, the breathless “The Fox,” which makes stellar use of the unforgettable Dupree Bolton, the mythically talented trumpeter out of Oklahoma City whose career tragically derailed, as well as legendary pianist Elmo Hope, who penned four of the album’s six tracks, highlights this. The surprisingly moving, honey-like “Mirror Mind Rose” also showcases Land’s range and is an extraordinary exercise in expression and restraint. This album, writes The New Yorker, is “well worth savoring.”

Hampton Hawes — For Real! (releasing May 17, 2024):

This re-visiting of Hampton Hawes’ 1961 record, For Real!, comes four days after what would’ve been his 95th birthday. One of the most influential pianists of his time, the self-taught prodigy was named “New Star of the Year” by DownBeat magazine. Hawes shines bright in familiar territory: whether it’s his exquisite harmonic locked-hands style on the boppin’ “Crazeology,” recorded well after his friend Charlie Parker brought it to fame, or his lively, flittering rendition of the much-covered Cole Porter ballad “I Love You.” Here, he’s backed by Clifford Brown/Max Roach saxophonist Harold Land and Scott LaFaro, the gone-too-soon double bassist famous for his work with the Bill Evans Trio.

Howard McGhee — Maggie’s Back in Town!! (releasing June 14, 2024):

Just in time for summer comes this reissue featuring the criminally unsung Howard McGhee, the dexterous bebop trumpeter who’s frequently compared to greats such as Dizzy Gillespie and Fats Navarro. Maggie’s Back in Town!! (Maggie was McGhee’s nickname), captures the musician’s triumphant return to music in 1961. AllMusic rates the album as “McGhee's finest recording of the period.” He overachieves in rhythmic fluidity, a through line that’s particularly potent in seemingly carefree songs such as “Sunset Eyes” and the title track.

Teddy Edwards & Howard McGhee — Together Again!!!! (releasing July 12, 2024):

Another Howard McGhee cut, Together Again!!!! (recorded just before Maggie’s Back in Town!!), is a collaboration between McGhee and his old friend, saxophonist Teddy Edwards. Also featuring Phineas Newborn, Jr on piano, the sultry, otherworldly “Misty” is a spectacular entwining of each musician’s superpowers and the golden mean of musicianship led the Penguin Guide to Jazz Recordings to declare that Together Again!!!! is “one of the best mainstream albums of its day.”

Prince Lasha Quintet — The Cry! (releasing August 16, 2024):

Prince Lasha Quintet’s critically adored transcendent avant-garde jazz opus The Cry! lands on August 16th. “Lasha prefers a wooden flute,” remarks All About Jazz, “which gives his passages a dark, earthy tone that contrasts well with the bitter, vibrato-less sax.” (The latter refers to saxophonist Sonny Simmons, a frequent Lasha collaborator who’d finally get his time in the spotlight about three decades later, while signed to Quincy Jones’ Qwest Records.) Songs such as the jaunty “Bojangles” and rhythm-forward “Congo Call” imbued the Quintet’s brand of free jazz, recorded here in 1962, with an identity independent of Ornette Coleman’s influence on them.

Ben Webster — At the Renaissance (releasing September 13, 2024):

This reissue of Ben Webster’s At the Renaissance is a “consistently wonderful” album notes AllMusic, that finds the saxophonist “in superior and creative form.” The New Yorker, for its part, has anointed Webster one of the “founding emperors of the jazz tenor saxophone.” The superlative 1960 performance from the Duke Ellington Orchestra alum and his band — pianist Jimmy Rowles (Sarah Vaughan, Ella Fitzgerald), guitarist Jim Hall (Jimmy Giuffre, Sonny Rollins), bassist Red Mitchell (André Previn, Billie Holliday), and drummer Frank Butler (Duke Ellington, John Coltrane) — features something for everyone: from a feather-light, sentimental take on “Georgia on My Mind” to the swaggering insouciance of “Ole Miss Blues.”

Art Pepper — Gettin’ Together! & Intensity (releasing October 11, 2024):

Two more essential Art Pepper reissues, originally recorded in 1960, are the albums Gettin’ Together! and Intensity. Originally released on either side of Smack Up, these albums underscore just how refreshingly creative Pepper was at the time. Gettin’ Together’s tight “Bijou the Poodle,” penned by Pepper, leads the way, with Jazzwise admiring its “angularity…representing the darker side of the Californian jazz idyll.” Often described as a sequel to Art Pepper Meets the Rhythm Section, Gettin’ Together! once again finds Pepper backed on beat by Miles Davis alums (bassist Paul Chambers, drummer Jimmy Cobb). Meanwhile, the San Francisco Examiner sums up 1963’s Intensity, the last release of his early period, as Pepper being “well on his way toward a new kind of playing freedom.” Writes AllMusic, “Pepper sticks to swinging standards such as ‘I Can’t Believe That You’re in Love with Me,’ ‘Gone with the Wind, and ‘I Wished on the Moon’ as points of departure on this interesting and largely enjoyable set.”

Helen Humes — Songs I Like to Sing! (releasing November 8, 2024):

Helen Humes takes on the standards on her second Contemporary Records release, Songs I Like to Sing! The Louisville native got her start as a jazz and blues vocalist — including a stretch with the Count Basie Orchestra — but went on to define the sound of swing music. Los Angeles Times jazz critic Leonard Feather once remarked, “no other singer had a comparable mastery of both ballads and blues.” Her silken-voiced renditions of “If I Could Be With You” and “You’re Driving Me Crazy” at once exude wistfulness, but mostly joy. With Humes backed by a Dream Team of musicians, the album features a wealth of gold-standard saxophonists such as Ben Webster, Teddy Edwards, and Art Pepper.

Sonny Rollins — Way Out West (releasing December 6, 2024):

Closing out the year is Way Out West from tenor saxophonist Sonny Rollins. The New York Times recently wrote, “He is jazz’s greatest living improviser, able to imbue his solos with wry humor, surprise, brilliant logical form, and profound emotion.” In a genre where so much talent burned out too young, Rollins (now retired at age 93) held court as one of jazz’s most formidable talents. Way Out West, his classic 1957 album, received five stars from Rolling Stone’s prestigious Jazz Record Guide and has prompted Pitchfork to deem it “an album that looks like a novelty and sounds like transcendence.” The album’s infamous 3 a.m. recording sessions featured Rollins’ sax strolling over the contributions of onetime Ella Fitzgerald bassist Ray Brown and iconic West Coast Jazz drummer Shelly Manne, neither of whom he’d ever played with. The results are incredible, with “I’m an Old Cowhand (From the Rio Grande),” a satirical song about Texas written by Johnny Mercer and made famous by Bing Crosby, skillfully merging country with jazz, while Rollins’ own composition, the title track “Way Out West,” reminds us of his dexterity and playful ambivalence towards time signatures.

Contemporary Records was founded in 1951 by Lester Koenig (1917–1977). A film producer and screenwriter by trade, he was a record collector who was also a stickler for high-fidelity audio. His label was soon synonymous with audiophile sound and became the epicenter of the West Coast jazz scene. The Contemporary Records Acoustic Sounds series — launched in the spring of 2022, with titles from Art Pepper, Shelly Manne, and Benny Carter, among others — honors the label’s legacy through meticulous reissues of both popular classics and influential rarities. Listen to more from Contemporary Records here.

Since its debut, the Contemporary Records Acoustic Sounds series has earned critical raves. JazzTimes notes, "Artists, producers, and engineers alike have held Contemporary aloft…as a label dedicated to presenting jazz at its absolute purest, richest, and live-est,” and remarked that the successful reissues “are living, breathing proof of that label’s hotly cutting clarity.” Audiophile Review enthuses that the reissue of Art Pepper + Eleven: Modern Jazz Classics was “top-notch…richer and more inviting.” Meanwhile, Audiophile Audition lauded over how “pristine” Hampton Hawes’ Four! reissue was, adding, “Kudos to Craft Recordings for re-introducing a brilliant pianist.”

Each of the 2024 reissue titles is available for pre-order today. Hi-res digital (192/24) will also be available for purchase at the time of each LP release.

Art Pepper Quintet - Smack Up

SIDE A

1.      Smack Up

2.      Las Cuevas De Mario

3.      A Bit of Basie

SIDE B

1.      How Can You Lose

2.      Maybe Next Year

3.      Tears Inside

Shelly Manne and His Men - At the Black Hawk, Vol. 1

SIDE A

1.      Summertime

2.      Our Delight

SIDE B

1.      Poinciana

2.      Blue Daniel

3.      Theme: A Gem From Tiffany

Harold Land - The Fox

SIDE A

1.      The Fox

2.      Mirror Mind Rose

3.      One Second, Please

SIDE B

1.      Sims A-Plenty

2.      Little Chris

3.      One Down

Hampton Hawes - For Real!

SIDE A

1.      Hip

2.      Wrap Your Troubles in Dreams

3.      Crazeology

SIDE B

1.      Numbers Game

2.      For Real

3.      I Love You

Howard McGhee - Maggie's Back in Town!!

SIDE A

1.      Demon Chase

2.      Willow Weep for Me

3.      Softly, As in a Morning Sunrise

4.      Sunset Eyes

SIDE B

1.      Maggie's Back in Town

2.      Summertime

3.      Brownie Speaks

Teddy Edwards and Howard McGhee - Together Again!!!!

SIDE A

1.      Together Again

2.      You Stepped out of a Dream

3.      Up There

SIDE B

1.      Perhaps

2.      Misty

3.      Sandy

Prince Lasha Quintet - The Cry!

SIDE A

1.      Congo Call

2.      Bojangles

3.      Green and Gold

4.      Ghost of the Past

SIDE B

1.      Red's Mood

2.      Juanita

3.      Lost Generation

4.      A. Y.

Ben Webster - At the Renaissance

SIDE A

1.      Georgia on My Mind

2.      Caravan

3.      Renaissance Blues

SIDE B

1.      Ole Miss Blues

2.      What’s This Thing Called Love

3.      Stardust

Art Pepper - Gettin' Together!

SIDE A

1.      Whims of Chambers

2.      Bijou the Poodle

3.      Why Are We Afraid?

4.      Softly, As in a Morning Sunrise

SIDE B

1.      Ole Miss Blues

2.      What’s This Thing Called Love

3.      Stardust

Art Pepper – Intensity

SIDE A

1.      I Can't Believe That You're in Love With Me

2.      I Love You

3.      Come Rain or Come Shine

4.      Long Ago (And Far Away)

SIDE B

1.      Gone With the Wind

2.      I Wished on the Moon

3.      Too Close for Comfort

Helen Humes - Songs I Like to Sing!

SIDE A

1.      If I Could Be With You

2.      Don't Worry 'Bout Me

3.      Mean to Me

4.      Every Now and Then

5.      I Want a Roof Over My Head

6.      St. Louis Blues

SIDE B

1.      You're Driving Me Crazy

2.      My Old Flame

3.      Millon Dollar Secret

4.      Love Me or Leave Me

5.      Imagination

6.      Please Don't Talk About Me When I'm Gone

Sonny Rollins - Way Out West

SIDE A

1.      I'm an Old Cowhand

2.      Solitude

3.      Come, Gone

SIDE B

1.      Wagon Wheels

2.      There Is No Greater Love

3.      Way Out West

Craft Recordings celebrates bluegrass icon Tony Rice with a special vinyl reissue of his long-out-of-print classic, Church Street Blues. The acclaimed 1983 album finds the GRAMMY® Award-winning guitarist, singer and songwriter interpreting an eclectic selection of modern and traditional folk songs, including Norman Blake’s “Church Street Blues,” Tom Paxton’s “Last Thing on My Mind” and Bob Dylan’s “One More Night.” An intimate, largely solo outing, Church Street Blues showcases Rice’s prowess on the guitar, as well as his versatility as a performer.

Set for release on April 5, 2024, and available for pre-order today, Church Street Blues has been cut from the original master tapes (AAA) by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. A limited edition transparent red pressing will also be available exclusively via Vinyl Me, Please. Additionally, the album will make its debut in stunning HD digital audio.

One of the most revered names in bluegrass, Tony Rice (1951–2020) shaped the sound of the genre during his lengthy career, while his distinctive touch on the guitar influenced countless others. Born in Virginia and raised in Los Angeles, Rice launched his career in Louisville, KY, where he became the lead vocalist and guitarist of J.D. Crowe’s legendary bluegrass group, The New South. In the mid-’70s, not long after the release of their self-titled bestseller (featuring Jerry Douglas and Ricky Skaggs), Rice returned to California to join David Grisman’s esteemed quintet. Working alongside the celebrated mandolinist, Rice broadened his musical palate—exploring jazz, classical and other styles—while honing his technique on the guitar.

This prolific period also found Rice embarking on a variety of collaborative projects, including co-founding the supergroup Bluegrass Album Band alongside J.D. Crowe, Bobby Hicks, Todd Phillips and Doyle Lawson, and forming The Tony Rice Unit. Rice’s solo endeavors, meanwhile, often served as an outlet for the musician to record material outside of the bluegrass sphere. 1983’s Church Street Blues, which marked his fourth solo LP, found Rice interpreting some of his favorite folk songs. Recorded in Berkeley, CA, the album was an intimate affair, featuring the artist and his guitar—joined only by his brother, guitarist Wyatt Rice, on four of the 12 tracks.

Rice selected a blend of traditional material (“Cattle in the Cane,” “House Carpenter”) with contemporary compositions, including those by Jimmie Rodgers (“Any Old Time”), Bob Dylan (“One More Night”), Ralph McTell (“Streets of London”) and Tom Paxton (“Last Thing on My Mind”). Other highlights include Rice’s expressive renditions of Hamilton Camp’s oft-covered “Pride of Man,” while he pays homage to his bluegrass roots with a lively cover of the Bill Monroe/Byron Berline-penned “The Gold Rush” (a standout instrumental performance which showcased his dexterity on the guitar). The album also features two songs by Rice’s friend and collaborator, Norman Blake: “Orphan Annie” and “Church Street Blues”—both of which find the artist at his finest.

Upon its release in 1983 (via Sugar Hill Records), Church Street Blues became an immediate fan-favorite, while today, it remains a classic title in Rice’s prolific discography. Speaking to Church Street Blues in 2022, Bluegrass Today declared the album “his finest and most definitive work,” while, in an earlier profile, the outlet praised, “the recording’s intimacy. . . . It’s like you become closer to Rice as a person with every note that is sung or played.” AllMusic added that Rice “demonstrate[s] his musical eclecticism…as well as his nimble instrumental grace.” Over the years, the album has been cited as an influence by a variety of artists, including The Punch Brothers, who released a reimagining of the record in 2022.

Hailed by Ricky Skaggs as “The single most influential acoustic guitar player in the last 50 years,” Tony Rice remained active for the next three decades, releasing more than a dozen albums under his own name and more than two dozen collaborative titles, including those with The Rice Brothers, Jerry Garcia, the Bluegrass Album Band and Norman Blake. Throughout his career, the guitarist was also a sought-after session musician, who appeared on recordings by Mary Chapin Carpenter, Béla Fleck and Emmylou Harris, among many others. A GRAMMY® Award-winner and multiple IBMA recipient, Rice delivered his final public performance in 2013, during his induction into the International Bluegrass Music Hall of Fame.

Click here to pre-order Church Street Blues

Church Street Blues tracklist (Vinyl):

Side A

1.  Church Street Blues

2.  Cattle In The Cane

3.  Streets Of London

4.  One More Night

5.  The Gold Rush

6.  Any Old Time

Side B

1.  Orphan Annie

2.  House Carpenter

3.  Jerusalem Ridge

4.  Last Thing On My Mind

5.  Pride Of Man

Church Street Blues tracklist (Hi-Res Digital):

1.  Church Street Blues

2.  Cattle In The Cane

3.   Streets Of London

4.  One More Night

5.   The Gold Rush

6.   Any Old Time

7.   Orphan Annie

8.   House Carpenter

9.  Jerusalem Ridge

10.  Last Thing On My Mind

11.  Pride Of Man

Craft Recordings is pleased to announce an audiophile pressing of Hot Buttered Soul: the earth-shattering 1969 hit record from GRAMMY® and Academy Award®-winning singer, songwriter, producer, and actor, Isaac Hayes. The album—which marks the sixth reissue in Craft’s acclaimed Small Batch vinyl series—pushed the boundaries of soul music, while setting Hayes on the path to superstardom, thanks to such groundbreaking tracks as “Hyperbolicsyllabicsesquedalymistic,” plus ambitious renditions of the Bacharach/David classic “Walk on By” and Jimmy Webb’s “By the Time I Get to Phoenix.” Available March 1st and limited to just 3,000 copies worldwide, Hot Buttered Soul can be found exclusively at CraftRecordings.com and AcousticSounds.com.

Handpicked from Craft’s extensive catalog, each Small Batch release offers listeners the highest-quality, authentic sound—distilled to its purest form. As with all albums in the series, Hot Buttered Soul features lacquers cut from the original tapes (AAA) by Bernie Grundman and pressed on 180-gram vinyl at RTI with Neotech’s VR900 compound. Using a one-step lacquer process (as opposed to the standard three-step process), this technique allows for the utmost level of musical detail, clarity, and dynamics while reducing the amount of surface noise on the record. The limited nature of these pressings guarantees that each record is a true representation of the original lacquer and is as close as the listener can get to the original recording.

Since launching in 2020, the Small Batch series has drawn accolades from both sides of the Atlantic. Speaking to previous edition, Thelonious Monk’s Brilliant Corners, Analog Planet declared that the set “sounds more realistic, full-bodied, natural, and richer... If you love this Monk music and want the best possible version you can get your hands and ears on, then this new edition may very well be your jam.” While Record Collector Magazine described it as a “...masterpiece lovingly revived... superlative... revelatory in terms of sonic detail, while the deluxe packaging, including new liner notes, is also top-notch.” Absolute Sound summarized the pressing as “intensely alive, more upfront and dynamically forceful, with exceptional clarity, focus, and kind of you-are-there intimacy...if you can still find it, do!” and PopMatters’ echoed in a 10/10-star review, “Craft Recordings’ reissue certainly gives Brilliant Corners the respect it deserves, with a sumptuously packaged reissue and stunning sonic fidelity. If you’ve been waiting for the right time to add this to your collection, the wait is over.”

Each copy of Hot Buttered Soul is individually numbered and encased in a foil-stamped, linen-wrapped slipcase featuring an acrylic inset of the original artwork. The vinyl disc—extractable through a unique, frictionless ribbon pull tab—is housed in a reproduction of the album’s original tip-on jacket from Stax Records and protected by an archival-quality, anti-static, non-scratching inner sleeve. New in-depth liner notes by veteran music writer and journalist A. Scott Galloway (Wax Poetics, Variety, Urban Network) complete the package.

Described by Galloway as “a searing souvenir of the art form, that will emphatically inspire into eternity,” Isaac Hayes’ Hot Buttered Soul has long been considered a landmark title in R&B—one that pushed the limits of soul music and influenced countless artists in its wake. Released in 1969, Hayes’ sophomore effort also served as a proper introduction to the artist, following his widely overlooked solo debut, Presenting Isaac Hayes (1968). After Hot Buttered Soul, there was only forward momentum for Hayes.

Nearly a decade earlier, Hayes (1942–2008) began his musical career behind the scenes, working as an in-house session musician and songwriter at Stax Records. There, he formed a highly successful writing partnership with David Porter, which resulted in some of the era’s biggest R&B hits, including “Soul Man” and “Hold On, I’m Comin’” for Sam & Dave, “B-A-B-Y” for Carla Thomas, and “I Got to Love Somebody’s Baby” for Johnnie Taylor. By the close of the ’60s, however, Hayes was eager to embark on his own creative path.

“I always try to make my music interesting in the sense that you can’t figure out where I’m going,” Hayes told Galloway in 1995. “I don’t like people to second guess me. I had no formal training therefore I knew no boundaries. When you break the rules and go outside the box, you become innovative.”

Hayes recorded lead vocals and rhythm tracks in a single eight-hour session, during which he simultaneously served as lead vocalist, keyboardist (on the Hammond organ), and conductor. Performing alongside him at Memphis’ Ardent Studios were bassist James Alexander, drummer Willie Hall, and rhythm guitarist Michael Toles—all members of the recently reformed Bar-Kays—plus pianist Marvell Thomas (son of Rufus). The album, which was produced by Thomas, Al Bell, and Allen Jones, also featured lush orchestration (arranged by Johnny Allen) and soaring backing vocals—all of which were captured during additional sessions in Detroit.

Hot Buttered Soul is comprised of four tracks, split over two sides, beginning with a cover of the Burt Bacharach/Hal David classic, “Walk on By.” Originally an airy, three-minute-long hit for Dionne Warwick in 1963, the song was transformed by Hayes, who slowed it down and stretched it out into a psychedelic, 12-minute-long rumination on love and loss. Galloway describes the song as “a robust rhythm and blues roulade, marinated to soak through to the depths of your very soul.”

The mood and the pace pick up with “Hyperbolicsyllabicsesquedalymistic.” Co-written with [Stax president] Al Bell, this funky, swaggering number finds the artist at his most seductive—and, aptly, closes in a lengthy, climactic jam. Side B, meanwhile, opens with the reflective “One Woman.” Written by the married songwriting team of Charles Chalmers and Sandra Rhodes, the shortest track on the album (clocking in at five minutes) finds Hayes taking the point of view of a man caught in a love triangle, as he considers the two women he loves: his wife and his mistress.

The album closes out with one of Hayes’ great masterpieces: a 19-minute-long re-working of Jimmy Webb’s “By the Time I Get to Phoenix.” Given the framework, Hayes takes his time with the song, offering up an eight-minute-long spoken-word intro (really a sermon, as Galloway points out) before delving into the languid track and making it his own.

Completing the package was a now-iconic cover image, which presented Hayes as the star he was about to become. Shot from above, the photo captures the artist in an introspective moment: his shiny, shaved head in the foreground, followed by his signature gold sunglasses, gold chains, and bare chest. Inside, listeners would find something unlike anything they had heard before.

Released in the summer of 1969, Hot Buttered Soul proved to be an enormous success, despite its unusual format. In addition to spending over a year on the R&B chart (and topping it for ten weeks), the LP peaked at No.8 on the Billboard 200, sold over a million copies, and even crossed over onto the Jazz charts. Initially, Stax didn’t plan to release any singles around the album, but once it was clear that Hot Buttered Soul was a cultural phenomenon, the label issued edited-down versions of “Walk on By” and “By the Time I Get to Phoenix” as a double A-side

While the album garnered considerable acclaim upon its release, Hot Buttered Soul has only grown in significance over the decades. Among a variety of rankings and retrospectives, Pitchfork declared the album “A revolutionary classic of soul music,” while AllMusic hailed it as “An undeniably seminal record.” In 2020, Rolling Stone included the LP on their Greatest Albums of All Time list, calling it “An orchestral-soul watershed that forecast R&B’s turn toward symphonic excess and plush introspect.”

Along the way, countless others have found inspiration from Hot Buttered Soul, including a younger generation of hip-hop acts. Hayes’ interpretation of “Walk on By,” for instance, has been sampled 118 times by such revered artists as The Notorious B.I.G., Beyoncé, 2Pac, and Alicia Keys. “Hyperbolicsyllabicsesquedalymistic,” meanwhile appeared famously in Public Enemy’s “Black Steel in the Hour of Chaos” and DJ Quik’s “Born and Raised in Compton,” as well as in classic tracks by Ice Cube, N.W.A, and Tha Dogg Pound.

Hayes, meanwhile, would go on to find even greater success in the ’70s, releasing such best-selling titles as The Isaac Hayes Movement (1970), followed by the GRAMMY-winning Black Moses (1971) and Shaft soundtrack (1971). The groundbreaking score also earned Hayes an Academy Award, making him the first Black recipient of an Oscar® in a non-acting category. Throughout the rest of his life, Hayes continued to push musical and cultural boundaries, maintaining an active career as a recording artist and actor. Among countless honors and awards, Hayes was inducted into the Rock and Roll Hall of Fame in 2002 and the Songwriters Hall of Fame in 2005. In 2004, he was named a BMI Icon for his prolific and influential work as a songwriter, while in 2020, he was celebrated with a posthumous Lifetime Achievement Award by the Recording Academy.

Click here to pre-order Hot Buttered Soul.

Tracklist:

Side A:

1. Walk on By

2. Hyperbolicsyllabicsesquedalymistic

Side B:

3. One Woman

4. By the Time I Get to Phoenix

About Stax Records:

Stax Records, now owned by Concord, was founded by Jim Stewart in 1957 in Memphis, Tennessee. It rose from a small, family-operated company to become one of the most influential record labels in the world, helping create “The Memphis Sound” and launching the careers of icons such as Otis Redding, Isaac Hayes, Booker T. & The M.G.’s the Staple Singers, Sam & Dave, Rufus and Carla Thomas, The Bar-Kays, and dozens of other artists who helped change popular culture forever. In all, Stax placed 167 hit songs in the Top 100 in Pop and 243 hits in the Top 100 in R&B. For more info visit, staxrecords.com and follow on Facebook, Instagram, YouTube and Twitter.

About Craft Recordings:

Craft Recordings is home to one of the largest and most essential collections of master recordings and compositions in the world. Its storied repertoire includes landmark releases from icons such as Joan Baez, John Coltrane, Creedence Clearwater Revival, Celia Cruz, Miles Davis, Isaac Hayes, John Lee Hooker, Little Richard, R.E.M., Joan Sebastian, and Traveling Wilburys. Plus, the catalog recordings of celebrated contemporary acts including A Day to Remember, Evanescence, Alison Krauss, Nine Inch Nails, Taking Back Sunday and Violent Femmes, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Fania, Fantasy, Fearless, HITCO, Musart, Nitro, Panart, Prestige, Riverside, Rounder, Specialty, Stax, Vanguard, Varèse Sarabande, Vee-Jay and Victory, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation—ensuring that these recordings endure for new generations to discover. Craft is also home to the Billie Holiday and Tammy Wynette estates which preserve and protect their respective names, likeness and music through day-to-day legacy management of these cultural trailblazers.

Craft Recordings proudly announces the launch of Bluesville Records—a new reissue series that celebrates America’s bedrock music genre, as well as the trailblazing musicians that contributed to its rich traditions. Inspired by the original Bluesville imprint (launched by Prestige Records in 1959 to preserve the hallowed genre and capture its most important living figures), the series is intended to appeal to blues enthusiasts of all levels—from casual fans who are eager to learn more to long-time collectors and audiophiles. In addition to releasing foundational blues titles from such legendary labels as Prestige, Vee-Jay, Riverside, Vanguard, Stax and Rounder, Bluesville Records will also seek to elevate the legacies of the artists behind these albums, while honoring their immeasurable impact on modern music through a variety of initiatives, including curated playlists, in-depth editorial content, dedicated social media channels and much more. For more information, visit bluesvillerecords.com and follow Bluesville Records on Facebook, Instagram and YouTube.

Each handpicked Bluesville title will be released on vinyl in partnership with audiophile leader Acoustic Sounds. Founder of Acoustic Sounds, Chad Kassem says of the new series, “Craft Recordings owns some very important blues albums. I am honored and excited to work with them to ensure that their new Bluesville reissues will sound as good as possible.” Delivering the highest-quality listening experience, the albums will feature all-analog mastering by GRAMMY®-nominated engineer Matthew Lutthans (The Mastering Lab) and will be pressed on 180-gram vinyl at QRP. Faithfully reproduced tip-on jackets round out every release, while obis will offer insightful reflections on the album by GRAMMY-winning producer, writer and musician, Scott Billington. Billington states, “Bluesville represents over 75 years of blues history, from culture-shifting field recordings to dozens of pivotal blues hits. It is thrilling to be a part of the curation of this incredible legacy.” Additionally, every title in the series will be delivered to digital platforms in stunning remastered hi-res audio.

Bluesville Records launches its first titles on June 7th with essential albums from two of the genre’s most influential artists: John Lee Hooker’s Burning Hell (originally released in 1964) and Skip James’ Today! (1966). The rollout will continue throughout the year, and beyond, with classic titles from Albert King, Lightnin’ Hopkins, Jimmy Reed and Blind Gary Davis, among others. More information on Bluesville’s inaugural titles can be found below, and both LPs are available for pre-order today.

John Lee Hooker – Burning Hell

Frequently known as “The King of the Boogie,” GRAMMY Award-winner John Lee Hooker (1917–2001) was one of the most important American artists of all time, whose prolific, seven-decade-long career continues to reverberate today. As a young man, the Mississippi-born singer, songwriter and guitarist relocated to Detroit, where he established himself in the industry—making his debut recordings and scoring his earliest hits (including 1948’s R&B No.1, “Boogie Chillen’”). Over a decade later, back in Motor City, Hooker laid down one of his first full-length LPs, Burning Hell, for Riverside Records.

Recorded in Detroit in April 1959 (during a session that also produced 1960’s The Country Blues of John Lee Hooker), Burning Hell was a stylistic outlier for the artist, who was better known at the time for his electric, R&B-influenced sound. Instead, Riverside sought to highlight Hooker’s Delta roots, capturing him in an intimate setting, where he was accompanied only by his acoustic guitar. The resulting album showcased Hooker’s commanding presence as an artist, as he delivered a soulful blend of original songs (“Graveyard Blues,”  “You Live Your Life and I’ll Live Mine” and the title track, among them) as well as a selection of blues standards, including Big Joe Williams’ “Baby, Please Don’t Go,” Howlin’ Wolf’s “Smokestack Lightnin’,” and the Charlie Segar/Big Bill Broonzy-penned “Key to the Highway.”

As powerful as the recording was, Burning Hell wasn’t released until 1964—not long after Hooker had become a sensation in the UK, amid the blues revival. Originally only available in Europe, the album quickly became a sought-after rarity, coveted by blues and folk aficionados across the globe. Today, it remains a standout title in Hooker’s prolific catalog of work. In a retrospective review, AllMusic hailed, “Burning Hell ranks among John Lee Hooker’s most edgy and focused performances,” while UKVibe praised, “There is a freshness to the interpretations that transcends time and place.”

This long-awaited reissue of Burning Hell marks the first worldwide reissue on a single vinyl LP as well as its debut in hi-res audio. Tracklist further below.

Skip James – Today!

Singer, songwriter, guitarist and keyboardist Skip James (1902–1969) was a seminal Delta bluesman, who (like many of his counterparts) didn’t find broader fame until his later years. Born Nehemiah Curtis James in Mississippi, the artist had a reputation that preceded him, fueled by allegations of a wild lifestyle and unpredictable mood swings. Whether or not these rumors were true, they certainly added to the bluesman’s mystique as he launched his career in the 1920s. In 1931, James recorded a series of singles for Paramount Records but, as the Great Depression took hold, he failed to find success. Over the next 30 years, he would remain relatively unknown, working in the church as a minister and choir director.

In the ’60s, amid rumors of James’ death, blues enthusiasts John Fahey, Henry Vestine (Canned Heat) and Bill Barth sought out the artist—finding him to be very much alive—and encouraged him to return to the stage. James made his long-awaited comeback at the 1964 Newport Folk Festival, enjoying newfound fame among a younger generation of fans. Over the next five years, he also recorded a series of albums, including 1966’s Today! for Vanguard.

Today! found the bluesman revisiting many of his 1931 singles, including the popular “I’m So Glad” (famously covered by Cream on their 1966 debut, Fresh Cream), “Hard Time Killing Floor Blues,” “Special Rider Blues” and “Drunken Spree.” Haunting and emotionally raw, the pared-down session also showcased James’ unique fingerpicking technique on the acoustic guitar, as well as his talents on the piano. While the album was primarily a solo outing, James was joined by bassist Russ Savakus on his sole cover—the Leroy Carr standard, “How Long.”

In The Grove Press Guide to Blues on CD, journalist Frank-John Hadley noted, “The songs on the marvelous Today! find a self-respecting and sensitive Black American being completely true to himself, using a feyly tuned guitar and a heart-stopping high tenor to give emotional cogency to his lyrics on life in an unforgiving, merciless prewar Mississippi.” AllMusic praised, “Skip James might have made the best music of anyone who resurfaced during the mid-’60s ‘rediscovery’ era for Mississippi country blues types. Certainly, there weren’t many albums made during that time as good as this one; wonderful vocals, superb guitar, and a couple of tunes with tasty piano make this essential.”

Now, fans can enjoy this enthralling album in its original format—marking its first wide availability on vinyl in over three decades and will be available in hi-res audio for the first time. Tracklist below.

Both titles are available for pre-order today. Hi-res digital (192/24) will also be available for purchase at the time of each respective LP release.

Burning Hell Tracklist:

Side A

1.  Burning Hell

2.  Graveyard Blues

3.  Baby Please Don't Go

4.  Jackson, Tennessee

5.  You Live Your Life And I'll Live Mine

6.  Smokestack Lightnin'

Side B

1.  How Can You Do It?

2.  I Don't Want No Woman If Her Hair Ain't No Longer Than Mine

3.  I Rolled And Turned And Cried The Whole Night Long

4.  Blues For My Baby

5.  Key To The Highway

6.  Natchez Fire

Hi-res digital tracklist replicates the above*

Today! Tracklist:

Side A

1. Hard Times Killing Floor Blues

2. Crow Jane

3. Washington D.C. Hospital Center Blues

4. Special Rider Blues

5. Drunken Spree

6. Cherryball

Side B

1. How Long

2. All Night Long

3. Cypress Grove

4. Look Down the Road

5. My Gal

6. I’m So Glad

Hi-res digital tracklist replicates the above*

On August 24, 1973, 40,000 salsa fans (a record-breaking crowd at the time for a Latin music event) eagerly piled into New York’s Yankee Stadium to watch some of the world’s most influential artists share the stage. But the Fania All Stars—a collective that included such legends as Johnny Pacheco, Willie Colon, Ray Barretto, and Héctor Lavoe—was eager to highlight its versatility by performing not just Latin hits, but also soul and rock hits from the day. Joined by a variety of special guests, including Mongo Santamaria, Manu Dibango, Jorge “Malo” Santana, plus Billy Cobham and Jan Hammer of the Mahavishnu Orchestra—the All Stars launched into a funky, high-energy set (which was scheduled to include such hits as Dibango’s “Soul Makossa,” Edwin Starr’s “There You Go,” and the Joe Cuba Sextet’s “El Ratón”). But not long after they began, the concert was cut short as thousands of excited fans poured onto the field, forcing the concert to end prematurely. What was captured on tape reverberated with the energy of that evening, while subsequent recordings (to round out the rest of the setlist) showcased the sheer talent of everyone involved. The resulting album, 1974’s Latin-Soul-Rock, became an instant classic.

Now, Craft Latino celebrates the 50th anniversary of this historic album with a special 180-gram vinyl reissue of Latin-Soul-Rock. Set for release on May 24 and available for pre-order today, the long-out-of-print album has been newly remastered from analog sources by Kevin Gray at Cohearent Audio and is housed in a tip-on single-pocket gatefold jacket, replicating its original design—including liner notes from Fania founder/producer Jerry Masucci, plus a review of the concert from the New York Post. Additionally, Latin-Soul-Rock will also make its debut in 192/24 hi-res digital audio. In addition, a deluxe Fuego vinyl color exclusive, limited to 300 copies, with an exciting bundle option that includes a Fania All Stars Live at Yankee Stadium commemorative baseball T-shirt is available for pre-order at Fania.com.

The Fania All-Stars were a vital force in Latin music, bringing together some of the world’s most important and influential artists, including pioneering bandleaders like Johnny Pacheco, Willie Colón, and Ray Barretto; celebrated musicians like Yomo Toro, Orestes Vilató, and Barry Rodgers; plus some of the era’s most beloved singers, including Pete “El Conde” Rodríguez, Celia Cruz, Adalberto Santiago, and Héctor Lavoe. The ever-evolving collective—which also served as a platform for the legendary Latin label, Fania Records—formed in 1968, just as salsa music was exploding in popularity across the US and beyond.

The All Stars released a series of bestselling live albums, including Live at the Red Garter, Vols. 1 and 2 (1968 and 1969, respectively) and Live at the Cheetah, Vols. 1 and 2 (1972)— the latter of which resulted in the 1972 documentary Our Latin Thing—before embarking on a sold-out tour, which included stops across the US, as well as in Panama, Puerto Rico, and Venezuela, among other international hotspots. The 1973 run concluded with a hometown show at Yankee Stadium. For this particular date, which took place decades before Latin music crossed into the mainstream, the Fania All Stars and producer/Fania co-founder Jerry Masucci had a unique goal in mind: “[We] searched for musical material that would show (everyone who doubted) that Latin musicians could play soul and rock,” he wrote in the album’s 1974 liner notes. “Then we found four internationally known musicians who wanted to play with the All Stars: Manu Dibango, Jorge ‘Malo’ Santana, Billy Cobham, and Jan Hammer. Manu had just had a worldwide rhythm and blues hit ‘Soul Makossa’; Jorge Santana is [the] leader of Malo, a Latin Rock group and brother of the rock superstar Santana; Billy Cobham and Jan Hammer are both members of the famed Mahavishnu Orchestra which recently toured and recorded with John McLaughlin and Santana.”

With a star-studded roster of guest artists, the All Stars worked with Masucci to create a diverse set list that included Dibango’s “Soul Makossa,” Edwin Starr’s “There You Go,” and Gerald Wilson’s “Viva Tirado”—all intermingled with Latin hits, including The Joe Cuba Sextet’s “El Ratón,” Tito Rodríguez’s “Mama Guela,” Larry Harlow’s “Congo Bongo,” and Israel “Cachao” López’s “Chanchullo” (reworked in the early ’60s by Tito Puente to become his enduring hit, “Oye cómo va”).

But the evening didn’t go quite as expected. As writer Edmund Newton reported in an ensuing New York Post story, “An exuberant unrestrained crowd of 40,000—reportedly the largest crowd ever for a Latin concert—came not to watch but participate in the historic event.” He continued, “Thousands of teenagers jammed into the aisles, dancing the ‘Soul Makossa.’ Others stand on the Yankee dugout, moving to the lusty rhythms of the Fania All Stars, with pianist Larry Harlow, trombonist Willie Colón, and the like sailing riffs toward home plate.” Newton added, “Almost lost in the excitement was the excellent music.”

The performance, which was filmed and subsequently used in the 1976 documentary, Salsa!, was cut short, as thrilled concertgoers convened onto the field, causing the show to be shut down just as the band finished “Congo Bongo.” But all was not lost, Masucci writes. “After all the preparation and hard work [the set list] had to be recorded somehow. We recorded ‘Soul Makossa’ live…[in] Puerto Rico and then got everyone together again [in New York] where we recorded ‘Viva Tirado,’ ‘Chanchullo,’ ‘Smoke,’ ‘There You Go,’ [and] ‘Mama Guela.’” While portions of the concert would appear on the All Stars’ two-volume, GRAMMY®-nominated Live at Yankee Stadium LP (1975), Latin–Rock–Soul marked the first release to document that historic evening and remains an essential—and phenomenally funky—title in the beloved collective’s catalog.

Long recognized for their ability to transcend the barriers of culture and language, the Fania All Stars spent the next two decades touring the world, with notable performances in Japan, Cuba, England, and the Democratic Republic of Congo, among many other countries. Today, the All Stars remains relevant, with a vibrant catalog that includes more than two dozen live and studio albums, including the GRAMMY-nominated Live at Yankee Stadium Vols. 1 & 2 (1975) and Cross Over (1979), plus Habana Jam (1979) and Live in Africa (1986). In 2014, the trailblazing group was honored with an ASCAP Latin Heritage Award.

Click here to pre-order Latin-Soul-Rock.

Click here to find the exclusive bundle including the Fuego vinyl color exclusive with the commemorative Fania All Stars Live at Yankee Stadium commemorative baseball T-shirt.

Latin–Soul–Rock Tracklist (Vinyl)

Side A

1. Viva Tirado (Live at Yankee Stadium/New York, NY/August, 1973/Remastered 2024)

2. Chanchullo (Live at Yankee Stadium/New York, NY/August, 1973/Remastered 2024)

3. Smoke (Live at Yankee Stadium/New York, NY/August, 1973/Remastered 2024)

4. There You Go (Live at Yankee Stadium/New York, NY/August, 1973/Remastered 2024)

5. Mama Guela (Live at Yankee Stadium/New York, NY/August, 1973/Remastered 2024)

Side B

1. El Ratón (Live at Yankee Stadium/New York, NY/August, 1973/Remastered 2024)

2. Soul Makossa (Live at Robert Clemente Coliseum/San Juan, PR/November, 1973/Remastered 2024)

3. Congo Bongo (Live at Yankee Stadium/New York, NY/August, 1973/Remastered 2024)

*Digital tracklist mirror’s the vinyl.

Craft Recordings announces the final batch of 2024 reissues for its Original Jazz Classics series, beloved by collectors and critics alike. The latest reissues include Clark Terry Quartet & Thelonious Monk’s In Orbit, Mal Waldron’s The Quest, Thelonious Monk Septet’s Monk’s Music, Blue Mitchell’s Blue’s Moods, and Cal Tjader’s Latin Kick. All of these titles can be pre-ordered today.

As with previous releases, these new reissues will boast lacquers cut from the original tapes (AAA) by Kevin Gray at Cohearent Audio, 180-gram vinyl pressed at RTI, and tip-on jackets, replicating the original artwork. All titles will also be released digitally in 192/24 HD audio. Original Jazz Classics was created in 1982 (under Fantasy Records) and relaunched in 2023. This audiophile series has thus far reissued a staggering 850+ jazz albums, drawing from its dazzling jazz catalog, which has grown to include thousands of artist-defining titles originally released by Prestige, Galaxy, Milestone, Riverside, Debut, Contemporary, Jazzland, and Pablo.

Original Jazz Classics relaunched last year to great critical acclaim. While commenting on the reissue of Bill Evans’ Sunday at the Village Vanguard, PopMatters enthused, “The bright, inventive performances are captured perfectly in these new vinyl releases, and listening to them is an exciting, riveting, and perhaps bittersweet experience, as they caught a unique, influential group of musicians at their peak. Clash declared the reissue to be “a must-have.” Tracking Angle gave a perfect score review to the reissue of Bill Evans’ Waltz for Debby, adding, “The best-sounding of all the pressings…the whole line will be worth watching and buying quickly before they sell out.” All About Jazz echoed that sentiment, saying, “Without hyperbole, it can be stated that this is the best-sounding version yet of a beloved album.”

Read more on the latest batch of OJC releases below.

Clark Terry Quartet & Thelonious Monk – In Orbit (Available August 30, 2024)

Trumpeter Clark Terry plays the flugelhorn on this 1958 release, which earned much attention for one important, flattering detail: Monk appears here as a sideman. The other support talent is nothing to sneeze at: Cannonball Adderley’s frequent bassist Sam Jones and Philly Joe Jones, whom Bill Evans raved about being his favorite drummer.

At this point Clark was at a peak, having become a frequent presence on the stage with Count Basie and Duke Ellington. To that end, AllMusic commented that In Orbit was, true to its title, “A spirited, boppish date.” Monk fans will revel in the more rarified track “Let’s Cool One” (the pianist’s only composition here). Other standouts include Terry’s silky-smooth “One Foot in the Gutter” and the wistful “Argentia.”

Mal Waldron – The Quest (Available September 27, 2024)

Back in 1962, Billboard mused that this album from Waldron, one of Billie Holiday’s go-to pianists, “Contains two ingredients that show his deep-rooted talent, melody, and swing.” An alluring mix of avant-garde and hard bop, the sextet is a well-rounded showcase of talent featuring Eric Dolphy on alto sax, Booker Ervin on tenor sax, Ron Carter on cello, Joe Benjamin on double bass, and Charlie Persip on drums.

Even after decades, Waldron’s compositions such as the sentimental “Duquility” and escapist “Warm Canto” remain unparalleled in their willing transcendence of genre and expectations. Meanwhile, “Fire Waltz” is a bright, cerebral-bop delight.

Thelonious Monk Septet – Monk’s Music (Available October 25, 2024)

This swoon-worthy, seminal album in the Monk cannon was inducted into the Grammy Hall of Fame in 2001. The 1957 release by the piano-great also features the talents of Coleman Hawkins (tenor sax), Art Blakey (drums), and John Coltrane (tenor sax) to glorious effect.

The album, wrote Pitchfork, “Helped define the future of jazz and the mind of Monk.” His songs “Ruby, My Dear,” a study in nostalgia, and in contrast, the lively, confident “Well You Needn’t” are highlights in Monk Music’s aural field of dreams.

Blue Mitchell – Blue’s Moods (Available November 15, 2024)

Upon Blue’s Moods release in 1960, DownBeat observed that the work “reflects the attainment of a measure of self-assurance and restraint, hallmarks…of the mature artist.” To that end, this release from Mitchell (on both trumpet and coronet) continues to be a classic, thanks to leaning into the spirited ease that captures hard-bop’s spirited, groove-driven ease.

Joined by a solid rhythm section (pianist Wynton Kelly, bassist Sam Jones, and drummer Roy Brooks). Blue’s Moods exudes warmth and curiosity in covers such as the chilled-out, sauntering “Sweet Pumpkin” and the edgier, life-affirming “Avars.” Blue’s Moods is as seemingly effortless as effortless gets.

Cal Tjader – Latin Kick (Available December 18, 2024)

As legend has it, Tjader’s music has been sampled in more than 200 tracks. There’s a reason why: His pioneering work as a bandleader and (mostly) vibraphonist in the Latin jazz genre is an irresistible entwining of Afro-Cuban rhythms and jazz fundamentals that immediately transports you to another time and place.

“Everything cooks in a bright yet disciplined manner,” AllMusic said of Latin Kick, his unforgettable release from 1956. “Tjader’s elliptical, swinging vibes preside genially over the ensemble.” This is true: You’d have to try pretty hard to not feel a contact high while listening to effervescent tracks, such as his cha-cha take on Cole Porter’s “I Love Paris,” and an ironically carefree “Lover Come Back to Me,” a cover of the Oscar Hammerstein II song.

Click here to pre-order these new titles, or visit CraftRecordings.com to find a special bundle offer with all five titles and explore the complete OJC collection.

Tracklists:

Clark Terry Quartet & Thelonious Monk – In Orbit

Side A

1.      In Orbit

2.      One Foot In The Gutter

3.      Trust In Me

4.      Let's Cool One

Side B

1.      Pea-Eye

2.      Argentia

3.      Moonlight Fiesta

4.      Buck’s Business

5.      Very Near Blue

Mal Waldron – The Quest

Side A

1.      Status Seeking

2.      Duquility

3.      Thirteen

4.      We Diddit

Side B

1.      Warm Canto

2.      Warp and Woof

3.      Fire Waltz

Thelonious Monk Septet – Monk’s Music

Side A

1.      Abide With Me

2.      Well, You Needn’t

3.      Ruby, My Dear

Side B

1.      Off Minor

2.      Epistrophy

3.      Crepuscule With Nellie

Blue Mitchell – Blue’s Moods

Side A

1.      I’ll Close My Eyes

2.      Avars

3.      Scrapple From the Apple

4.      Kinda Vague

Side B

1.      Sir John

2.      When I Fall in Love

3.      Sweet Pumpkin

4.      I Wish I Knew

Cal Tjader – Latin Kick

Side A

1.      Invitation

2.      Lover Come Back to Me

3.      September Song

4.      Will You Still Be Mine

5.      I Love Paris

Side B

1.      Tropicana

2.      Moonlight in Vermont

3.      Bye Bye Blues

4.      Manuels Mambo

5.      All the Things You Are

6.      Blues From Havana

Craft Recordings and Bluesville Records proudly announce a pair of classic reissues from two of blues music’s most influential artists: Albert King’s career-defining 1968 concert album, Live Wire/Blues Power, and 1961’s poignant Last Night Blues from Lightnin’ Hopkins with Sonny Terry. Releasing September 13 and available to pre-order today, these titles mark the latest releases in the acclaimed new series, which celebrates America’s bedrock music genre, as well as the trailblazing musicians that contributed to its rich traditions.

As with all handpicked Bluesville titles, Live Wire/Blues Power and Last Night Blues will be released on vinyl in partnership with audiophile leader Acoustic Sounds. Delivering the highest-quality listening experience, the albums both feature all-analog mastering by GRAMMY®-nominated engineer Matthew Lutthans (The Mastering Lab) and are pressed on 180-gram vinyl at Quality Record Pressings (QRP). Faithfully reproduced tip-on jackets round the releases, while OBIs offer insightful new blurbs by GRAMMY®-winning producer, writer, musician and record executive Scott Billington. Additionally, both albums will be available on CD and digitally in stunning hi-res audio. Read more about each title below.

Lightnin’ Hopkins feat. Sonny Terry: Last Night Blues (1960)

Hailing from Houston, TX, Sam “Lightnin’” Hopkins (1912–1982) was one of blues music’s most prolific artists, admired equally for his technical prowess on the guitar and his poeticism as a songwriter. His four-decade-long career, meanwhile, influenced generations of artists (Townes Van Zandt and Stevie Ray Vaughan, among them) and often found him collaborating with folk heroes, rock stars and countless fellow bluesmen, including the celebrated harmonicist Sonny Terry. Released in 1961 on Prestige Bluesville and recorded a year earlier, Last Night Blues marked the pair’s second of three albums together.

Recorded by legendary engineer Rudy Van Gelder, the acoustic album remains a gem in both artists’ catalogs. Accompanied by Leonard Gaskin (bass) and Belton Evans (drums), the stripped-down set is intimate and soulful, allowing the interplay between Hopkins and Terry to become the focus. Featuring seven originals by Hopkins, plus one composition written with Terry, the album includes such favorites as “Got to Move Your Baby,” the languid “Rocky Mountain” and “Last Night Blues.”

Speaking to Last Night Blues, Scott Billington notes, “Lightnin’s guitar playing and singing are simultaneously at their most passionate and relaxed. His striking lyrical imagery (‘You know the nightmares jumped on poor Lightnin’, they rolled me all night long/And I woke up not findin’ nothin’ but a dream/That’s why I'm singin’ this lonesome song’) is matched by his sure-handed and virtuosic guitar fills, and by Terry’s emotive harmonica. Their off-the-cuff and good-natured ‘Conversation Blues’ riffs on Terry’s sightlessness as Hopkins sings, ‘You know I only got two eyes and I’d offer you one. Now don’t you think well of me?’ It is a magical meeting of two of the greatest blues musicians.”

Acoustic Sounds’ Chad Kassem adds, “Lightnin’ is my absolute favorite blues musician. And here he is accompanied by another all-time great in harmonica man Sonny Terry. This is one of those albums where the sound matches the performances. There’s not a weak link in the chain. It gets my highest recommendation.”

Click here to pre-order Last Night Blues and scroll down for the tracklist.

Albert King: Live Wire/Blues Power (1968)

One of the most influential guitarists of all time, Rock and Roll Hall of Famer and Blues Hall of Fame inductee Albert King (1923–1992) ushered the genre into the modern era by combining his urgent Mississippi blues style with contemporary soul rhythms. Known for his smooth vocals and signature Flying V electric guitar, King continuously redefined the state of contemporary blues during his four-decade-long career through hits like “Born Under a Bad Sign,” “Crosscut Saw” and “I’ll Play the Blues for You.” Along the way, his guitar techniques informed axemen like Jimi Hendrix, Eric Clapton, Mick Taylor and Warren Haynes, to name a few.

Recorded during a 1968 concert at San Francisco’s Fillmore Auditorium and produced by drummer Al Jackson Jr. (of Booker T. & the M.G.’s fame) for release on Stax, Live Wire/Blues Power inspired many of the era’s rising guitar heroes, while it remains a definitive title in King’s catalog. Backed by a small rhythm section of guitar, electric organ, bass and drums, King’s prowess is on display in all of its glory as he blazes through original material (“Blues Power,” “Blues at Sunrise”), plus classic covers, including a spirited rendition of Herbie Hancock’s “Watermelon Man.”

“If you never saw Albert King live in his prime, this is as close as you can possibly get,” declares Kassem. “And you’re gonna hear why he is considered one of the all-time best. It doesn’t get any better.”

Billington remarks, “Live Wire/Blues Power marked a pivotal moment not only in the guitarist’s career, but in the blues world at large,” adding that it served as “the introduction of the blues to the ‘flower power’ generation.” He continues, “King enthralls the young audience, while laying down his most extended guitar performances on record. His playing is powerful—twisting and turning over jaw-dropping stop-time breaks as he segues from one crescendo to the next.”

Click here to pre-order Live Wire/Blues Power and scroll down for the tracklist.

Bluesville Records, which launched in February with John Lee Hooker’s Burning Hell (1964) and Skip James’ Today! (1966), is intended to appeal to blues enthusiasts of all levels—from casual fans who are eager to learn more to long-time collectors and audiophiles. In addition to releasing foundational titles from such legendary labels as Stax, Prestige, Vee-Jay, Vanguard, Rounder and Riverside, Bluesville also seeks to elevate the legacies of the artists behind these albums, while honoring their immeasurable impact on modern music through a variety of initiatives, including curated playlists, in-depth editorial content, dedicated social media channels and much more. In June, Bluesville is celebrating Black Music Month with a variety of artist spotlights and accompanying playlists. For more information, visit bluesvillerecords.com and follow Bluesville Records on Facebook, Instagram and YouTube.

Lightnin’ Hopkins with Sonny Terry – Last Night Blues Track Listing (Vinyl):

Side A:

1.      Rocky Mountain

2.      Got To Move Your Baby

3.      So Sorry To Leave You

4.      Take A Trip With Me

Side B:

1.      Last Night Blues

2.      Lightnin’s Stroke

3.      Hard To Love A Woman

4.      Conversation Blues

Lightnin’ Hopkins with Sonny Terry – Last Night Blues Track Listing (Hi-Res Digital):

1.      Rocky Mountain

2.      Got To Move Your Baby

3.      So Sorry To Leave You

4.      Take A Trip With Me

5.      Last Night Blues

6.      Lightnin’s Stroke

7.      Hard To Love A Woman

8.      Conversation Blues

Albert King – Live Wire/Blues Power Track Listing (Vinyl):

Side A:

1.      Watermelon Man

2.      Blues Power

3.      Night Stomp

Side B:

1.      Blues At Sunrise

2.      Please Love Me

3.      Look Out

Albert King – Live Wire/Blues Power Track Listing (Hi-Res Digital):

1.      Watermelon Man

2.      Blues Power

3.      Night Stomp

4.      Blues At Sunrise

5.      Please Love Me

6.      Look Out

Stax Records and Craft Recordings are thrilled to announce the release of four seminal albums from the country icon O.B. McClinton, for the first time on both hi-res and standard digital. Available to stream/download today, these newly remastered digital offerings encompass McClinton’s releases through Stax’s Enterprise imprint: O.B. McClinton Country (1971), Obie From Senatobie (1973), Live at Randy’s Rodeo (1973) and If You Loved Her That Way (1974).

Obie Burnett McClinton grew up on a farm in Gravel Springs, Georgia. His father was a Baptist minister, but a young McClinton preferred listening to Grand Ole Opry on the radio. According to lore, McClinton was such a huge fan of the original Hank Williams that he ran away to Memphis as a teen, causing his parents to have him psychologically evaluated—because even dreaming of being a Black country artist at that time suggested a disconnect from reality. McClinton ultimately joined the Air Force, where he immersed himself in music with like-minded soldiers, allowing him to hone his style. This led to him becoming a writer at Stax Records and then later releasing his own music via Stax’s buzzy Enterprise Records. (The year McClinton made his Enterprise debut—1971—was the same year the imprint released both Shaft and Black Moses from Isaac Hayes.) The famously well-humored McClinton would go on to refer to himself as the “Chocolate Cowboy,” which turned out to be an apt moniker.

These digital releases arrive just over 35 years after McClinton’s passing at age 47. In this era of emergent Black country talent, the legacy of McClinton, one of the first successful country artists of color, is as relevant as ever. While he is by no means the first Black country singer-songwriter, McClinton (a contemporary of other Black country artists such as Stoney Edwards, Big Al Downing and Charlie Pride) certainly made his mark as a hitmaker. Blessed with an instinct for melody paired with his buoyant baritone voice, McClinton released eight albums and 15 singles that climbed up Billboard’s Country Songs chart over the course of his career. Prior to breaking out on his own, he even penned successful tracks for soul artists such as Otis Redding (“Keep Your Arms Around Me”) and James Carr (“You Got My Mind Messed Up,” “A Man Needs a Woman”), among others. Read more on each title below.

O.B. McClinton Country

McClinton’s first release in 1971 presaged even greater things to come. It featured producer Jim Malloy, the GRAMMY® winner who also worked with Elvis Presley, Duke Ellington and Johnny Cash. In fact, McClinton here is surrounded by stellar local talent, many of whom continued playing with him over the years. Some of the brag-worthy personnel: backing vocals from Buzz Cason (who a handful of years earlier wrote the much-covered hit “Everlasting Love”), Muscle Shoals’ Jerry Carrigan on drums, Country Music Hall of Fame guitarist Pete Wade and Steel Guitar Hall of Famer Curly Chalker. A pair of standout songs include the unforgettable statement track “Country Music That’s My Thing” and a take on idol Merle Haggard’s Vietnam War commentary, “Okie From Muskogee.”

Obie From Senatobie

McClinton’s folky, down-home interpretation of Wilson Pickett’s “Don’t Let the Green Grass Fool You,” which appears here on his 1972 sophomore album, is possibly his most famous song. The cover, a dismissive look at a lover who’s strayed, went on to be his very first country single to chart, making its way into the Billboard Top 40. Other gems include his soul-twang version of “My Whole World Is Falling Down” (first made famous by Brenda Lee) and the timeless missive on a troublesome woman “Six Pack of Trouble” (written by Jerry Glenn Ward).

Live at Randy’s Rodeo

McClinton, now an emerging country star, self-produced his third album, a live outing, in 1973. Randy’s Rodeo was a go-to San Antonio country bar, which would live in infamy after the Sex Pistols played a disastrous and violent gig there in 1978. McClinton, in contrast, handily charmed this country crowd, winning them over with his amiable stage presence, charming banter and pristine, silky vocals. Highlights come in the form of the cheeky Honky Tonk of “Hollywood Star 1973” and an essential revisiting of his most popular tune, “Don’t Let the Green Grass Fool You.”

If You Loved Her That Way

The country artist’s final album with Enterprise produced two more charting singles: the title track, “If You Loved Her That Way,” and the jukebox-ready “Something Better.” The latter—due to his sliding guitars, harmonicas and campfire choruses—is a gold-star affirmation of McClinton’s love for the genre, emphasized by tracks such as “I Still Go to Memphis in My Mind.” In the end, the album is a snapshot of the singer in his joyful element.

Click here to stream/download the new digital release of these O.B. McClinton titles.

Tracklists:

O.B. McClinton Country

1.      Deep In The Heart Of Me                              

2.      Sleep Away                

3.      The Feeling Is Right And The Time Is Right Now

4.      Okie From Muskogee                 

5.      Yours Love                            

6.      The Ballad Of A Stamp Licker                    

7.      San Bernardino             

8.      Country Music That’s My Thing                 

9.      You Only Want Me for My Body                 

10.  Bad Guys Don’t Always Wear Black Hats

Obie From Senatobie

1.      I Want You In The Morning                           

2.      Don’t Let The Green Grass Fool You                       

3.      She’s That Kind   

4.      My Whole World Is Falling Down                            

5.      Sometimes I Like To Be Alone                   

6.      I Wish It Would Rain                     

7.      Today I Started Loving You Again                             

8.      Walking on New Grass           

9.      (If Loving You Is Wrong) I Don’t Want to Be Right               

10.  Obie From Senatobie                  

11.  Six Pack of Trouble                           

12.  The Unluckiest Songwriter in Nashville

Live At Randy’s Rodeo

1.      Don’t Let The Green Grass Fool You                   

2.      The Lord Knows I’m Drinking                    

3.      Today I Started Loving You Again                                

4.      Hollywood Star                  

5.      All I Have To Offer You Is Me / Is Anybody Goin’ to San Antone / I Can’t Believe That You Stopped Loving Me / (I’m So) Afraid Of Losing You Again / Kiss An Angel Good Morning       

6.      Heartbreak Hotel                             

7.      Don’t Let The Green Grass Fool You (Reprise)

If You Loved Her That Way

1.      If You Loved Her That Way                         

2.      Clean Your Own Tables            

3.      Goodbye                                

4.      I Still Go To Memphis In My Mind                             

5.      It Gets Lonesome                       

6.      Slippin’ Away                    

7.      Something Better                            

8.      Hallelujah                       

9.      Lean On Me                         

10.  Dixie (She Was Mama To Me)                     

11.  Mr. Miller’s Granddaughter

Craft Recordings is pleased to announce Ornithology: The Best of Bird, a brand-new Charlie “Bird” Parker collection that introduces the legendary saxophonist through 11 classic tracks. Spanning 1945–1953, the album compiles material from the influential jazz artist’s most prolific era, including such prime cuts as “Ko-Ko,” “Billie’s Bounce” and “Groovin’ High.” Arriving August 23 and available for pre-order today, Ornithology will be available on 1-LP, 1-CD and digital formats, while fans can find the album in two limited-edition pressings, including Canary Yellow vinyl (exclusively via Spotify Fans First) and Ruby (Barnes & Noble). All physical editions also include a new essay by Ashley Kahn, GRAMMY® Award-winning writer and author.

Though his life and career were all too brief, Charlie “Bird” Parker (1920–1955) endures as one of music’s most revolutionary figures. A founding father of bebop (or “bop,” for short) and among the greatest saxophonists of all time, Parker was an innovative composer and improviser whose highly influential work paved the way for hard bop, free jazz, fusion and beyond.

Born and raised in Kansas City, Parker first picked up the alto saxophone as a child. At 14, he dropped out of school to pursue a professional career, and in 1939, “Yardbird,” or “Bird,” as he was lovingly called, relocated to New York City. It was there that he began a deep exploration of melody, rhythm and phrasing, as he developed the earliest sounds of bop.

Bop marked a significant shift from the predominant, predictable sounds of the Swing Era big bands, which stuck to measured chord changes and ballroom-friendly rhythms. Instead, this was music that could be performed by small combos, allowing players the intimacy and freedom to dance around melodies through complex chords—often at a breakneck pace. It was groundbreaking, rebellious and unlike anything anyone had heard before.

Bird, Ashley Kahn writes, developed “a propensity for slaloming through changes with uncanny harmonic precision. His phrasing was filled with surprise and restless energy, marked by bursts of offbeat accents. Rather than fitting his statements neatly into the bar lines of the song structure, he began skating across them, drawing more attention to his own improvised statements, pushing further and further from familiar melodies and themes. “

While the early ’40s were overshadowed by a nationwide recording ban (led by the American Federation of Musicians due to a disagreement over royalty payments) , Bird and his compatriots used this time to develop bop during late-night jam sessions and after-hour shows. Often, they re-imagined their favorite standards, working within the harmonic structure of the original tune, but replacing their themes with faster-paced melodies. As Kahn explains, “These new creations came to be called ‘contrafacts,’ a classical music term borrowed to describe one of the ways of inventing original repertoire for this new mode of improvisation.”

In 1945, a year after the ban was lifted, this exciting new sound began to emerge on record. One of the most famous sessions from this time was led by Bird for Savoy Records and featured bop’s other foundational figures, including trumpet players Dizzy Gillespie and Miles Davis, drummer Max Roach and bassist Curley Russell. Famously touted as “The Greatest Jazz Session Ever,” subsequent releases from the November 1945 session included the Parker originals “Billie’s Bounce,” “Now’s the Time” and “Ko-Ko,” which Kahn writes is “the tune most often credited as the true birth-cry of bebop.” Other highlights from the Savoy era include “Donna Lee,” “Parker’s Mood” and “Cheryl,” all of which are collected in Ornithology.

In order to paint a full picture of Bird’s genius, the compilation also features several of his live performances. These concerts, Kahn argues, “Further cemented his reputation as the standard-bearer of this new wave.” Multiple selections were recorded at New York’s Royal Roost club between December 1948 and May 1949 with an array of legendary players, including Miles Davis, Kenny Dorham and Dizzy Gillespie (trumpet), Max Roach (drums), Charles Mingus (bass), Milt Jackson (vibraphone) and Bud Powell (piano). Also featured is a fiery 1947 performance of “Confirmation” at Carnegie Hall, as well as a historic, all-star performance of “Salt Peanuts,” captured at Toronto’s Massey Hall in 1953, with Gillespie, Powell, Mingus and Roach.

“Among the most significant of [Bird’s] innovations,” Kahn writes, “was perhaps figuring out how to be truly individual and move the music forward without forfeiting the beauty of what came before. The trouble was that he accomplished it so well and so damn fast, there was little time to leave behind the breadcrumbs.” Indeed, Parker blazed a path that would change the course of modern music—reverberating long after his premature death at 34. Today, his pioneering spirit can be traced through generations of artists who followed in his footsteps.

These recordings, meanwhile, are just as vital as they were nearly eight decades ago. “This is music that demands our continued attention and focus,” argues Kahn. “The challenge today is to figure out how to make our contemporary ears know how intense and challenging Bird’s music was in its day. How to feel how scary it once was. How it bent the ears of an entire generation in the 1940s, then held on, not letting go—and how the world changed.”

Click here to pre-order Ornithology: The Best of Bird

Track Listing (Vinyl):

Side A

1.  Ko-Ko

2.  Now's The Time

3.  Cheryl

4.  Parker’s Mood

5.  Billie’s Bounce

6.  Donna Lee

7.  Confirmation (Live at Carnegie Hall)

Side B

1.  Ornithology (Live at the Royal Roost)

2.  Groovin’ High (Live at the Royal Roost)

3.  Anthropology (Live at the Royal Roost)

4.  Salt Peanuts (Live at Massey Hall)

Track Listing (CD/Digital):

1.      Ko-Ko

2.      Now’s The Time

3.      Cheryl

4.      Parker’s Mood

5.      Billie’s Bounce

6.      Donna Lee

7.      Confirmation (Live at Carnegie Hall)

8.      Ornithology (Live at the Royal Roost)

9.      Groovin’ High (Live at the Royal Roost)

10.  Anthropology (Live at the Royal Roost)

11.  Salt Peanuts (Live at Massey Hall)

Craft Recordings celebrates a pivotal year for Miles Davis with Miles ’54: The Prestige Recordings—a new, 20-track compilation, collecting genre-defining recordings from the music icon’s 1954 output, including music from classic albums Miles Davis with Sonny Rollins, Miles Davis Quintet, Miles Davis All Star Sextet, and Miles Davis Quartet (all originally issued via Prestige Records). Featuring an all-star cast of musicians, including Sonny Rollins, Thelonious Monk, Milt Jackson, Kenny Clarke, Art Blakey, and Horace Silver, Miles ’54 blends originals by the influential jazz icon, with popular ballads and compositions by his legendary sidemen.

Arriving November 22, 2024, Miles ’54 will be available in an array of formats, including 180-gram 4-LP, 2-CD, and hi-res digital. All audio has been newly remastered by GRAMMY® Award-winning engineer, Paul Blakemore, with lacquers cut by Kevin Gray at Cohearent Audio. Physical editions offer a brand-new essay by GRAMMY®-winning music historian Ashley Kahn (author of Kind of Blue: The Making of the Miles Davis Masterpiece, among others) as well as in-depth session notes by GRAMMY-winning writer, Dan Morgenstern. The complete collection is available for pre-order here, while the track “Oleo” can be streamed today.

1954 was a watershed year for Miles Davis. Ten years into his celebrated career, the trumpeter, composer, and bandleader was on the precipice of international fame and more focused than ever. Throughout the year, Davis entered Rudy Van Gelder’s studio for five landmark sessions—each of which would find him honing his sound, maturing as a leader, and collaborating with the era’s brightest rising stars. The resulting recordings would catapult Davis’ career to the next level and set the tone for the mid-late ’50s post-bop scene.

The release of Miles ’54 not only coincides with the 70th anniversary of these recordings but also the 75th anniversary of Prestige Records, the venerable independent jazz label founded by producer Bob Weinstock. Launched in 1949, Prestige found itself at the forefront of the genre: ushering in the cutting-edge sounds of bop, hard bop, soul jazz, and beyond, while developing the careers of such iconic artists as John Coltrane, Thelonious Monk, Stan Getz, Sonny Rollins, and, of course, Miles Davis.

In 1954, after ten long years of building a name for himself, Miles Davis “...transformed himself from a member of a tight brotherhood of players into a leader with an immediately recognizable sound that the world came to know and want,” writes Ashley Kahn. Indeed, just a decade earlier, a fresh-faced, 18-year-old Davis had arrived in New York City from St. Louis to study at the prestigious Juilliard School of Music. What followed was the development of one of modern music’s most important figures, thanks to sideman duties with the likes of Charlie Parker, Dizzy Gillespie, and Coleman Hawkins, non-stop gigging, and the assembly of his first band—a nonet—whose recordings would eventually be released as The Birth of Cool (1957).

In 1954, after returning home to the Midwest to address his struggles with substance abuse, Davis returned to New York with a newfound sense of well-being and focus. His timing couldn’t have been better. “As post-bebop jazz grew and developed during this period, so did its impact. It became part of an intensely creative, spontaneous period in American culture, the soundtrack to the zeitgeist of the ’50s, inspiring visual artists and writers alike,” notes Kahn. “Jazz was being embraced differently: as a sophisticated art music, more cutting-edge than mainstream.”

The year found Davis headlining major New York venues, including Birdland and Basin Street, while he frequently shared top-billing with stars like Gillespie, Dinah Washington, and Chet Baker. After re-signing with Prestige Records (following his first contract in 1951), Davis was also making multiple trips to Rudy Van Gelder’s storied Hackensack, NJ studio. It was there, over the course of 1954, that he would record five landmark sessions.

These dates, in which Davis collaborated with a collective of uber-talented sidemen (a precursor to his First Great Quintet), also found him maturing as an artist. “Miles’ performances on his 1954 quartet and quintet sessions for Prestige reveal…a heightened level of confidence in his bandleading and in his playing, with a more expansive feel for color, timbre and even atmosphere in his palette,” explains Kahn.

The first of these recordings took place on March 15th, during which Davis—accompanied by Percy Heath (bass), Art Blakey (drums), and Horace Silver (piano)—performed pop standards like “Old Devil Moon” as well as such originals as the lighthearted “Four” and the bluesy “Blue Haze.” Weeks later, on April 3rd, Davis returned with Silver and Heath, plus drummer Kenny Clarke and alto saxophonist Dave Schildkraut to record his own “Solar,” plus such upbeat standards as “Love Me or Leave Me” and “I’ll Remember April.”

In his track notes, which originally appeared on 1988’s Chronicle: The Complete Prestige Recordings, 1951–1956, Dan Morgenstern points out, “This was no slapdash blowing date, but a session more cohesive than most organized groups could manage. And it is certainly worthy of notice that this was the first Miles Davis session (and quite possibly the very first Prestige session) recorded by…[definitive bebop engineer Rudy Van Gelder].” The date is also notable for Davis’ extensive use of the cup mute on his trumpet—a signature technique that he would employ for the remainder of his lengthy career.

The session that followed on April 29th, however, proved to be a historic moment in jazz, in which J. J. Johnson (trombone), Lucky Thompson (tenor sax), Silver, Heath, and Clarke performed two extended jams: Gillespie’s “Blue ’n’ Boogie” and the blues classic “Walkin’.” Quoting pianist Dick Katz, Morgenstern refers to this session as “An amazing seminar...a sort of summing up of much of what had happened musically to the players involved during the preceding ten years.” In his own words, Morgenstern calls the masterful rendition of “Walkin’” a “cornerstone of the hard bop movement.” Kahn, meanwhile, adds that the performance “...incorporated most of the elements that would define Miles’ later ’50s recordings.”

On June 29th, Davis was joined by tenor saxophonist Sonny Rollins for what Morgenstern refers to as “One of several encounters between Miles and Sonny Rollins, and in some ways the most satisfying.” The pair, joined by Silver, Heath, and Clarke, recorded three iconic Rollins compositions: “Oleo,” “Airegin,” and “Doxy,” as well as the Gershwin classic, “But Not for Me.”

The final session of the year, which took place on Christmas Eve, was certainly the most famous—featuring an awe-inspiring line-up of Thelonious Monk (piano) and Milt Jackson (vibraphone), alongside Heath, and Clarke (aptly released as Miles Davis All Stars, Vol. 1 and Vol. 2 the following year). With the addition of alternate takes, this complete session, Morgenstern writes, “can serve as a graduate seminar on the art of improvisation.” Featuring originals by Davis (“Swing Spring”), Jackson (the soon-to-be-standard, “Bags’ Groove”), and Monk (“Bemsha Swing”), the sounds that the trumpeter achieved on this date were near-perfection—a culmination of sorts of Davis’ work—not only accomplished over the year, but the previous decade. By the end of the year, Kahn adds, “Miles’ sound reached a level of maturity that captured mainstream ears. It was a connection that endured.”

Indeed, in the immediate months and years to follow, Davis’ profile grew substantially. In 1955, he ascended to new heights with the assembly of his First Great Quintet (featuring Red Garland, Paul Chambers, Philly Joe Jones, and John Coltrane)—a unit that became the dominant small jazz group of the late ’50s and helped define the hard-bop genre. In later decades, he would continue to push the limits of jazz music—shaping the sounds of post-bop and fusion, while experimenting with electronic elements, funk, rock, pop, and African rhythms well into the late ’80s. Today, 33 years after his death, Davis holds a mighty legacy as one of the most important figures of 20th-century music, with an influence that expands far behind the realm of jazz.

Click here to pre-order

Miles ’54 Tracklist (4-LP):

Side A

1.    Four

2.    Old Devil Moon

3.    Blue Haze

4.    Solar

Side B

1.    You Don't Know What Love Is

2.    Love Me Or Leave Me

3.    I'll Remember April

Side C

1.    Blue 'N' Boogie

2.    Walkin'

Side D

1.    Airegin

2.    Oleo

3.    But Not For Me (Take 1)

4.    But Not For Me (Take 2)

Side E

1.    Doxy

2.    Bags' Groove (Take 1)

Side F

1.    Bags' Groove (Take 2)

2.    Bemsha Swing

Side G

1.    Swing Spring

Side H

2.    The Man I Love (Take 1)

3.    The Man I Love (Take 2)

Miles ’54 Tracklist (2-CD/Digital):

Disc 1

1.    Four

2.    Old Devil Moon

3.    Blue Haze

4.    Solar

5.    You Don't Know What Love Is

6.    Love Me Or Leave Me

7.    I'll Remember April

8.    Blue 'N' Boogie  

9.    Walkin'    

10. Airegin    

11. Oleo

Disc 2

1.    But Not For Me (Take 1)

2.    But Not For Me (Take 2)

3.    Doxy

4.    Bags' Groove (Take 1)

5.    Bags' Groove (Take 2)

6.    Bemsha Swing

7.    Swing Spring

8.    The Man I Love (Take 1)

9.    The Man I Love (Take 2)

Craft Recordings is proud to announce a Deluxe Edition release of In Session, the legendary collaboration between blues icons Albert King and Stevie Ray Vaughan. This long sought-after live album will be available in its entirety for the first time ever on 3-LP, 2-CD and digital formats, including hi-res audio. Arriving October 18 and available for pre-order today, the set represents both a definitive moment in blues history and a real-time snapshot of two all-time guitar masters in reverence of each other on stage.

Recorded live for television at CHCH-TV studios in Ontario, Canada, in 1983, this historic performance—supported by a world-class band featuring Tony Llorens (piano/organ), Gus Thornton (bass) and Michael Llorens (drums)—is the only known recording of King and Vaughan playing together. The Deluxe reissue includes the debut audio release of three tracks from the show, “Born Under a Bad Sign,” “Texas Flood” and “I’m Gonna Move to the Outskirts of Town.” Fans can preview the expanded collection with “Born Under a Bad Sign (Live)” available to stream or download today.

When Vaughan and King hit the stage in Ontario on December 6, 1983, Stevie Ray Vaughan was a rising star, while Albert King was entering a new phase of his career as a mentor. The duo’s relationship began a decade earlier in Vaughan’s hometown of Austin, TX, where, according to Billboard, King was playing a show and was hesitant about a “skinny white kid” joining him onstage. Vaughan’s brother, Jimmy Vaughan, recalled the fateful event: “When Stevie was 19, we were at Antone’s and Albert King was playing. [Club owner Clifford Antone] says to Albert, ‘You’ve got to let this kid play, because he’s (amazing).’”

Continues Jimmy Vaughan, “Now Albert had heard it all, but he got Stevie up there, and Stevie commenced doing Albert King licks. There was silence at first. Everyone stood there with their mouths open. They couldn’t believe it. But Albert loved it. He put his arm around him, and from then on it was Albert and Stevie. Everybody went, ‘Whew, that was scary.’ I would never have tried that, but you’ve got to admire the audacity.”

This kicked off one of the most exciting relationships in music. The concert recording captures a striking musical dialogue between the two, with Vaughan introducing King’s classic licks and expanding them in his one-of-a-kind style. By 1983, Vaughan was on track to become as respected in the blues world as King. In the AllMusic review of the original album, Stephen Thomas Erlewine noted that Vaughan had “become the hot blues guitarist of the year thanks to his debut Texas Flood, as well as his work on David Bowie’s hit ‘Let’s Dance.’”

The Ontario performance has since become one of the most celebrated live shows in blues history. Erlewine continued, “Vaughan may have been the new news, but King was not suffering, either. He had a world-class supporting band and was playing as well as he ever had. In other words, the stage was set for a fiery, exciting concert and that’s exactly what they delivered.”

This heralded and exceedingly rare collection is a defining statement that celebrates the prowess of these two blues giants. On In Session, Albert King and Stevie Ray Vaughan not only redefined the art of improvisational blues but also set a new standard for live music.

Click here to pre-order or stream/download Albert King and Stevie Ray Vaughan’s In Session.

Tracklist (3-LP):

Side A:

1.      Introduction

2.      Born Under A Bad Sign

Side B:

1.      Texas Flood

Side C:

1.      Call It Stormy Monday

2.      Old Times

3.      Pride And Joy

4.      Ask Me No Questions

Side D:

1.      Pep Talk

2.      Blues At Sunrise

3.      Turn It Over

4.      Overall Junction

Side E:

1.      Match Box Blues

2.      Who Is Stevie?

3.      Don’t Lie To Me

Side F:

1.      I’m Gonna Move To The Outskirts Of Town

2.      Outro

Tracklist (2-CD):

Disc 1:

1.      Introduction

2.      Born Under A Bad Sign

3.      Texas Flood

4.      Call It Stormy Monday

5.      Old Times

6.      Pride And Joy

7.      Ask Me No Questions

8.      Pep Talk

9.      Blues At Sunrise

Disc 2:

1.      Turn It Over

2.      Overall Junction

3.      Match Box Blues

4.      Who Is Stevie?

5.      Don’t Lie To Me

6.      I’m Gonna Move To The Outskirts Of Town

7.      Outro

This holiday season, fans of Barenaked Ladies are in for a treat with the worldwide vinyl debut of the Canadian alt-pop icons’ bestselling album, Barenaked for the Holidays. First released in 2004, the 20-track album blends original tunes (“Christmas Pics,” “Hanukkah Blessings,” “Green Christmas”) and seasonal classics (“Rudolph the Red-Nosed Reindeer,” “I Have a Little Dreidel,” “Auld Lang Syne”), with a heavy dash of the band’s signature wit. Adding a twist of holiday magic are special guests Michael Bublé and Sarah McLachlan, who lend their vocals to “Elf’s Lament” and “God Rest Ye Merry Gentlemen”/“We Three Kings,” respectively.

Arriving October 18 via Craft Recordings, Barenaked for the Holidays will be available in a variety of festive colors, in addition to classic black vinyl, including Candy Cane Split (exclusively through the band’s official store), Translucent Forest Green (Barnes & Noble), and Christmas Tree (Craft Recordings). Click here to pre-order.

Long beloved for their quick wit and hook-filled blend of alt-rock, pop, and folk, Barenaked Ladies (aka BNL) became international sensations in the late ’90s, thanks to a slew of memorable hit singles. But the Scarborough, ON band had been fixtures in the Canadian music scene for nearly a decade by then. Formed in 1988, BNL gained notoriety three years later when their self-titled demo tape (featuring the fan favorite, “If I Had $1000000”) became the first independent release to be certified Gold in Canada. That success led to a record deal and a string of best-selling albums, including 1992’s Gordon and 1994’s Maybe You Should Drive.

It was 1998’s multi-platinum-selling Stunt, however, that catapulted BNL to the next level, thanks to such massive hits as “It’s All Been Done,” “Call and Answer,” and the US No.1, “One Week.” The band enjoyed their superstar status over the next few years—releasing their best-selling follow-up, 2000’s Maroon (featuring “Pinch Me”); performing at the 2002 Winter Olympics; securing songs on major TV shows and soundtracks; and touring the globe several times over. But by the mid-aughts, after the release of their sixth studio album, Everything to Everyone (2003), the band was eager to return to their indie roots—a move they made with 2004’s Barenaked for the Holidays. The album served as the launching pad for their independently owned label and ushered in a fresh chapter for BNL while serving as a jolly gift to their fans.

Offering something for everyone, BNL’s sole holiday release features 20 tracks that range from Christmas classics and Hanukkah favorites to original ditties about the joys of winter and beyond—many of which are made even jollier, thanks to BNL’s humorous spirit. Opening Barenaked for the Holidays is a measured rendition of “Jingle Bells.” Halfway through, BNL breaks into the parody version (“Jingle bells/Batman smells/Robin laid an egg…”), setting the tone for the album.

The group takes a more traditional approach to songs like “Hanukkah, Oh Hanukkah,” “Auld Lang Syne,” “I Have a Little Dreidel,” and Band Aid’s “Do They Know It’s Christmas?,” while an organ-based instrumental of “Carol of the Bells” (accented with harmonized hums from the band) is a refreshing take on the Yuletide classic. On the other end of the spectrum—in one of the album’s most hilarious moments—is “Deck the Stills,” in which BNL breaks into a 30-second acapella interlude, singing “Crosby, Stills, Nash, and Young” to the tune of “Deck the Halls.”

Nearly half of the album is comprised of original material, including the earwormy “Green Christmas” (which appears in the 1999 Ron Howard film How the Grinch Stole Christmas), “Hanukkah Blessings,” “Christmas Pics,” and the reflective “Footprints.” The whimsical “Elf’s Lament,” meanwhile, features a cameo by a then-relatively unknown Michael Bublé—fresh off his first JUNO® win for Breakthrough Artist of the Year. The band is also joined by the celebrated singer/songwriter Sarah McLaughlan, who lends her voice to an upbeat medley of “God Rest Ye Merry Gentlemen”/“We Three Kings.”

Peppered throughout Barenaked for the Holidays is a selection of synth-y instrumental interludes, built around beats programmed on a classic Casio keyboard. They include a bossa nova-infused rendition of “Rudolph the Red-Nosed Reindeer,” an up-tempo take on “O Holy Night,” and a cover of Paul McCartney’s “Wonderful Christmastime” (which ends with a hidden round of “Happy Birthday” to Jesus himself).

Released in October 2004, Barenaked for the Holidays was embraced by fans and critics alike, earning a gold record in Canada, where it landed in the Top 30, and receiving high marks from the likes of Rolling Stone, who gave the album 4.5 out of 5 stars, praising, “Tapping into their inner child, the Barenaked Ladies make the holidays fun again.” AllMusic hailed, “The arrangements are nimble and…clever,” calling it, “more interesting and distinctive than the average holiday record.” PopMatters simply declared it to be, “silly, rollicking, goofy, and fun.”

Speaking on the album, co-founder Ed Robertson says, “Barenaked for the Holidays is a record I’m very proud of. It was fun taking a stab at a few holiday classics, but I think the real strength of the record is the original songs. ‘Footprints’ and ‘Snowman’ are among my favorites I’ve ever written. It’s always fun to revisit these songs around the holidays every year. It’s the only original music that we ONLY play for one month every year!!”

20 years later, Barenaked Ladies—which features Robertson (vocals, guitar), Jim Creeggan (bass, vocals), Tyler Stewart (drums, vocals), and Kevin Hearn (keyboards, guitar, vocals)—continues to hold a unique place in the modern pop canon. Over the course of 35 years, the beloved quartet has sold over 15 million records worldwide and built up an arsenal of hits such as "If I Had $1,000,000," "One Week," "Pinch Me," and "The Big Bang Theory Theme." Widely acknowledged as one of the best live acts on the planet, BNL has hosted a cruise, had their own Ben & Jerry’s ice cream flavor, and participated in the first-ever “space-to-Earth musical collaboration” with astronaut Chris Hadfield. To date, BNL has amassed eight JUNO Awards, garnered two GRAMMY nominations and was inducted into the Canadian Music Hall of Fame. In September of 2023, the band released In Flight, their 18th studio album.

This fall, BNL are on an extensive tour in support of their latest album, In Flight. Fans can catch them across North America with shows through the fall. Scroll down to see a list of dates or visit the band’s website for tickets and more info.

Click here to pre-order Barenaked for the Holidays.

Track Listing (Vinyl):

Side A:

1.      Jingle Bells

2.      Green Christmas

3.      I Saw Three Ships

4.      Hanukkah Blessings

5.      O Holy Night

6.      Elf's Lament (with Michael Bublé)

7.      Snowman

8.      Do They Know It's Christmas?

Side B:

1.      Hanukkah, Oh Hanukkah

2.      God Rest Ye Merry Gentlemen / We Three Kings (with Sarah McLachlan)

3.      Rudolph The Red-Nosed Reindeer

4.      Carol Of The Bells

5.      Footprints

6.      Deck The Stills

7.      Christmastime (Oh Yeah)

8.      Sleigh Ride

9.      Christmas Pics

10.  I Have A Little Dreidel

11.  Wonderful Christmastime

12.  Auld Lang Syne

Barenaked Ladies North American Tour Dates:

September 1: Vancouver, Canada – Pacific Coliseum

September 16: Cedar Rapids, IA – McGrath Amphitheatre

September 17: Moorhead, MN – Bluestem Center for the Arts Amphitheater

September 18: Lincoln, NE – Pinewood Bowl Theater

September 20: Albuquerque, NM – Revel

September 21: Colorado Springs, CO – Ford Amphitheater

September 22: Vail, CO – Gerald R. Ford Amphitheater

September 24: Tulsa, OK – Tulsa Theater

September 25: Chesterfield, MO – The Factory at the District

September 27: Pittsburgh, PA – Rivers Casino Events Center

September 28: Charles Town, WV – Hollywood Casino Events Center

September 29: Ocean City, MD – Oceans Calling Festival

October 1: Brookville, NY – Tilles Center

October 2: Rochester, NY – Kodak Center

October 4: French Lick, IN – French Lick Resort

October 6: Umatilla, OR – Rock The Locks

October 17: Columbia, SC – Township Auditorium

October 18: Asheville, NC – Thomas Wolfe Auditorium

October 19: Augusta, GA –Bell Auditorium

October 21: Pompano Beach, FL – Pompano Beach Amphitheater

October 22: Fort Myers, FL – Barbara B. Mann Performing Arts Hall

October 23: Clearwater, FL – The BayCare Sound

October 25: Macon, GA – Macon City Auditorium

October 26: Biloxi, MS – Beau Rivage Resort & Casino

October 27: Nashville, TN – Ryman Auditorium

October 29: Ames, IA – Stephens Auditorium

October 30: Rochester, MN – Mayo Civic Center Auditorium

November 1: Peoria, IL – Peoria Civic Center Theater

November 2: Salina, KS – Stiefel Theatre

November 3: Sioux Falls, SD – Washington Pavilion

November 6: Duluth, MN – DECC Symphony Hall

November 7: Madison, WI – Overture Center for the Arts

November 8: Mount Pleasant, MI – Soaring Eagle Casino & Resort

Stax Records and Craft Recordings announce Johnnie Taylor, One Step From the Blues, a new collection featuring a dozen heart-breaking songs of passion and betrayal from the gospel-soul-R&B singer. Available for pre-order today and arriving October 25th on LP, CD, and digital formats, the album includes selections from “the soul philosopher’s” prolific Stax Records period, such as the woozy, souled-up “Steal Away,” the cheeky, beat commentary “Cheaper to Keep Her,” the sweeping ballad “Stop Doggin’ Me,” and the Isaac Hayes/David Porter-penned hit “I Had a Dream.” In addition to the standard black vinyl release, fans can order a limited-edition Blue vinyl pressing exclusively at Barnes & Noble. Pre-save the digital album and listen to the all-new remaster for “Steal Away” today.

One Step From the Blues captures the bluesier side of Taylor’s output, for which he would go on to be nominated for a trio of GRAMMY®­s, receive a Pioneer Award from the Rhythm and Blues Foundation, and get inducted into both the National Rhythm & Blues Hall of Fame and the Blues Hall of Fame. He is revered to this day as an icon for his groundbreaking work at Stax Records, which dubbed him The Philosopher of Soul. “When he stepped up to the microphone, he gave it his all,” Texas Monthly once marveled, “and at his best, there was no one better.”

Taylor honed his craft in West Memphis, Arkansas, where he grew up crooning in gospel groups. He ultimately joined the Soul Stirrers in 1957, in which he replaced Sam Cooke who left for a solo career. Cooke would sign Taylor to his label, SAR, four years later. After Cooke’s devastating death, Taylor signed to Stax Records, where his secular career would truly take off. The lovesick lament “I Had a Dream” in 1966 was his debut single there, from first album Wanted: One Soul Singer. The song transcends. Memphis’s own Robert Gordon wrote for Vinyl, Me Please, “Deep with the intensity of gutbucket blues, but also elegant: The backing is spare and precise, a black velvet cloth that shows off his bejeweled voice.”

The singer would kick off what can best be described as his golden era. He was also Stax’s saving grace, with the label losing Otis Redding — their marquee act at the time — in a 1967 plane crash. That torch would pass to Taylor who went on to shepherd several hits for the label, among them his funky-brassy breakthrough single in 1968, “Who’s Making Love” and later, the from-the-gut soul of “Steal Away” (1970), the smooth seduction of “Stop Doggin’ Me” (1972), and the clever pitter-pattering “Cheaper to Keep Her,” a 1973 single penned by Mack Rice — the genius behind the Staples Sisters’ “Respect Yourself.”

One year after Stax closed in 1975, Taylor would go on to score another major hit on his album Eargasm with the soul-funked “Disco Lady,” which in addition to hitting No.1 on Billboard’s Hot 100, also became the first single ever to be certified platinum by the RIAA. He’d continue releasing music through 1999, when he dropped his last single, the prescient “Soul Heaven.” The song imagined an all-star concert in the afterlife featuring legendary talent of yore, name-checking everyone from Dizzy Gillespie to Biggie Smalls. Soon after, Taylor passed away at age 66 after suffering a heart attack.

Click here to pre-save/pre-order Johnnie Taylor’s One Step From the Blues.

Tracklists:

LP

Side A:

1.      Steal Away

2.      I Had a Dream

3.      I’d Rather Drink Muddy Water

4.      Part Time Love

5.      Cheaper to Keep Her

6.      Separation Line

Side B:

1.      Doing My Own Thing, Pt. 1

2.      Somebody’s Sleeping in My Bed

3.      That's Where It’s At

4.      Stop Doggin’ Me

5.      Save Your Love for Me

6.      Woman Across the River

CD/Digital

1.      Steal Away

2.      I Had a Dream

3.      I’d Rather Drink Muddy Water

4.      Part Time Love

5.      Cheaper to Keep Her

6.      Separation Line

7.      Doing My Own Thing, Pt. 1

8.      Somebody’s Sleeping in My Bed

9.      That's Where It’s At

10.  Stop Doggin’ Me

11.  Save Your Love for Me

Craft Recordings is proud to announce the wide vinyl debut of The Best of Ronnie Milsap from six-time GRAMMY®-winning artist, Ronnie Milsap. The 12-track collection features such favorites as “I Wouldn’t Have Missed It for the World,” “(There’s) No Gettin’ Over Me,” and “Smoky Mountain Rain”—and spotlights Milsap’s accomplishments as a crossover star in the ’70s and ’80s with singles that not only topped Billboard’s Country Chart but also found success on the Hot 100 and Adult Contemporary charts, among others. Arriving November 1st, The Best of Ronnie Milsap can be found on classic black vinyl as well as a limited-edition “Tan Smoke” pressing, available exclusively to Milsap’s Spotify followers through Fans First. Click here to pre-order.

Long before country music was heard regularly on pop radio, Ronnie Milsap (b. 1943) was among the first artists in his genre to find repeated crossover success on the mainstream airwaves with hit after hit throughout the ’70s and ’80s. But this wasn’t the path he initially set out on. A native of North Carolina, the singer and pianist began his career in R&B, scoring his first hit—a cover of Ashford & Simpson’s “Never Had It So Good”—in 1965. Relocating to Memphis, Milsap established himself in the city’s rich music scene, working as a session player (appearing, most famously, on Elvis Presley’s “Kentucky Rain” and “Don’t Cry Daddy”), performing regularly on the club circuit, and releasing his self-titled debut in 1971.

But a chance encounter with country icon Charley Pride would forever alter the direction of Milsap’s career. Blown away by the artist’s talents at a Los Angeles concert, Pride urged Milsap to relocate to Nashville and try his hand at country music. Pride’s instincts proved correct, as Milsap’s entrée into the genre, 1973’s “I Hate You,” was a Top Ten hit on Billboard’s Country chart. One year later, he scored his first pair of No.1s with “Pure Love” and “Please Don’t Tell Me How The Story Ends”—the latter of which earned the artist his first GRAMMY Award.

Milsap’s profile skyrocketed in the latter half of the decade, as he released seven consecutive No.1 hits on the Country chart between 1976 and 1978. Among them was the Hal David/Archie Jordan-penned “It Was Almost Like a Song,” which also served as the title track of Milsap’s CMA-winning 1977 album. A signature hit for the artist, “It Was Almost Like a Song” launched his crossover success—not only topping the Hot Country Singles chart but also breaking the Adult Contemporary Top 10 and the Billboard Hot 100’s Top 20. Months later, Milsap followed with another Archie Jordan composition, “What a Difference You’ve Made in My Life.” Originally recorded by Amy Grant, the song became Milsap’s ninth No.1 on the US Country charts and his sixth chart-topper on the Canadian Country charts.

That momentum continued in the new decade, as Milsap dominated the Country charts with an astonishing ten consecutive No.1 hits between 1980 and 1982. Most notable was the Kyle Fleming/Dennis Morgan-penned “Smoky Mountain Rain.” Released in the fall of 1980, the song became Milsap’s first No.1 single on Billboard’s Adult Contemporary chart. Today, it endures as another signature hit in the artist’s canon, as well as a beloved country staple. In 2010, it was adopted by Tennessee as one of its official state songs, while on his 2019 album, The Duets, Milsap reimagined the tune alongside fellow country icon, Dolly Parton. Earlier this year, the ballad ranked among Rolling Stone’s 200 Greatest Country Songs of All Time.

Other highlights from this prolific era include the chart-toppers “(There’s) No Gettin’ Over Me” (also a Top 5 hit on the Hot 100 and the title track of Milsap’s first No.1 country album), “I Wouldn’t Have Missed It for the World,” “He Got You,” and a cover of the Burt Bacharach/Bob Hilliard classic, “Any Day Now,” which also landed atop the Canadian Country chart, as well as the Adult Contemporary charts in the US and Canada.

Milsap’s 1983 album, Keyed Up, spawned the Top 30 pop hit “Stranger in My House,” as well as the singer’s 25th Country chart-topper, “Show Her.” The unstoppable artist’s streak continued in 1985 with his No.1 album, Lost in the Fifties Tonight, which featured the GRAMMY-winning track “Lost in the Fifties Tonight (In the Still of the Night), later named the best-selling country song of 1985. Milsap rounded out the decade with 1989’s “A Woman In Love,” which marked his 35th hit atop the Country chart.

Today, at 81 years old, Ronnie Milsap remains a celebrated figure in his genre with a total of 30 studio albums, 79 singles, and an incredible 35 No.1 Country hits—a record that leaves him just behind three foundational legends: George Strait, Conway Twitty, and Merle Haggard. Among other achievements, Milsap has sold over 35 million albums and has earned six GRAMMY Awards, eight CMAs, and four ACMs—including the prestigious Pioneer Award. A member of the Grand Ole Opry since 1976, Milsap was inducted into the Country Hall of Fame in 2014.

In 2019, The Duets paired the singer with old friends (Dolly Parton, Willie Nelson, and Billy Gibbons, among them) plus a new generation of admirers, including Kacey Musgraves, Luke Bryan, and Little Big Town—as they revisited Milsap’s most iconic hits. In 2021, meanwhile, Milsap released his latest album, A Better Word for Love. While Milsap officially retired from the road in 2023—ending his run with a final, star-studded performance in Nashville—he continues to maintain an active role in the studio.

Click here to pre-order.

Tracklist:

Side A

1.      Smoky Mountain Rain

2.      I Wouldn’t Have Missed It For The World

3.      (There’s) No Gettin’ Over Me

4.      Stranger In My House

5.      Any Day Now

6.      Lost In the Fifties Tonight (In The Still Of The Night)

Side B

1.      It Was Almost Like A Song

2.      Don’t You Know How Much I Love You

3.      A Woman In Love

4.      He Got You

5.      What a Difference You’ve Made In My Life

6.      Show Her

About Craft Recordings:

Craft Recordings is home to one of the largest and most essential collections of master recordings and compositions in the world. Its storied repertoire includes landmark releases from icons such as Joan Baez, John Coltrane, Creedence Clearwater Revival, Celia Cruz, Miles Davis, Isaac Hayes, John Lee Hooker, Little Richard, R.E.M., Joan Sebastian, and Traveling Wilburys. Plus, the catalog recordings of celebrated contemporary acts including A Day to Remember, Evanescence, Alison Krauss, Nine Inch Nails, Taking Back Sunday, and Violent Femmes, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Fania, Fantasy, Fearless, HITCO, Musart, Nitro, Panart, Prestige, Riverside, Rounder, Specialty, Stax, Vanguard, Varèse Sarabande, Vee-Jay and Victory, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation— ensuring that these recordings endure for new generations to discover. Craft is also home to the Billie Holiday and Tammy Wynette estates which preserve and protect their respective names, likeness, and music through day-to-day legacy management of these cultural trailblazers.

Craft Recordings is the catalog label team for Concord. For more information, visit CraftRecordings.com

To coincide with National Voter Registration Day, Constitution Day, and Citizenship Day, R.E.M. has today released We Are Hope Despite The Times, a digital compilation of songs aimed at encouraging their listeners to stay informed, engaged, and vote during this critical election season. The playlist brings together tracks from the band’s catalog that resonate with themes of activism and social responsibility. Fans can listen on their preferred music platform here.

The compilation title, We Are Hope Despite The Times, is drawn from the lyric, “We are young despite the years / We are concern, we are hope despite the times” from the band’s song “These Days” (from R.E.M.’s 1986 studio album, Lifes Rich Pageant). The collection features 18 politically provoking songs including “Welcome to the Occupation,” “Swan Swan H,” “Fall on Me,” “World Leader Pretend,” and “Its the End of the World As We Know It (And I Feel Fine).

Throughout their career, R.E.M. has been a vocal advocate for civic engagement, using their platform to promote voter participation and social responsibility. In the early 1990s, they were one of the first bands to partner with Rock the Vote, playing a significant role in increasing youth voter turnout for the 1992 presidential election. Beyond Rock the Vote, R.E.M. has supported voter rights and democracy globally, performing at benefit concerts like the Vote for Change Tour and addressing political causes through their music, from war and environmental justice to human rights. Their commitment to these issues was also evident at the 1991 MTV VMAs, when the band used their acceptance speech for Best Video (“Losing My Religion”) to draw attention to causes like gun control, choice rights, voting rights, and alternative energy sources—issues that remain relevant today.

With We Are Hope Despite The Times, the band continues to encourage participation in the democratic process, urging fans to register to vote, make their voices heard, and play an active role in shaping the future. Fans can get more information on deadlines, register to vote, or update their registration by visiting vote.gov or headcount.org.

Click here to stream/download We Are Hope Despite The Times.

Tracklist:

    Turn You Inside-Out
    Pop Song ’89
    These Days
    I Believe
    Fall on Me
    Welcome to the Occupation
    World Leader Pretend
    Drive
    Begin The Begin
    Finest Worksong
    Exhuming McCarthy
    Just a Touch
    Cuyahoga
    Disturbance At The Heron House
    Swan Swan H
    Ignoreland
    Stand
    Its the End of the World As We Know It (And I Feel Fine)

About Craft Recordings:

Craft Recordings is home to one of the largest and most essential collections of master recordings and compositions in the world. Its storied repertoire includes landmark releases from icons such as Joan Baez, John Coltrane, Creedence Clearwater Revival, Celia Cruz, Miles Davis, Isaac Hayes, John Lee Hooker, Little Richard, R.E.M., Joan Sebastian, and Traveling Wilburys. Plus, the catalog recordings of celebrated contemporary acts including A Day to Remember, Evanescence, Alison Krauss, Nine Inch Nails, Taking Back Sunday, and Violent Femmes, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Fania, Fantasy, Fearless, HITCO, Musart, Nitro, Panart, Prestige, Riverside, Rounder, Specialty, Stax, Vanguard, Varèse Sarabande, Vee-Jay and Victory, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation— ensuring that these recordings endure for new generations to discover. Craft is also home to the Billie Holiday and Tammy Wynette estates which preserve and protect their respective names, likeness, and music through day-to-day legacy management of these cultural trailblazers.

Craft Recordings is the catalog label team for Concord. For more information, visit CraftRecordings.com

Craft Recordings and Bluesville Records proudly announce two essential blues titles from a pair of the genre’s most influential artists: Jimmy Reed’s genre-defining 1958 debut LP, I’m Jimmy Reed, and Reverend Gary Davis’ 1960 masterpiece, Harlem Street Singer. Arriving November 15th, both albums will be issued on vinyl in partnership with audiophile leader Acoustic Sounds and feature all-analog mastering by GRAMMY®-nominated engineer Matthew Lutthans (the Mastering Lab). Both LPs are pressed on 180-gram vinyl at Quality Record Pressings (QRP) with faithfully reproduced tip-on jackets. Rounding out the package are OBIs that offer insightful reflections by GRAMMY®-winning producer, writer, musician and record executive Scott Billington. Additionally, both albums will be reissued on CD, while the stunningly remastered hi-res audio is available today.

Launched in February, Bluesville Recordings celebrates America’s bedrock music genre, as well as the trailblazing musicians that contributed to its rich traditions, through handpicked titles—all culled from the catalogs of such legendary labels as Stax, Prestige, Vee-Jay, Vanguard, Rounder and Riverside. Since its inception, the imprint has garnered high marks from the press, including such esteemed outlets as Record Collector, Glide Magazine and No Depression—the latter of which praised that the releases “sound fabulous. . . . The blues revival is real and we are extremely fortunate to have these cornerstones available again.” Speaking to a recent reissue of Skip James’ Today!, Tracking Angle raved, “This record lives and breathes almost sixty years after it was put to tape . . . I have multiple copies . . . and this Bluesville reissue is by far the best sounding. It puts you in the room with the artist.”

Tracking Angle also enjoyed a pressing of the John Lee Hooker classic Burnin’ Hell, hailing the LP as “a terrific sounding stereo edition that puts Hooker on stage in your room . . . [it] demonstrates the great care that’s going into this Bluesville project.” While Positive Feedback marveled, “This all-acoustic album has a level of quiet that’s remarkable for tapes of this age! The pressing from QRP is immaculate.” They added that the hi-res digital release is “astonishingly good . . . definitely on par with what I heard from the excellent 180-gram LP over the all-analog system.”

In addition to its ongoing schedule of reissues, Bluesville seeks to honor these foundational artists—and their immeasurable impact on modern music—through a variety of initiatives, including curated playlists, in-depth editorial content, dedicated social media channels and much more. For more information, visit bluesvillerecords.com and read about the latest releases below:

Jimmy Reed – I’m Jimmy Reed (1958)

Singer, songwriter, guitarist and harmonica player Jimmy Reed (1925–1976) was one of the most revered bluesmen of the 20th century. His electrified songs not only inspired a generation of artists but also were covered by such legends as Elvis Presley, the Animals, Tina Turner, the Yardbirds and the Rolling Stones, just to name a few. Born in Mississippi, Reed relocated to the Midwest, where he honed his talents through busking and, by the early ’50s, had established himself as a vital player in the scene, signing to Chicago’s Vee-Jay Records. Over the next decade, Reed (who often wrote with his wife, Mary) released a steady stream of hits.

His debut full-length, 1958’s I’m Jimmy Reed, culled 12 of these best-loved singles—all released between 1953 and 1958—including “Honest I Do” (No.4 on the R&B chart and No.32 on the Pop chart) and “Ain’t That Lovin’ You Baby,” which peaked in the R&B Top 10 and quickly became a standard, covered by blues artists, pop singers and rockers alike. Other highlights include Top 5 R&B hits like “You Got Me Dizzy” and “You Don’t Have to Go,” as well as such popular B-sides as “Boogie in the Dark.”

Joining Reed on these recordings is an array of talented players, including drummer Earl Phillips and celebrated blues guitarist Eddie Taylor. Several soon-to-be legends also appear on the album—John Brim (on one of Reed’s earliest recordings, “Roll & Rhumba”) and Albert King, as well as drummer Vernel Fournier. Hailed by Record Collector as “arguably the first great blues album,” I’m Jimmy Reed became a must-have for every self-respecting blues fan—not to mention countless aspiring rock-and-rollers. Reed, who continued to enjoy a prolific career into the ’60s, was later honored with posthumous inductions into the Blues Hall of Fame® and the Rock and Roll Hall of Fame®.

Speaking to the album, Scott Billington remarked, “Jimmy Reed’s music is deceptively simple—his laconic vocals and squeaky high harmonica solos give the impression of a back porch musician. However, his songs are among the most enduring (and at times most poetic) in the blues. . . . His first album, I’m Jimmy Reed, is his best, beautifully recorded at Bill Putnam’s Universal Recording in Chicago (to this record producer’s ears, the snare drum sound on ‘Honest I Do’ is impossibly perfect). I’ve spent decades coming back to this album every so often, and I get something new each time.”

Click here to pre-order I’m Jimmy Reed and view a tracklist below.

Reverend (“Blind”) Gary Davis – Harlem Street Singer (1968)

Admired for his rousing vocals and masterful fingerpicking technique on the guitar and banjo, Reverend Gary Davis (1896–1972) captivated audiences around the world with his genre-defying songs. Born in South Carolina, Davis (also known as “Blind” Gary Davis) was a self-taught musician and ordained minister, who blended influences of ragtime, gospel, blues and folk into his songs. After launching his lengthy career in North Carolina, where he became a key figure in the Piedmont blues scene, Davis relocated to New York, where he split his time between preaching, busking and recording. It was the ’60s folk revival, however, that made Davis an international star, as he performed for—and inspired—many of the era’s rising artists. His long list of acolytes includes the Grateful Dead, Dave Van Ronk, Bob Dylan, Jefferson Airplane and Ry Cooder, among countless others.

1960’s Harlem Street Singer was released just as Davis’ profile was skyrocketing, one year after his awe-inspiring performance at the inaugural Newport Folk Festival. Recorded by the great Rudy Van Gelder in one three-hour session, the album features 12 deeply expressive spirituals (all but two of which are originals by Davis), including a pair of the artist’s most famous tracks: “Samson and Delilah” (a re-working of the traditional “If I Had My Way,” which Peter, Paul, and Mary and the Grateful Dead famously covered in his style) and “Death Don’t Have No Mercy” (soon to become an oft-covered anti-war anthem). Other highlights from Davis’ impassioned solo performance include the traditional “Twelve Gates to the City,” as well as his own “Goin’ to Sit Down on the Banks of the River” and “I Am the Light of this World.” Long considered to be Davis’ masterpiece, Harlem Street Singer remains an essential title of the folk era.

“The impressions that can nearly seize you when you first hear the music of the Reverend Gary Davis are its intensity and conviction, as if every fiber of his being was focused on getting his message out. You can’t turn away,” says Scott Billington. “Perhaps this was because he often performed on the street, but he was also a deeply spiritual man and an ordained minister who had something to say. His virtuosity, especially as a 12-string guitarist, can be jaw-dropping.”

Click here to pre-order Harlem Street Singer and view a tracklist below.

Jimmy Reed – I’m Jimmy Reed Tracklist (Vinyl):

Side A:

1.      Honest I Do

2.      Go On To School

3.      My First Plea

4.      Boogie In The Dark

5.      You Got Me Crying

6.      Ain’t That Lovin’ You Baby

Side B:

1.      You Got Me Dizzy

2.      Little Rain

3.      Can’t Stand To See You Go

4.      Roll & Rhumba

5.      You’re Something Else

6.      You Don’t Have To Go

Jimmy Reed – I’m Jimmy Reed Tracklist (Hi-Res Digital):

1.      Honest I Do

2.      Go On To School

3.      My First Plea

4.      Boogie In The Dark

5.      You Got Me Crying

6.      Ain’t That Lovin’ You Baby

7.      You Got Me Dizzy

8.      Little Rain

9.      Can’t Stand To See You Go

10.   Roll & Rhumba

11.   You’re Something Else

12.   You Don’t Have To Go

Reverend Gary Davis – Harlem Street Singer Tracklist (Vinyl):

Side A:

1.      Samson And Delilah

2.      Let Us Get Together Right Down Here

3.      I Belong To The Band

4.      Pure Religion

5.      Great Chance Since I Been Born

6.      Death Don’t Have No Mercy

Side B:

1.      Twelve Gates To The City

2.      Goin’ To Sit Down On The Banks Of The River

3.      Tryin’ To Get Home

4.      Lo, I Be With You Always

5.      I Am The Light Of This World

6.      Lord, I Feel Just Like Goin’ On

Reverend Gary Davis – Harlem Street Singer Tracklist (Hi-Res Digital):

1.      Samson And Delilah

2.      Let Us Get Together Right Down Here

3.      I Belong To The Band

4.      Pure Religion

5.      Great Chance Since I Been Born

6.      Death Don't Have No Mercy

7.      Twelve Gates To The City

8.      Goin’ To Sit Down On The Banks Of The River

9.      Tryin’ To Get Home

10.   Lo, I Be With You Always

11.   I Am The Light Of This World

12.   Lord, I Feel Just Like Goin’ On

On the heels of the recent digital compilation We Are Hope Despite the Times, R.E.M. has today released a timely lyric video for “I Believe.” The track captures the band’s optimistic and introspective spirit, with lyrics that explore themes of personal conviction, resilience and the search for truth.

The video, created by longtime famed R.E.M. art director and fellow Athens native Chris Billheimer, draws inspiration from the handmade designs Michael Stipe used to create for himself during the Fables of the Reconstruction tour, as well as the politically themed T-shirts he wore during 1991 MTV VMAs, where the band used their acceptance speech for Best Video (“Losing My Religion”) to draw attention to causes like gun control, reproductive rights, voting rights and alternative energy sources—issues that remain relevant today.

Emphasizes R.E.M.’s Michael Stipe, “I believe the choices in this election could not be more stark or more important. Please vote and encourage everyone you know to do the same—that is how we win in 2024 and I believe we can do it!!!”

About We Are Hope Despite the Times:

On September 17, R.E.M. released We Are Hope Despite the Times, a digital compilation of songs aimed at encouraging their listeners to stay informed and engaged and to vote during this critical election season. The collection features 18 politically provoking songs, including “Welcome to the Occupation,” “Swan Swan H,” “Fall on Me,” “World Leader Pretend” and “It’s the End of the World As We Know It (And I Feel Fine).”

Throughout their career, R.E.M. has been a vocal advocate for civic engagement, using their platform to promote voter participation and social responsibility. In the early 1990s, they were one of the first bands to partner with Rock the Vote, playing a significant role in increasing youth voter turnout for the 1992 presidential election. Beyond Rock the Vote, R.E.M. has supported voter rights and democracy globally, performing at benefit concerts like the Vote for Change Tour and addressing political causes, from war and environmental justice to human rights, through their music.

With We Are Hope Despite the Times, the band continues to encourage participation in the democratic process, urging fans to register to vote, make their voices heard and play an active role in shaping the future.

Click here to watch “I Believe” and stream/download We Are Hope Despite the Times.

Craft Recordings is proud to unveil the next installment in its acclaimed Small Batch series—a meticulously crafted reissue of the Bill Evans Trio’s final studio LP, Explorations. Arriving December 13, Explorations marks the seventh installment in the series, which has previously spotlighted jazz luminaries such as John Coltrane, Miles Davis, and Thelonious Monk. Strictly limited to 2,500 pressings worldwide and available to pre-order today, this release can be found exclusively at CraftRecordings.com or AcousticSounds.com.

As with all titles in the series, Explorations features lacquers cut from the original tapes (AAA) by Bernie Grundman and is pressed on 180-gram vinyl at RTI using Neotech’s VR900-D2 “super vinyl” compound. Using a one-step lacquer process (as opposed to the standard three-step process), this exacting technique allows for the utmost level of musical detail, clarity, and dynamics, while reducing surface noise on the record to ensure that each pressing is a true representation of the original lacquer and as close as the listener can get to the original recording. Completing the Explorations package are new liner notes by Syd Schwartz, a longtime writer, music marketing executive, and author of the popular Jazz and Coffee Substack (@jazzandcoffee on Instagram).

Praised by esteemed outlets such as Mojo (“superb clarity”), Clash (“breathtakingly majestic”), Goldmine (“sonically immaculate”), Analog Planet (“sounds better than ever”), and Tracking Angle (“excellent”), the Small Batch series features handpicked titles from Craft’s unparalleled catalog. Each pressing is presented in a foil-stamped, linen-wrapped, individually numbered slipcase. The vinyl disc—extractable through a unique, frictionless ribbon pull tab—is housed in a reproduction of the album’s original tip-on jacket from Riverside Records and protected by an archival-quality inner sleeve. Discover more today at CraftRecordings.com/SmallBatch.

One of the most influential artists in the history of jazz, Bill Evans (1929–1980) was known for his lyrical compositions, matchless approach to the piano, and, most importantly, his conversational trio interplay—a technique he developed with bassist Scott LaFaro and drummer Paul Motian in the early 1960s. Despite only being together for 20 months, the group’s groundbreaking work shifted the jazz landscape. Known as Evans’ classic trio, “their innovations were so transformative that their impact reaches bands of all sizes across multiple genres,” argues Syd Schwartz. “Wherever group improvisation and musical dialogue are found, the influence of the Bill Evans Trio is never far away.”

By 1959, Bill Evans was a fast-rising star, thanks to high-profile stints with Miles Davis (appearing on the trumpeter’s 1959 masterpiece, Kind of Blue) and composer George Russell, as well as through his earliest albums as a leader, including his 1956 debut, New Jazz Conceptions, and 1958’s Everybody Digs Bill Evans. But the pianist was poised to elevate his game and sought out fellow musicians who shared a similar musical vision—one that found them “contributing to the musical conversation equally and eschewing traditional roles in a quest to unlock deeper rhythmic and harmonic possibilities,” explains Schwartz, who adds that Evans found “palpable chemistry” with LaFaro and Motian. Over the next year and a half, the group would push the boundaries of traditional trio interplay, leaving four hugely influential albums in their wake.

That December, the trio recorded their debut, Portrait in Jazz, for Riverside Records. Schwartz writes, “While Portrait in Jazz may have been Evans’ fifth record as a leader, for many, this is the album where Bill Evans became Bill Evans. In a process of dismantling the traditional jazz trio approach—which would become more fully realized over the next year—the rhythm section emerged from the shadows, establishing a group equilibrium that expanded conversational and improvisational possibilities.”

Riding a wave of critical acclaim and adoration from fans, the trio took to the road that summer, returning to the studio on February 2, 1961, to record their follow-up, Explorations, with producer and Riverside founder Orrin Keepnews. Yet, despite the group’s success, the session was marred with tension. By the end, both Evans and Keepnews feared the worst—that the musicians’ frustrations had permeated the recordings.

However, Schwartz writes, “To the surprise of both artist and producer, the music recorded that day was BRILLIANT, with Evans remarking fifteen years later that Explorations was one of his favorite albums.” He continues, “What’s clear in listening to Explorations in full sonic glory is just how far this trio had evolved in only a year. The traditional roles of soloist and accompanist had been voted out of office, replaced with an elegant, democratic exchange of ideas that completed the illusion of one musician in three bodies.”

That concept is illustrated throughout the album’s eight tracks, as the trio deftly performs a mix of standards and modern jazz compositions. Among the highlights is the John Carisi-penned opener “Israel.” The piece, which Evans revisited several times during his career, finds the group employing the subtle technique of “forward phrasing,” in which the players hit notes just ahead of the underlying rhythm.

Another selection that became associated with Evans was “Nardis.” Written by Miles Davis for Cannonball Adderley’s 1958 LP, Portrait of a Cannonball, the tune was never recorded by Davis himself. Evans, however, would put it to tape over a dozen times in the following years. Similarly, the pianist often revisited and reimagined the ballad “Elsa,” which was composed by his close friend and frequent collaborator Earl Zindars and made its debut on Explorations.

The trio also put their unique twist on five standards: “How Deep Is the Ocean?,” “Sweet and Lovely,” “I Wish I Knew,” “Haunted Heart,” and “Beautiful Love.” The latter track, in particular, had become part of the group’s regular setlist during live shows, but, as Schwartz notes, “Their first take was unsatisfactory to Bill’s ears, requiring them to take another crack at it later that day.” The second take, which appeared on the original album, he adds, “is a superb vehicle to hear the trio finish each other’s sentences as they aspire to ego-less glory.”

Explorations was released in March 1961 to glowing reviews across the country and beyond. Months later, Billboard named it the Critics Best Piano LP of the year. In retrospectives, meanwhile, the album endures as a masterpiece, including those by All About Jazz, in which David Rickert writes, “The trio works magic here, breathing fresh air into standards... and creating the illusion that these songs were written just so someone like Evans could play them.” Thom Jurek at AllMusic adds, “Explorations is an extraordinary example of the reach and breadth of this trio at its peak.”

Weeks later, the group embarked on a now-iconic residency at the Village Vanguard—later resulting in two live albums (Sunday at the Village Vanguard and Waltz for Debby). Tragically, these would prove to be their final recordings together. Not long after, 25-year-old Scott LaFaro was killed in an automobile accident. A devastated Evans would take months to return to the stage or studio. While one can only imagine what directions the classic trio might have taken, the legacy they left behind is clear, as recordings like Explorations continue to inspire.

Evans, meanwhile, continued to innovate as a musician and composer, frequently working in the trio format that he had established with LaFaro and Motian. While his career spanned less than three decades, the prolific artist released over 50 albums as a leader, garnering 31 GRAMMY® nominations along the way. In 1994, he was honored posthumously with the GRAMMY® Lifetime Achievement Award. Cited as an influence by everyone from Herbie Hancock and Chick Corea to Eliane Elias and Robert Glasper, Bill Evans’ work continues to inspire new generations of musicians today.

Click here to pre-order Explorations.

Track List:

Side A:

Israel
Haunted Heart
Beautiful Love
Elsa

Side B:

Nardis
How Deep Is The Ocean?
I Wish I Knew
Sweet And Lovely

About Craft Recordings:

Craft Recordings is home to one of the largest and most essential collections of master recordings and compositions in the world. Its storied repertoire includes landmark releases from icons such as Joan Baez, John Coltrane, Creedence Clearwater Revival, Celia Cruz, Miles Davis, Isaac Hayes, John Lee Hooker, Little Richard, R.E.M., Joan Sebastian, and Traveling Wilburys. Plus, the catalog recordings of celebrated contemporary acts including A Day to Remember, Evanescence, Alison Krauss, Nine Inch Nails, Taking Back Sunday, and Violent Femmes, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Fania, Fantasy, Fearless, Musart, Nitro, Panart, Prestige, Riverside, Rounder, Specialty, Stax, Vanguard, Varèse Sarabande, Vee-Jay, and Victory, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation—ensuring that these recordings endure for new generations to discover. Craft is also home to the Billie Holiday and Tammy Wynette estates, which preserve and protect their respective names, likenesses, and music through day-to-day legacy management of these cultural trailblazers.

Craft Recordings is the catalog label team for Concord. For more info, visit CraftRecordings.com

This year marks the 60th anniversary of the legendary Fania Records: one of the most significant Latin labels in the world, musically and culturally, with an influence that continues to reverberate today. To honor the New York label’s enduring contributions—as well as its powerhouse roster of legendary artists—Craft Latino proudly presents a new compilation, Fania Records: The Latin Sound of New York (1964–1978). Available January 24 on 2-LP and out now digitally, the compilation highlights 16 of the greatest salsa and Latin soul songs released on Fania and its subsidiaries by some of the label’s most beloved artists, including Willie Colón, Héctor Lavoe, Rubén Blades, Johnny Pacheco, Ray Barretto, Celia Cruz, Fania All Stars, Joe Bataan, Eddie Palmieri, Cheo Feliciano, Pete Rodriguez, Joe Cuba, Ismael Rivera, Richie Ray and Bobby Cruz. The vinyl edition also includes archival images and all-new in-depth liner notes in English and Spanish by the New York–based music historian, author, artist, and activist Aurora Flores Hostos. This compilation is not only a fantastic tribute but an essential introduction to Fania for new collectors and fans of classic salsa and Latin music.

This special release rounds out an extensive, year-long celebration of Fania Records, which has included more than a dozen remastered 180-gram vinyl reissues, merch and over two dozen remastered digital albums, many of which debuted in hi-res audio.

The legacy of Fania Records is just as meaningful to Latin music as Stax and Motown are to soul or Prestige and Blue Note are to jazz. From establishing itself as the definitive home for Latin big band, Afro-Cuban jazz, boogaloo and Latin soul, among other styles, to pioneering salsa music and popularizing it around the globe, Fania—and the immeasurable talent on its roster—illuminates a powerful American immigrant story that is as timely today as when the label launched.

Fania was born from the vision of multi-instrumentalist, bandleader, arranger and producer Johnny Pacheco. A fast-rising star with his signature pachanga music, the Dominican-born artist established the label as a home for his recordings, where he could have full creative control over his work and champion fellow Latin musicians. Scraping together $5,000, Pacheco and his lawyer, Jerry Masucci, launched Fania in 1964 with his album Cañonazo. Using Masucci’s City Hall office to store records and distributing them from the trunk of Pacheco’s car, Fania’s profile grew quickly. Before long, it had become the musical tastemaker for young Latin New Yorkers.

Fania, writes Aurora Flores, was “A venture born from the rich cultural tapestry of civil rights protests, a Cuban embargo, and social justice marches where neighborhood nightclubs replaced downtown dance halls.” Indeed, it was an era of sweeping cultural change. Just as rock ’n’ roll was taking over airwaves across America, Latin music was experiencing its own youthful revolution. In New York, where the ballroom scene had long reigned supreme, dance crazes like the mambo and cha-cha-chá had become passé. Now, a new host of Latin artists (many of them second-generation) were forging their own path, blending the traditional music they grew up on with soul, doo-wop and R&B. Coined boogaloo, or Latin soul, these songs reflected the melting pot of New York City.

Driving the craze were artists like Pete Rodriguez, particularly his genre-defining 1966 classic “I Like It Like That”; Joe Bataan, who kickstarted his career with a 1967 cover of Curtis Mayfield’s “Gypsy Woman”; and Ray Barretto, whose supremely funky, jazz-infused 1968 instrumental “Acid” was released at the height of the psychedelic music era. Yet, while boogaloo reigned supreme until the early ’70s, it would soon be overshadowed by a bold new sound—one that would explode in popularity around the globe and become an enduring staple in popular culture. That sound was salsa. Rooted in the son Cubano and son montuno traditions and born on the streets of New York, salsa music was once aptly described by horn player, vocalist and producer Willie Colón as “the harmonic sum of all Latin culture.” At the forefront of this musical shift was none other than Fania Records.

One of the earliest salsa hits was 1970’s “Agúzate,” released by the popular duo of Richie Ray & Bobby Cruz. A year later, Puerto Rican singer Cheo Feliciano—who began as a vocalist with the Joe Cuba Sextet and can be heard on the group’s iconic 1964 track “El ratón”—embarked on a solo career with his debut, Cheo. The record-breaking album caused a sensation in the Latin market, thanks to such enduring tracks as “Mi triste problema” and “Anacaona,” the latter of which is featured on this compilation. Another best-selling vocalist was Héctor Lavoe, who first rose to fame in the ¢60s with a string of popular albums alongside Willie Colón (including 1969’s Gold-certified Cosa Nuestra, featuring the hit “Che che colé”). Lavoe is represented as a soloist here with two of his biggest singles, the 1975 chart-topper “Mi Gente” and his signature tune, “El Cantante.”

One woman was also at the forefront of salsa, Celia Cruz. In 1974, the Cuban singer partnered with Johnny Pacheco for the first of several collaborations, Celia & Johnny. The album, which catapulted Cruz to international stardom as “The Queen of Salsa” has long been considered one of the genre’s most significant albums and featured many of Cruz’s biggest hits, including the quintessential rumba “Quimbara.” Many of Fania’s foundational artists, who initially found success with Latin soul, also explored the exploding musical trend, including Ray Barretto, with his triumphant 1973 album, Indestructible. Lavoe and Colón, meanwhile, re-imagined Christmas in the salsa tradition, alongside Puerto Rican cuatro virtuoso Yomo Toro, with two iconic holiday albums that take us on a Puerto Rican parranda excursion: 1970’s Asalto Navideño (featuring the now classic “La murga”) and 1973’s Asalto Navideño Vol.2.

By the mid-’70s, salsa was the dominant sound in Latin music. As Flores recalls, “With fists pumped in the air and Afros everywhere, salsa was shouted from overflowing concerts, vest pocket parks, street corners, and roof-tops.” As the demand grew for fresh salsa tracks, Fania attracted a new generation of artists, including Panamanian singer, songwriter, actor and activist Rubén Blades. Blades, who famously penned Lavoe’s “El Cantante,” brought socio-political consciousness into his work, including 1978’s “Pedro Navaja.” Inspired by “Mack the Knife,” the song paints a stark portrait of life in the American barrio—setting the scene with police sirens, street sounds and a sarcastic interpolation of West Side Story’s “America.” That same year, Puerto Rican singer-songwriter Ismael Rivera scored one of his biggest hits with “Las caras lindas.” Written with his childhood friend, the prolific composer Tite Curet Alonso, the powerful song offers a bittersweet ode to the beauty and resilience of Black culture.

“With hits came tours,” writes Flores. Indeed, Fania’s artists found great success on the road, drawing crowds across the Americas and beyond. The hottest ticket, however, was the Fania All Stars—the long-running, ever-evolving collective that has included such heavy hitters as Johnny Pacheco, Willie Colón, Ray Barretto and Héctor Lavoe. Formed in 1968, the group not only served as a platform for the label but also helped to popularize salsa music across the world. Over the years, the All Stars released a series of bestselling albums, including Live at the Cheetah, Vols. 1 and 2 (1972) and Live at Yankee Stadium, Vols. 1 and 2 (1975).

The performance at Live at the Cheetah, Vol. 2—which also inspired Fania’s 1972 documentary Our Latin Thing—was “a pivotal historic moment,” writes Flores. Featured here from that concert is “Estrellas de Fania,” which, she adds, “captures the artists’ thunderous energy and improvisational prowess.” In particular, Flores points to “a kick-ass round-robin of improvisational soneros/singers starting with Barretto’s Adalberto Santiago, Colon’s Héctor Lavoe, [Larry] Harlow’s Ismael Miranda, Pacheco’s Pete “El Conde,” Rodríguez and [Tito] Puente’s Santitos Colón. Inspired arpeggios spring from Pacheco’s flute dancing around Bobby Valentin’s steady bass beats. A scorching Harlow piano solo follows, blazing a path for a searing Barry Rogers’ bone showcase, spontaneously competing with the singers as Barretto pounds the congas.”

It is that collaborative spirit and contagious energy that has kept Fania’s music so vital throughout the decades. 60 years after its first release, Fania Records remains a cultural beacon, with a musical tradition that will continue to be shared for generations to come.

Click here to pre-order Fania Records: The Latin Sound of New York (1964–1978)

Tracklist:

Side A

1.      Pete Rodriguez – I Like It (I Like It Like That)

2.      Eddie Palmieri – Café

3.      Joe Bataan – Gypsy Woman

4.      Ray Barretto – Acid

Side B

1.      Héctor Lavoe – Mi Gente

2.      Richie Ray & Bobby Cruz – Agúzate

3.      Cheo Feliciano – Anacaona

4.      Celia Cruz & Johnny Pacheco - Quimbara

Side C

1.      Ismael Rivera Y Sus Cachimbos – Las Caras Lindas

2.      Willie Colón canta Héctor Lavoe – Che Che Colé

3.      Héctor Lavoe – El Cantante

4.      Ray Barretto – Indestructible

5.      Joe Cuba Sextet – El Ratón

Side D

1.      Fania All Stars – Estrellas De Fania

2.      Willie Colón canta Héctor Lavoe – La Murga

3.      Willie Colón & Rubén Blades – Pedro Navaja

*Digital tracklist mirrors the vinyl

Craft Recordings and The Traveling Wilburys are proud to present the newly restored 4K version of the iconic music video for “End of the Line.” Over 35 years after its original debut, fans can once again immerse themselves in this timeless classic, now brought to life with unprecedented visual clarity. Meticulous restoration work from the original 35mm rushes ensures that the track’s warmth, friendship, and enduring musical brilliance shine brighter than ever.

Watch the newly restored “End of the Line” here: https://www.youtube.com/watch?v=UMVjToYOjbM

A Celebration of Music History and Friendship
The Traveling Wilburys—a legendary supergroup comprising George Harrison, Bob Dylan, Tom Petty, Roy Orbison, and Jeff Lynne—formed in the late 1980s and quickly captured the public’s imagination. Their debut, Traveling Wilburys Vol. 1, became both a critical and commercial triumph, revered for its effortless blend of star power, songwriting prowess, and harmonious collaboration. It remains a hallmark of musical camaraderie that transcends generations.

Timeless Visuals, Reborn in 4K
Originally filmed in Los Angeles in December 1988, the “End of the Line” music video showcases the band’s warm chemistry as they perform aboard a vintage passenger car pulled by a steam locomotive. This stirring backdrop provides a fitting metaphor for the Wilburys’ journey: a forward movement propelled by artistry, brotherhood, and mutual respect. The newly restored footage allows viewers to appreciate every nuance—from the vibrant color and detail of the train’s classic interiors to the subtle interplay among the band members.

A Poignant Tribute to Roy Orbison
The music video also carries a deep emotional resonance. Recorded shortly before the passing of Roy Orbison, “End of the Line” became a heartfelt tribute to their lost friend and collaborator. Orbison’s spirit is honored with a quietly moving gesture: his guitar rests in a rocking chair, accompanied by a framed photo. This poignant homage ensures that Orbison’s presence endures, forever woven into the fabric of the song’s legacy.

Holiday Season Unity and Legacy
As the year winds down and the holiday season encourages unity, “End of the Line” stands as an enduring anthem of togetherness and hope. The newly restored 4K version reintroduces this iconic track’s spirit of friendship, warmth, and timeless musical synergy to new audiences, while offering longtime fans the opportunity to rediscover a beloved classic as if seeing it for the very first time.

Craft Recordings and Bluesville Records proudly announce two reissues for landmark  blues titles from a pair of the genre’s most influential artists: 1960’s Blues & Ballads, from pioneering guitarist Lonnie Johnson, and Mississippi John Hurt’s definitive 1966 album, Today!. Set for release on February 28 and available for pre-order today, both LPs will be issued on vinyl in partnership with audiophile leader Acoustic Sounds and feature all-analog mastering by GRAMMY®-nominated engineer Matthew Lutthans (the Mastering Lab). The albums are pressed on 180-gram vinyl at Quality Record Pressings (QRP) with faithfully reproduced tip-on jackets. Rounding out each title is an obi strip with insightful notes by GRAMMY-winning producer, writer and musician Scott Billington. Additionally, the remastered albums will be reissued across digital platforms in standard and 192/24 hi-res audio on the same date as each vinyl.

Launched at the top of 2024, Bluesville Records celebrates America’s bedrock music genre, as well as the trailblazing musicians that contributed to its rich traditions, through handpicked titles—all culled from the catalogs of such legendary labels as Stax, Prestige, Vee-Jay, Vanguard, Rounder and Riverside earning widespread praise from critics and listeners alike. Living Blues notes that John Lee Hooker’s Burning Hell album, with its intimate acoustic feel and brutally honest songwriting, “casts a spell” over the listener, while Tracking Angle praises the stereo edition for its "terrific sound," placing Hooker "on stage in your room." No Depression highlights the diversity of styles across the Bluesville reissues, showing the breadth of Hooker’s prolific career. Similarly, Last Night Blues by Lightnin' Hopkins and Sonny Terry has earned glowing reviews, with Mojo calling it “excellent” and "hypnotic boogie joy bringers."

For more information, visit bluesvillerecords.com and read about the latest releases below:

Lonnie Johnson – Blues & Ballads (1960)

Singer, songwriter and musician Lonnie Johnson (1899–1970) was among the most versatile musicians of his era. He not only found success in jazz, blues and R&B but also pioneered one of the most recognizable guitar techniques in modern music. In the early 1920s, the New Orleans–born artist settled in St. Louis, where he was discovered in a blues talent contest. Before long, Johnson was releasing a steady output of solo material, while also playing alongside the biggest names in blues and jazz, including Louis Armstrong, Bessie Smith and Duke Ellington.

Johnson’s unique stylings on the guitar also caught the attention of his peers, as he employed a pick to play single-note, string-bending solos. Soon emulated by the likes of Charlie Christian, Django Reinhardt and, later, B.B. King, the technique would inform modern jazz, blues and eventually rock guitarists over the century. As a songwriter, Johnson also set himself apart with his expressive lyricism as well as his commentary on racial politics.

These talents helped Johnson score a string of blues hits in the ’20s and ’30s, but his post-war career found him transitioning with equal success into R&B with hits like “Pleasing You,” “Confused” and the chart-topping “Tomorrow Night.” The ’60s folk revival, meanwhile, introduced Johnson to a younger audience, allowing him new opportunities to tour the world and score a contract with the Prestige Records imprint, Bluesville.

His second album for the label, 1960’s Blues & Ballads, paired Johnson with the seasoned bandleader, banjo player and guitarist Elmer Snowden. Reflecting both artists’ musically diverse careers, the album found them blending classic blues tunes from the likes of Bessie Smith and W.C. Handy (“Back Water Blues,” “St. Louis Blues”) with popular standards (“Memories of You,” “I’ll Get Along Somehow”), alongside original material by both men (“Elmer’s Blues,” “Jelly Roll Baker” and “I Found a Dream,” among them). The stripped-down recording—featuring Johnson on vocals and electric guitar, Snowden on acoustic guitar and Wendell Marshall on bass—is expressive and intimate, showcasing the breadth of their collective talents.

Speaking on the album, Scott Billington writes, “Blues and Ballads is a musical conversation between two old friends. The warmth and casual virtuosity of their guitar duets are nothing less than a manifestation of a combined hundred years of experience playing jazz tunes, sentimental ballads, and blues—a treat to behold.” AllMusic.com praises, “Johnson applies his plaintive croon and deft guitar playing… effortlessly revealing his artistic range. A must for fans of the underrated bluesman.”

Click here to pre-order/pre-save Blues & Ballads and view a tracklist below.

Mississippi John Hurt – Today! (1966)

One of the most influential figures of the 1960s folk revival, Mississippi John Hurt (1893–1966) offered his own brand of the blues, thanks to his gentle vocals and unique syncopated fingerpicking style. Yet, he didn’t find success until the final years of his life. Born to sharecroppers in rural Mississippi, Hurt was a self-taught guitarist and farmhand, who honed his craft during his downtime. In the early 1920s, he began to gig regularly with fiddle player Willie Narmour, who, in turn, recommended his friend to OKeh Records.

Hurt recorded a handful of tracks for the label in 1928, including “Frankie,” “Candy Man Blues” and “Stack O’ Lee Blues.” While his quiet, laid-back nature set Hurt apart from other bluesmen of the era, it didn’t connect with audiences at the time, who were accustomed to the tougher, more assertive styles of artists like Son House and Charlie Patton. Hurt, who never considered himself to be a professional musician, was just as content to return to his life on the farm.

More than 30 years later, however, Hurt would find a new audience that embraced his music. Amid the folk revival, scholars “rediscovered” his recordings and, in 1963, encouraged the 70-year-old bluesman to return to the stage. Relocating to Washington D.C., Hurt spent the final three years of his life recording for the Library of Congress, performing at festivals, coffeehouses and colleges, appearing on The Tonight Show Starring Johnny Carson and making several albums for Vanguard Records.

The first of these LPs, released in 1966, was Today!. Considered his definitive work, Today! found Hurt performing a range of styles—from upbeat originals (“Candy Man,” “Coffee Blues”) to traditional and country blues songs (“Make Me a Pallet on the Floor,” “Corrinna, Corrinna”) and African American spirituals (“Louis Collins,” “Beulah Land”). The album introduced Hurt to a broader audience and, over the years, would inspire younger generations of artists, including John Fahey, Bob Dylan, Jerry Garcia, Beck and Gillian Welch. In 2009, Today! was added to the Library of Congress’ National Recording Registry.

“John Hurt’s music is seductive,” notes Billington. “He was a Mississippi blues outlier whose rolling finger-picked guitar and easy-going melodies made him a darling of the 1960s folk music scene, and his influence has endured. It has been almost a century since the release of his first 78 RPM records, and almost sixty years since the release of Today!, but John Hurt sounds as fresh and distinctive as ever.”

AllMusic hails, “It is still difficult to believe that there is just one man playing on the seemingly effortless guitar work… A truly essential album of the folk revival, unrivaled in its beauty and warmth.”

Click here to pre-order/pre-save Today! and view tracklist below.

Lonnie Johnson – Blues & Ballads Tracklist (Vinyl):

Side A

1. Haunted House

2. Memories Of You

3. Blues For Chris

4. I Found A Dream

5. St. Louis Blues

Side B

1. I’ll Get Along Somehow

2. Savoy Blues

3. Back Water Blues

4. Elmer’s Blues

5. Jelly Roll Baker

Mississippi John Hurt – Today! Tracklist (Vinyl):

Side A

1. Pay Day

2. I’m Satisfied

3. Candy Man

4. Make Me A Pallet On The Floor

5. Talking Casey

6. Corrinna, Corrinna

Side B

1. Coffee Blues

2. Louis Collins

3. Hot Time In The Old Town Tonight

4. If You Don’t Want Me, Baby

5. Spike Driver’s Blues

6. Beulah Land

About Craft Recordings:

Craft Recordings is home to one of the largest and most essential collections of master recordings and compositions in the world. Its storied repertoire includes landmark releases from icons such as Joan Baez, John Coltrane, Creedence Clearwater Revival, Celia Cruz, Miles Davis, Isaac Hayes, John Lee Hooker, Little Richard, R.E.M., Joan Sebastian, and Traveling Wilburys. Plus, the catalog recordings of celebrated contemporary acts including A Day to Remember, Evanescence, Alison Krauss, Nine Inch Nails, Taking Back Sunday and Violent Femmes, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Fania, Fantasy, Fearless, Musart, Nitro, Panart, Prestige, Riverside, Rounder, Specialty, Stax, Vanguard, Varèse Sarabande, Vee-Jay and Victory, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation—ensuring that these recordings endure for new generations to discover. Craft is also home to the Billie Holiday and Tammy Wynette estates which preserve and protect their respective names, likeness and music through day-to-day legacy management of these cultural trailblazers. 

Craft Recordings is excited to announce the first reissues of 2025 from Original Jazz Classics, the series that revisits seminal and rare jazz albums celebrated by critics and aficionados alike. The latest releases include Joe Pass’ Virtuoso, Wes Montgomery’s The Incredible Jazz Guitar of Wes Montgomery, Thelonious Monk’s Thelonious Himself and Miles Davis’ The Musings of Miles and Walkin’. All of these albums can be pre-ordered now, with releases rolling out between February 28 and April 18.

The reissues feature lacquers cut from the original tapes (AAA) by Kevin Gray at Cohearent Audio (Wes Montgomery is the stereo version and was cut from a tape copy), 180-gram vinyl pressed at RTI and tip-on jackets reproducing the original artwork. All titles will also be released digitally in 192/24 hi-res audio on the same date as each vinyl.

Original Jazz Classics (OJC), created in 1982 (under Fantasy Records), was relaunched in 2023 and has reissued more than 850 jazz albums to date. Its catalog includes thousands of genre-defining titles originally released by Prestige, Galaxy, Milestone, Riverside, Debut, Contemporary, Jazzland and Pablo. Since its launch two years ago, OJC has received resounding critical acclaim, with Record Collector Magazine declaring that “the sound is out of this world.” Tracking Angle described the OJC reissue of Thelonious Monk’s Monk’s Music as “remarkable” and “the best-sounding pressing” of the album to date. Absolute Sound raved about the stereo reissue of Mal Waldron’s The Quest, noting it “sounds fabulous—full-bodied, immediate, and crackling with energy.” Jazzwise went on to praise the series’ “peerless” quality, describing the reissues as “exceptional,” with “stunningly eloquent” sound. Meanwhile, Qobuz highlights the remastering work, stating it “breathes vibrant life into the original tapes.” Subscribe to the official YouTube channel here for more content from Original Jazz Classics.

Read more on the latest OJC releases below.

Joe Pass – Virtuoso (Available February 28, 2025)

After guitarist Joe Pass released Virtuoso in 1973, almost every critic agreed that this was his best album, one living up to its name. (“Joe Pass looks like somebody’s uncle and plays like nobody’s business,” New York Magazine once enthused.) Before this album, Pass had stints with everyone from Gerald Wilson to Benny Goodman. But he also lost many years due to a dependence on heroin, and Virtuoso proved that cleaning up would only heighten his powers.

With this album (the first of his Virtuoso series), All About Jazz observed, “Pass had accomplished, using standard guitar performance techniques, to play lead melody lines, chords, and bass rhythm simultaneously and at tempo, giving the listener the impression that multiple guitars were being played.” Here, he adds a new sheen to already well-traversed covers, with a breathless reworking of ‘Night & Day’ and a dazzling, unpredictable take on ‘Cherokee.’ Meanwhile, ‘Blues for Alican,’ his lone original composition on the album, is a nimble, brightly soulful track that doesn’t disappoint.

Wes Montgomery – The Incredible Jazz Guitar of Wes Montgomery (Available February 28, 2025)

The legendary artist is famous for his mellow, thumb-picking flourishes said to be born of necessity: not wanting to wake his kids or neighbors at night. This, combined with his penchant for playing in octaves, impressed saxophonist Cannonball Adderley, who pretty much discovered him. This also came to define The Incredible Jazz Guitar of Wes Montgomery, one of the guitarist’s most stellar releases.

Here, he vaults Sonny Rollins’ bright “Airegin” to even greater heights, infusing it with a thrilling, joyous urgency. In contrast, his own song, “West Coast Blues,” comes in with a pensive swagger that stretches the idea of what it means to be bluesy. And sonic alchemist that he is, Montgomery couldn’t help but transform the downtempo popular standard “Polka Dots and Moonbeams” into a uniquely comfy embrace.

Of this 1960 release, AllMusic said, “Setting him apart from the rest, this recording established Montgomery as the most formidable modern guitarist of the era, and eventually its most influential.” In 2017, the album was even inducted into the National Recording Registry of the Library of Congress for its cultural, artistic and historical relevance.

Thelonious Monk – Thelonious Himself (Available March 28, 2025)

“When you hear his name,” NPR declared, “you can expect to hear some of the most original and challenging music of the 20th century.” Although his achievements were undeniable, the sometimes-eccentric Monk wasn’t always considered a success. To that end, the 1975 Thelonious Himself was considered one of the jazz great’s significant breakthroughs after his artistic turning point with Brilliant Corners.

Thelonious Himself features just that: Monk alone, save one track featuring bassist Wilbur Ware and saxophonist John Coltrane. That track, “Monk’s Mood,” is a transcendent exercise in sonic expansion, with sounds gradually enveloping the room around them. The rest of the album is a bounty of unexpected treats: disciplined when it needs to be and subtly peacocking only when it makes sense. Highlights include his take on “April in Paris,” which is at turns escapist and wistful, and his nine-minute original track, “Functional,” strikingly sly in its experimentation. Wrote AllMusic, “Monk’s hesitant stride and thoughtful yet very unpredictable flights are always a joy to hear.”

Miles Davis All Stars – Walkin’ (Available April 18, 2025)

Walkin’, released in 1957, brings together Davis’ tracks recorded three years earlier as the Miles Davis All-Star Sextet and the Miles Davis Quintet. Unsurprisingly, it features a solid line-up, including saxophonist Lucky Thompson, drummer Kenny Clarke and pianist Horace Silver.

The title track had been in constant rotation at the trumpeter’s live gigs for a reason: It’s a smooth, shimmering example of hard bop-blues that follows Davis’ lead. The album’s next track, “Blue ’N’ Boogie,” however, is a showy, sprightly retort to the chilled-out ease of “Walkin’.” And the standout final track, “Love Me or Leave Me,” is even more blissed out in its freneticism.

Walkin’ is particularly interesting in how it illustrates Davis’ gradual break from bebop conventions. “Miles Davis’ album Walkin’ is one of those albums that should be in every jazz fan’s album collection,” noted Jazzwise. “Here Davis’ solos are the epitome of less is more.”

Miles Davis – The Musings of Miles (Available April 18, 2025)

The album, released in 1955, was the trumpeter’s first 12” LP. With pianist Red Garland and Philly Joe Jones in tow—who’d later become key parts of the legendary Miles Davis Quintet—the album is a fascinating peek into the mind of Davis rediscovering his superpowers.

The Musings of Miles is an important transition in Davis’ evolution towards some of his most seminal works. This album veers from carefree (the meticulous “A Night in Tunisia”) to elegant (“A Gal in Calico,” a lovely summertime escapade) to sentimental (the silky “I See Your Face Before Me”). “The interpretations are generally lyrical and melodic,” AllMusic explained. It turns out that part of witnessing Davis getting his groove back is witnessing the showman tame himself to exude a comforting warmth.

Click here to pre-order these new titles and view digital formats or click here to shop the complete OJC collection.

Tracklists:

Joe Pass – Virtuoso

Side A

1.      Night And Day

2.      Stella By Starlight

3.      Here’s That Rainy Day

4.      My Old Flame

5.      How High The Moon

6.      Cherokee

Side B

1.      Sweet Lorraine

2.      Have You Met Miss Jones?

3.      ’Round Midnight

4.      All The Things You Are

5.      Blues For Alican

6.      The Song Is You

Wes Montgomery – The Incredible Jazz Guitar Of Wes Montgomery

Side A

1.      Airegin

2.      D-Natural Blues

3.      Polka Dots And Moonbeams

4.      Four On Six

Side B

1.      West Coast Blues

2.      In Your Own Sweet Way

3.      Mister Walker

4.      Gone With The Wind

Thelonious Monk – Thelonious Himself

Side A

1.      April In Paris

2.      Ghost Of A Chance

3.      Functional

4.      I’m Getting Sentimental Over You

Side B

1.      I Should Care

2.      ’Round Midnight

3.      All Alone

4.      Monk’s Mood

Miles Davis All Stars – Walkin’

Side A

1.      Walkin’

2.      Blue ’N’ Boogie

Side B

1.      Solar

2.      You Don’t Know What Love Is

3.      Love Me Or Leave Me

Miles Davis – The Musings of Miles

Side A

1.      Will You Still Be Mine?

2.      I See Your Face Before Me

3.      I Didn’t

Side B

1.      A Gal In Calico

2.      A Night In Tunisia

3.      Green Haze

Craft Recordings and Jazz Dispensary kick off the new year in style with a heady cult favorite from Joe Henderson, 1973’s Multiple. Returning to vinyl after more than 50 years, the album features a world-class ensemble of musicians—including Dave Holland, Jack DeJohnette, Larry Willis, and James “Blood” Ulmer—while it finds the influential saxophonist at the apex of his fusion period.

Arriving March 7th as part of Jazz Dispensary’s Top Shelf series, and available for pre-order today, Multiple is cut from the original analog tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. The LP is housed in a tip-on jacket, replicating Multiple’s original artwork. Fans can also find the album on digital platforms, as it makes its debut in hi-res audio on the same day as the vinyl release.

One of the most talented tenor saxophonists of his era, Joe Henderson (1937–2001) was a prolific leader and a sought-after sideman who played alongside the biggest names in jazz, including Herbie Hancock, Kenny Dorham, Chick Corea, and Alice Coltrane. The virtuosic Ohio-born musician launched his four-decade-long career in Detroit while attending college, before relocating to New York. There, he quickly built a name for himself performing on dozens of sessions for Blue Note Records, including those for Hancock, Horace Silver, Andrew Hill, and Lee Morgan.

As a band leader, Henderson stood out from his peers, thanks to an eclectic sound that frequently incorporated elements of avant-garde, Latin, and R&B. That versatile and adventurous spirit caught the attention of Orrin Keepnews, who signed the saxophonist to Milestone Records. Under the fledgling jazz label, Henderson took his career—and his sound—to the next level through innovative albums like The Kicker (1968), Power to the People (1969), and Black Is the Color (1972).

By the time he recorded Multiple, Henderson was experimenting with a variety of electronic instrumentation, studio effects, and overdubs—all while weaving a socially conscious thread into his music. Much like Henderson himself, the 1973 album can’t be pigeonholed, as it finds the saxophonist operating in an enthralling sonic space, landing somewhere between fusion and free jazz. Helping Henderson envision that magic is a tightly-knit roster of talent, including bassist Dave Holland and drummer Jack DeJohnette (known for their work together with Miles Davis), plus such esteemed players as keyboardist Larry Willis, guitarist James “Blood” Ulmer, and legendary studio musician/arranger Arthur Jenkins (John Lennon, Chaka Kahn, Harry Belafonte) on percussion.

Comprised primarily of Henderson originals, Side A opens with his classic “Tress-Cum-Deo-La,” a swaggering, ten-and-a-half-minute-long jam, featuring vocalizations, joyful hand-claps, and awe-inspiring solos by the sax player. The band cools things down with “Bwaata,” a quietly grandiose selection by DeJohnette, in which the players (and particularly Henderson) slowly turn up the intensity for a riveting performance throughout the nearly 11-minute-long track.

The flip side opens with the hypnotic “Song for Sinners,” which features a cameo by guitarist John Thomas and mesmerizing a-tonal chants. “Turned Around,” an upbeat, funk-tinged contribution by Holland, follows. Henderson then takes listeners on one final journey with “Among Others.” The track, which builds upon a dissonant sonic landscape, offers standout performances by Henderson and Willis, who shines particularly bright on the Rhodes piano.

Over the decades, Multiple has grown in stature to become a cult favorite of the ‘70s fusion explosion, long sought after by crate diggers and frequently praised by critics in retrospectives. Jazz Music Archives hailed it as “A magnificent album with no flaws…where Henderson shows everyone that he’s still a force to be reckoned with in the 70s.” Jazz Desk wrote, “Henderson is the greatest tenor saxophonist of this musical era…able to play very lyrical with the most delicate tone.” AllMusic declared that Multiple is “Henderson’s greatest album from this era,” adding, “And then there’s Henderson, blowing some of the most impassioned solos of his career. There’s an activism to his phrasing.”

Click here to pre-order or stream/download Multiple.

Track List:

Side A

1.  Tress-Cun-Deo-La

2.  Bwaata

Side B

1.  Song For Sinners

2.  Turned Around

3.  Me, Among Others

About Jazz Dispensary:

Jazz Dispensary is a homegrown label celebrating mind-expanding, high-grade selections drawn from the finest original sources of funk, jazz, and all the areas they intersect. With knowledgeable sound sommeliers as guides, Jazz Dispensary brings deep catalog gems to the table, offering bespoke selections to match every mood and inspire an elevated conversation. A funky good time, a mystic journey, a powerful inspiration, Jazz Dispensary has the medicine that will spark things off. One hit and you’re hooked!

About Craft Recordings:

Craft Recordings is home to one of the largest and most essential collections of master recordings and compositions in the world. Its storied repertoire includes landmark releases from icons such as Joan Baez, John Coltrane, Creedence Clearwater Revival, Celia Cruz, Miles Davis, Isaac Hayes, John Lee Hooker, Little Richard, R.E.M., Joan Sebastian, and Traveling Wilburys. Plus, the catalog recordings of celebrated contemporary acts including A Day to Remember, Evanescence, Alison Krauss, Nine Inch Nails, Taking Back Sunday and Violent Femmes, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Fania, Fantasy, Fearless, Musart, Nitro, Panart, Prestige, Riverside, Rounder, Specialty, Stax, Vanguard, Varèse Sarabande, Vee-Jay and Victory, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation—ensuring that these recordings endure for new generations to discover. Craft is also home to the Billie Holiday and Tammy Wynette estates which preserve and protect their respective names, likeness and music through day-to-day legacy management of these cultural trailblazers. 

In 1991, The Complete Stax/Volt Singles 1959-1968 cataloged one of the most prolific runs in soul music history by collating 244 songs on a now-legendary and long-since out-of-print 9-CD set. 33 years later, Rhino kicked off the first-ever vinyl release of The Complete Stax/Volt Singles 1959-1968 by unveiling Volumes 1 and 2 on vinyl, much to the delight of collectors worldwide during 2024. Today, this robust series continues with the arrival of Volumes 3 and 4 on vinyl. These installments comprise the next 79 tracks, spanning recognizable A-sides and diamond-in-the-rough B-sides, all originally released amid the label’s Atlantic-distributed era. It draws listeners right into the heart of the sixties with some of the decade’s most impactful soul, R&B, and rock. 

Volumes 3 and 4 of Stax-Volt: The Complete Singles 1959-1968 are limited to 2,000 copies each and are now available on Rhino.com and select WMG stores worldwide. Order HERE. 

By the decade’s midpoint, the collective roster had indisputably hit its stride. Volumes 3 and 4 effectively captures lightning in a bottle, showcasing these artists at the height of their powers with essential cuts like “You Don’t Know Like I Know” (Sam & Dave), “Respect” (Otis Redding), “A Woman’s Love” (Carla Thomas), “Jump Back” (Rufus Thomas), “Grab This Thing (Part 1)” (The Mar-Keys), “Satisfaction” (Otis Redding), “Sugar Sugar” (The Mad Lads), “Knock On Wood” (Eddie Floyd), “Oh, Pretty Woman” (Albert King), and “Jingle Bells” (Booker T. & the MGs), among many others.

The liner notes by Rob Bowman explore the energy of this season in vivid detail. Edited from his original 1991 version, it paints a picture of musical, personal, and spiritual exploration, advancing what the genre could be. He immediately points out, “Nineteen sixty-five was the year Stax’s sound finally coalesced, proven by chart successes from Otis Redding, Sam & Dave, and The Mad Lads.” He goes on to celebrate the songs, hailing Redding as “a master of both the drawn-out heart-wrenching slow ballad and the stomping up-tempo house-wrecker.” Fittingly, he dubs the finale—a cover of “Jingle Bells” by Booker T. & the MGs”—as “the hippest version of the Christmas ode you’re ever likely to hear.”

The collection was remastered from the original Stax/Volt mono single masters. In a few cases, the tapes were lost, and original disc sources were used. Analog-to-digital mastering was done with a specially modified and restored Ampex 350 full-track mono machine with original tube electronics. All equipment in the transfer process was chosen specifically to recreate the Stax sound on today’s stereo systems without compromise.

The Complete Stax/Volt Singles, 1959–1968, Volume 3

TRACKLISTING

Side A

Jump Back – Rufus Thomas
Chained and Bound – Otis Redding
In My Heart – Barbara & The Browns
Spunky – Johnny Jenkins
Bar B-Q – Wendy Rene
The Sidewalk Surf – The Mad Lads
Can’t Be Still – Booker T. & The MG’s

Side B

A Woman’s Love – Carla Thomas
Yank Me (Doodle) – The Baracudas
That’s How Strong My Love Is – Otis Redding
Mr. Pitiful – Otis Redding
Don’t Let Her Be Your Baby – The Del Rays
Can’t See You When I Want To – David Porter
My Lover – Barbara & The Browns

Side C

Got You On My Mind – The Admirals
How Do You Quit (Someone You Love) – Carla Thomas
Biggest Fool In Town – Gorgeous George
Banana Juice – The Mar-Keys
Little Sally Walker – Rufus Thomas
A Place Nobody Can Find – Sam & Dave
Goodnight Baby – Sam & Dave

Side D

Boot -Leg – Booker T. & The MG’s
Outrage – Booker T. & The MG’s
I’ve Been Loving You Too Long (To Stop Now) – Otis Redding
I’m Depending On You – Otis Redding
Candy – The Astors
Give You What I Got – Wendy Rene

Side E

Stop! Look What You’re Doin’ – Carla Thomas
Willy Nilly – Rufus Thomas
Don’t Have To Shop Around – The Mad Lads
Crying All By Myself – William Bell
I Take What I Want – Sam & Dave
When You Move You Lose – Rufus & Carla
Respect – Otis Redding

Side F

Made It Me – The Premiers
The World Is Round – Rufus Thomas
In The Twilight Zone – The Astors
Blue Groove – Sir Isaac & The Do-Dads
You Don’t Know Like I Know – Sam & Dave
Grab This Thing (Part 1) – The Mar-Keys

The Complete Stax/Volt Singles, 1959–1968, Volume 4

TRACKLISTING

Side A

Be My Lady – Booker T. & the MGs
Comfort Me – Carla Thomas
I Can’t Turn You Loose – Otis Redding
Just One More Day – Otis Redding
I Want Someone – The Mad Lads
Birds & Bees – Rufus & Carla
Philly Dog – The Mar-Keys

Side B

I Had A Dream – Johnnie Taylor
Satisfaction – Otis Redding
Things Get Better – Eddie Floyd
I’ll Run Your Hurt Away – Ruby Johnson
Hot Dog – The Four Shells
Let Me Be Good To You – Carla Thomas 

Side C

Hold On! I’m Comin’ – Sam & Dave
Laundromat Blues – Albert King
Sugar Sugar – The Mad Lads
Share What You Got (But Keep What You need) – William Bell
Marching Off To War – William Bell
My Lover’s Prayer – Otis Redding

Side D

Your Good Thing (Is About To End) – Mabel John
I Got To Love Somebody’s Baby – Johnnie Taylor
I Want A Girl – The Mad Lads
Knock On Wood – Eddie Floyd
B-A-B-Y – Carla Thomas
My Sweet Potato – Booker T. & the MGs
Booker-Loo – Booker T. & the MGs

Side E

Oh, Pretty Woman – Albert King
Said I Wasn’t Gonna Tell Nobody – Sam & Dave
Never Like This Before – William Bell
Fa-Fa-Fa-Fa-Fa (Sad Song) – Otis Redding
Patch My Heart – The Mad Lads
Sister’s Got A Boyfriend – Rufus Thomas
Come To Me My Darling – Ruby Johnson

Side F

When My Love Comes Down – Ruby Johnson
Try A Little Tenderness – Otis Redding
Crosscut Saw – Albert King
Little Bluebird – Johnnie Taylor 
Toe Hold – Johnnie Taylor
Jingle Bells – Booker T. & the MGs

In 1964, one year before A Charlie Brown Christmas brought cartoonist Charles M. Schulz’s PEANUTS® to TV screens across America, the Vince Guaraldi Trio breathed life into its beloved characters through a series of now-iconic cues. Originally intended to accompany the ill-fated Schulz documentary A Boy Named Charlie Brown, the music was instead released as an album, Jazz Impressions of a Boy Named Charlie Brown, while many of the cues (most notably “Linus and Lucy”) would appear in animated specials over the following decade, as the franchise exploded in popularity.

Now, Craft Recordings celebrates the enduring, 75-year legacy of PEANUTS, with an expanded reissue of Jazz Impressions of a Boy Named Charlie Brown. Arriving April 4th on 2-CD and digital platforms in standard and hi-res audio, the collection features 11 never-before-heard outtakes, plus the original album, newly remastered from the original tapes by GRAMMY® Award-winning engineer, Paul Blakemore. Completing the package are insightful new liner notes by Derrick Bang, the foremost PEANUTS historian and author of Vince Guaraldi at the Piano (McFarland & Company), plus essays from producer Lee Mendelson and music journalist Ralph J. Gleason—both of which appeared in the original pressing of the album. Additionally, fans can find highlights of these outtakes on the limited-edition Sky Blue color vinyl LP, Alternative Takes, available exclusively for Record Store Day 2025, on Saturday, April 12.

“It’s fascinating to compare these alternate takes with a given song’s finished arrangement: to hear how a song is crafted, along the way,” writes Derrick Bang. Indeed, fans will gain deeper insight into Guaraldi’s creative process through selections like “Pebble Beach (Take 7),” “Baseball Theme (Take 1),” and two very different versions of “Oh, Good Grief,” in which the pianist embarks on lengthy improvs. Other highlights include two trio arrangements of “Schroeder,” a popular cue which, ultimately, was stripped down to a solo performance by Guaraldi. Perhaps the most anticipated selection, however, is “Linus and Lucy (Studio Test),” an early recording of the instantly recognizable theme, available to stream today.

In the early ’60s, Bay Area jazz pianist Vince Guaraldi was a fast-rising star. A frequent collaborator of vibraphonist Cal Tjader, Guaraldi had broken out on his own just a few years prior, releasing several records as a leader. But it was 1962’s Jazz Impressions of Black Orpheus that made the musician a household name. Inspired by the French/Brazilian film Black Orpheus, the album featured both original material and covers from the Academy Award®-winning picture, including Guaraldi’s instrumental composition, “Cast Your Fate to the Wind.” The tune became a breakout hit and earned the artist a GRAMMY Award.

“Cast Your Fate to the Wind” also caught the attention of another emerging Bay Area figure: Peabody Award-winning TV producer, Lee Mendelson. After finding great success with the 1963 Willie Mays documentary, A Man Named Mays, Mendelson was inspired to profile the celebrated cartoonist Charles M. Schulz, creator of the popular PEANUTS comic strip. While Mays might have been one of the era’s greatest baseball players, PEANUTS protagonist Charlie Brown was known for his terrible luck on the field. Thus, came about the project’s title, A Boy Named Charlie Brown.

As the production came together, Mendelson found himself on an exhaustive search for a musician to write the score. Then he caught “Cast Your Fate to the Wind” on the radio. “It was melodic and open, and came in like a breeze off the bay,” he recalled. Weeks later, when Guaraldi (alongside bassist Monty Budwig and drummer Colin Bailey) presented an early version of “Linus and Lucy,” Mendelson was blown away. “I have no idea why, but I knew that song would affect my entire life,” he said, years later. “There’s no doubt in my mind, that if we hadn’t had that score, we wouldn’t have had the franchise we later enjoyed.”

Guaraldi’s sophisticated cues—including the lilting “Oh, Good Grief,” the reflective “Happiness Is,” the lively “Charlie Brown Theme,” and the buoyant “Frieda (With the Naturally Curly Hair)”—added depth to the documentary and to Schulz’s beloved characters, including Charlie Brown, Lucy, Schroeder, Linus, and Snoopy. But, despite Mendelson’s best efforts, the production never made it to the airwaves. The accompanying soundtrack, however, was still on track for a late 1964 release via Fantasy Records.

Featuring original sketches by Schulz and 12 pull-out posters, plus notes by Mendelson and journalist Ralph Gleason, Jazz Impressions of a Boy Named Charlie Brown was an impressive—even unprecedented—release for the era. And, while the LP was a strong seller, Bang writes, “Fantasy never enjoyed the promotional ‘bump’ they had expected from a television airing. And consider the historical irony: This must be one of the few times (the only time?) that a record label released a soundtrack album for a film never granted public exposure.”

Just one year later, however, Mendelson and Guaraldi found far better luck with the animated PEANUTS special A Charlie Brown Christmas. While the now-iconic feature has become a yuletide tradition in households across America, its soundtrack remains a holiday classic—returning year after year to the Billboard Top 10, long rivaling Miles Davis’ Kind of Blue as the best-selling jazz album of all time, and—in 2022—earning a 5x Platinum certification by the RIAA. In the wake of A Charlie Brown Christmas, A Boy Named Charlie Brown was re-issued (to great success) with the abbreviated title in 1972. By then, the growing PEANUTS franchise included multiple spinoffs, including Charlie Brown’s All-Stars! (featuring “Baseball Theme”); It’s the Great Pumpkin, Charlie Brown; and You’re in Love, Charlie Brown.

Vince Guaraldi, meanwhile, would go on to score a total of 15 PEANUTS specials during his lifetime, with 1976’s It’s Arbor Day, Charlie Brown being his final project. Just hours after completing the recording, the 47-year-old musician died from a sudden heart attack, leaving a palpable gap in the PEANUTS universe. But Guaraldi also left behind an immeasurable legacy. In addition to his prolific catalog, the pianist introduced generations of children to the joys of jazz music with every airing of the PEANUTS specials. Today, more than 60 years after he wrote those first cues for A Boy Named Charlie Brown, Guaraldi’s music continues to inspire and connect with fans of all ages.

Click here to pre-order Jazz Impressions of a Boy Named Charlie Brown.

Track Listing (CD/Digital):

Disc 1:

1.    Oh, Good Grief

2.    Pebble Beach

3.    Happiness Theme (Happiness Is)

4.    Schroeder

5.    Charlie Brown Theme

6.    Linus and Lucy

7.    Blue Charlie Brown

8.    Baseball Theme

9.    Frieda (with the Naturally Curly Hair)

Disc 2:

1.    Linus and Lucy (Studio Test) *

2.    Linus and Lucy (Take 3) *

3.    Happiness Theme (Happiness Is) (Take 4) *

4.    Pebble Beach (Take 7) *

5.    Baseball Theme (Take 1)

6.    Oh, Good Grief (Take 1) *

7.    Schroeder (Take 3) *

8.    Baseball Theme (Take 2) *

9.    Oh, Good Grief (Take 1/Later Session) *

10. Schroeder (Take 2) *

11. Blues for Peanuts

12. Charlie Brown Theme (Take 4) *

13. Blue Charlie Brown (Take 1) *

14. Frieda (with the Naturally Curly Hair) (Take 1)

15. Fly Me to the Moon

16. Autumn Leaves

Track Listing (Record Store Day 2025 Exclusive LP):

Side A:

1.    Linus and Lucy (Studio Test) *

2.    Linus and Lucy (Take 3) *

3.    Happiness Theme (Happiness Is) (Take 4) *

4.    Pebble Beach (Take 7) *

5.    Baseball Theme (Take 1)

6.    Oh, Good Grief (Take 1) *

7.    Schroeder (Take 3) *

8.    Baseball Theme (Take 2) *

9.    Oh, Good Grief (Take 1/Later Session) *

Side B:

1. Schroeder (Take 2) *

2. Blues for Peanuts

3. Charlie Brown Theme (Take 4) *

4. Blue Charlie Brown (Take 1) *

5. Frieda (with the Naturally Curly Hair) (Take 1)

*previously unreleased

Craft Recordings and Bluesville Records announce a fresh batch of reissues for two highly influential guitarists: 1968’s This Is Buddy Guy!, which marked the debut live album from the celebrated artist, and Mr. Scrapper’s Blues, the 1962 comeback album from seminal pre-war axeman Scrapper Blackwell. Set for release on May 16 and available for pre-order today, both LPs will be issued on vinyl in partnership with audiophile leader Acoustic Sounds and feature all-analog mastering by GRAMMY®-nominated engineer Matthew Lutthans (The Mastering Lab). The albums are pressed on 180-gram vinyl at Quality Record Pressings (QRP) with faithfully reproduced tip-on jackets. Rounding out each title is an insightful obi strip with new notes by GRAMMY-winning producer, writer and musician Scott Billington. Additionally, the remastered albums are available in hi-res and standard digital audio today.

Since launching in early 2024, Bluesville Records has celebrated America’s bedrock music genre, as well as the trailblazing musicians who contributed to its rich traditions, through handpicked titles—all culled from the catalogs of such legendary labels as Stax, Prestige, Vee-Jay, Vanguard, Rounder and Riverside. Living Blues notes that John Lee Hooker’s Burning Hell album, with its intimate acoustic feel and brutally honest songwriting, “casts a spell” over the listener, while Tracking Angle praises the stereo edition for its “terrific sound,” placing Hooker “on stage in your room.” No Depression highlights the diversity of styles across the Bluesville reissues, showcasing the breadth of Hooker’s prolific career. Similarly, Last Night Blues by Lightnin’ Hopkins and Sonny Terry has earned glowing reviews, with Mojo calling it “excellent” and “hypnotic boogie joy bringers.”

For more information, visit bluesvillerecords.com and read about the latest releases below:

Buddy Guy — This Is Buddy Guy!

An eight-time GRAMMY winner, Rock and Roll Hall of Fame inductee and GRAMMY Lifetime Achievement Award Winner, Buddy Guy (b. 1936) has long been counted among the greatest guitarists of all time. A key figure in the Chicago blues scene, whose work as a singer, songwriter and guitarist always straddled the line of blues and rock’n’roll, Guy has influenced multiple generations of musicians (Jimi Hendrix, Eric Clapton, Gary Clark Jr. and John Mayer, to name a few) during his seven-decade-long career.

After relocating to Chicago in the late ’50s, the self-taught, Louisiana-born artist found his footing in the industry, releasing a pair of solo albums, as well as a handful of projects with harmonica player Junior Wells in the ’60s. Those lucky enough to catch Guy in concert, however, were privy to the full breadth of his talents—from his awe-inspiring extended guitar solos to his soulful vocals. Vanguard Records recognized this and sought to capture the power of his electrifying performances with 1968’s This Is Buddy Guy!.

Recorded live at the New Orleans House—an intimate venue in Berkeley, CA—the album puts listeners in the front row, as Guy performs original compositions (including his languid “I Had a Dream Last Night” and the funky “24 Hours of the Day”) with well-chosen covers, such as Little Willie John’s “Fever” and Eddie Floyd’s “Knock on Wood.” Accompanied by a tight-knit band—including saxophonists A.C. Reed and Bobby Fields plus bassist Jack Meyers—Guy is truly at the peak of his prowess.

“Buddy Guy is the most dynamic and influential guitarist to have emerged from the Chicago blues scene, with gospel-shaded vocal chops to match his instrumental skills. He is at his focused best on This Is Buddy Guy!,” writes Scott Billington. “Whether he is playing a simmering line behind his vocal, or spluttering out a solo with the frenzy of a machine gun, his formidable talents are always at the service of sublime passion.”

Click here to pre-order This Is Buddy Guy! and scroll down for a tracklist.

Scrapper Blackwell — Mr. Scrapper’s Blues

While lesser known than many of his contemporaries, singer, songwriter and guitarist Scrapper Blackwell (1903–1962) was a supremely talented musician of the early 20th century who carved his own path in the blues scene. With a revolutionary style that treaded between jazz and blues, Blackwell was known for his articulate single-note picking on the acoustic guitar—a technique that would inform the electric Chicago blues sound in the following decades.

Born Francis Hillman Blackwell, the self-taught, Indiana-raised musician (who earned the nickname “Scrapper” for his fiery nature) began performing as a teenager. In the mid-1920s, he established a musical partnership with pianist Leroy Carr. The duo quickly gained a following—touring across the US and releasing over 100 sides, including “How Long, How Long Blues” (the biggest blues hit of 1928), plus other soon-to-be-standards like “Mean Mistreater Mama” and “Blues Before Sunrise.” This era also found Blackwell exploring a solo career and recording songs like “Kokomo Blues,” which would later inspire Robert Johnson’s “Sweet Home Chicago.” After Carr’s untimely death in 1935, however, Blackwell withdrew completely from music.

Flash forward to the late ’50s, with the rise of the folk-blues revival, when Blackwell was encouraged to return to the spotlight. In 1961, he recorded a full-length album for Prestige Records’ Bluesville imprint. The intimate solo session, captured in Indianapolis, finds Blackwell on guitar and vocals, as he performs some of his best-known repertoire, including the above-mentioned “Blues Before Sunrise,” the instrumental “‘A’ Blues,” the up-tempo “Little Boy Blues” and “Little Girl Blues,” which features the artist on piano. Tragically, just as Blackwell was primed for a successful second act, his life was taken from him during a random mugging, not long before the album’s release. In the coming years, however, his recordings would influence an array of rockers, bluesmen and folk artists.

“Mr. Scrapper’s Blues . . . is his late-career masterpiece,” declares Scott Billington. “Whether playing a precisely articulated rhythm, or taking off on a daring single-string solo flight, Blackwell was an underappreciated blues guitar original.”

Click here to pre-order Mr. Scrapper’s Blues and scroll down for a tracklist.

Buddy Guy – This Is Buddy Guy! (Vinyl)

Side A:

1.  I Got My Eyes On You

2.  The Things I Used To Do

3.  (You Give Me) Fever

4.  Knock On Wood

Side B:

1.  I Had A Dream Last Night

2.  24 Hours Of The Day

3.  You Were Wrong

4.  I’m Not The Best

Scrapper Blackwell – Mr. Scrapper’s Blues (Vinyl)

Side A:

1.   Goin’ Where The Monon Crosses The Yellow Dog

2.   Nobody Knows You When You're Down And Out

3.   “A” Blues

4.   Little Girl Blues

5.   George Street Blues

Side B:

1.   Blues Before Sunrise

2.   Little Boy Blues

3.   “E” Blues

4.   Shady Lane

5.   Penal Farm Blues

For more than half a century, Norman Greenbaum’s 1969 anthem “Spirit in the Sky” has captivated listeners of all generations with its euphoric energy and bold, genre-bending sound. Now, Craft Recordings celebrates the song’s era-defying legacy with two special releases: a brand-new Dolby Atmos® mix of the single available to stream/download today, and a vinyl reissue of Greenbaum’s kaleidoscopic debut album, Spirit in the Sky, arriving June 13.

Long out-of-print, Greenbaum’s 1969 debut returns to vinyl in a replica tip-on jacket with lacquers cut from the original tapes (AAA) by Kevin Gray at Cohearent Audio. Anchored by its beloved, iconic title track, “Spirit in the Sky,” the album fuses rock, gospel, and psychedelia, featuring hidden gems like “Marcy,” "Tars Of India" and “Skyline” that highlight Greenbaum’s distinctive songwriting style. Meanwhile, the Dolby Atmos single gives fans an opportunity to experience “Spirit in the Sky” in transcendent spatial audio. Click here to pre-order and stream now.

Fueled by one of the most unforgettable guitar hooks in music history, the single “Spirit in the Sky” premiered in December 1969 and soon reached the No. 1 spot on charts across the globe, including the U.S., Australia, Canada, Ireland, the U.K., and Germany. Eventually selling over two million copies worldwide, the gold-certified track marked a major commercial and creative breakthrough for Greenbaum, fusing elements of rock & roll, gospel, pop, and psychedelia with a daring originality way ahead of its time.

A Massachusetts native who got his start performing in Boston coffeehouses, Greenbaum launched his career with the formation of Dr. West’s Medicine Show and Junk Band — a short-lived, Los Angeles-based psychedelic jug band whose 1966 single “The Eggplant That Ate Chicago” reached No. 52 on the Billboard Hot 100. Soon after the band’s dissolution, Greenbaum played a gig at The Troubadour in West Hollywood and caught the attention of producer Erik Jacobsen (known for his work on The Lovin’ Spoonful’s hit singles “Do You Believe in Magic,” “You Didn’t Have to Be So Nice,” and more). With Jacobsen at the helm as producer, Greenbaum soon set to work on Spirit in the Sky.

As he revealed in a 2020 interview with Rolling Stone, Greenbaum borrowed the title to “Spirit in the Sky” from a greeting card. After watching an episode of The Porter Wagoner Show, he composed the song’s lyrics in just 15 minutes, mining inspiration from Wagoner’s performance of a country gospel tune titled “Pastor’s Absent on Vacation.” Although conceived as a folk song, “Spirit in the Sky” took on an entirely new life in the studio, thanks in part to Greenbaum’s use of a Fender Telecaster with a fuzz box built directly into the guitar’s body. To accentuate the song’s gospel roots, Greenbaum and Jacobsen enlisted a Kentucky-born gospel trio called The Stovall Sisters, whose stratospheric harmonies provide a glorious counterpart to the track’s pulsating rhythms and fuzzed-out guitar tones.

Released via Reprise Records, “Spirit in the Sky” was initially met with apprehension from the label, due to its potentially controversial religious references as well as its unconventional length (the track clocks in at just over four minutes, at a time when pop hits averaged two minutes and 30 seconds). Despite that resistance, the song emerged as a global smash and gave Greenbaum his first hit on the Top 40 charts, where it held strong for 14 weeks.

A largely undiscovered gem released in October 1969, Spirit in the Sky shows the tremendous depth and scope of Greenbaum’s musicality, opening on the horn-driven R&B-funk of “Junior Cadillac” and closing out with the spacey psych-pop of “Marcy” (a sublimely loopy number hailed as a “great lost album track” by legendary rock critic Robert Christgau in a glowing review of the LP). Encompassing everything from groove-heavy country-rock to soul-soothing AM pop, the 10-song powerhouse ultimately serves as an alluring first entry in an eclectic solo catalog that also includes 1970’s Back Home Again and 1972’s Petaluma.

Since “Spirit in the Sky” first stormed its way up the charts, the song has made an indelible mark on pop culture and appeared in countless ads, TV shows, and films (including The Simpsons, Guardians of the Galaxy, Apollo 13, Wayne’s World 2, Aquaman and the Lost Kingdom, Ocean’s Eleven, Miami Blues, Remember the Titans, and Suicide Squad, to name just a few). The song has been sampled by artists including pop-punk pioneers Fall Out Boy (“I Don’t Care”), and covered by Elton John, Bauhaus, Gareth Gates, William Shatner, Doctor and the Medics, and more. Additionally, “Spirit in the Sky” is among a rare group of songs to have topped the UK Singles Chart three times, each with a different version: first in 1970 with Greenbaum’s original recording, then in 1986 via Doctor and the Medics, and in 2003 thanks to Pop Idol’s Gareth Gates—underscoring the song’s status as a perennial favorite spanning generations and genres. Praised as “proto-glam” by music historian Simon Reynolds and widely recognized for its sonic ingenuity, “Spirit in the Sky” also appears on Rolling Stone’s “500 Greatest Songs of All Time” list.

Norman Greenbaum reflects, “I'm humbled and deeply grateful that “Spirit in the Sky" continues to connect with people. It means so much that people have taken the song to heart, and I'm excited to see its journey continue."

Click here to stream/pre-order Spirit in the Sky.

Tracklist:

Side A:

1. Junior Cadillac

2. Spirit in the Sky

3. Skyline

4. Jubilee

5. Alice Bodine

Side B:

1. Tars Of India

2. The Power

3. Good Lookin' Woman

4. Milk Cow

Craft Recordings is excited to announce the first-ever vinyl reissue of Alison Krauss’ double-Platinum compilation, Now That I’ve Found You: A Collection. Originally released in 1995, the album offers a survey of early career highlights from the legendary bluegrass-country singer, fiddler and producer. A testament to Krauss’ virtuosic and versatile talents, the collection—released when she was just 23 years old—includes the best-selling country hit “When You Say Nothing at All,” the GRAMMY® Award-winning “Baby, Now That I’ve Found You,” plus timeless favorites from her solo releases, as well as those with Alison Krauss & Union Station and Alison Krauss & The Cox Family.

Now That I’ve Found You: A Collection returns to vinyl July 11th and is available to pre-order now, while fans can also find limited-edition pressings on Translucent Teal vinyl (exclusively at Books-A-Million) and Vintage Red vinyl (at CraftRecordings.com). In the meantime, listeners can also rediscover the timeless collection across digital platforms today.

While this reissue commemorates the 30th anniversary of Krauss’ career-changing collection, fans are also celebrating the long-awaited eighth studio album from Alison Krauss & Union Station, Arcadia, which dropped March 28th via Down the Road Records. To celebrate their first release in 14 years, the band is embarking on a 75-date North American tour, beginning tomorrow with a two-night stint at Louisville, KY’s Louisville Palace.

As an International Bluegrass Hall of Fame inductee, a recipient of the National Medal of Arts and one of the most decorated artists in GRAMMY history (with 27 awards to her name thus far), singer, fiddler and producer Alison Krauss has achieved a rarified status during her four-decade-long career. The past 25 years have garnered Krauss international fame thanks to numerous bestselling releases (both as Alison Krauss and Alison Krauss & Union Station), broadly acclaimed collaborations (including 2007’s Raising Sand and 2021’s Raise the Roof with Robert Plant), plus projects like the 8x-Platinum O Brother, Where Art Thou? soundtrack (2000) and the Academy Award®-nominated Cold Mountain soundtrack (2003). Yet her formative years in the industry, which began before she was even a teenager, prove equally inspiring and impressive.

Those years are chronicled in 1995’s Now That I’ve Found You: A Collection, which arrived a decade into Krauss’ career via Rounder Records. While she had already released five studio albums—including two with Union Station—Krauss wasn’t widely known outside the bluegrass scene. That would change, however, in the months following this release. The songs included in the compilation paint a portrait of an exceptional young artist, poised to break out in ways that she could never have imagined.

Born in 1971, Krauss was raised in Champaign, IL, where she began studying violin as a child. By her tween years, she had found a passion for bluegrass music and was building a name for herself in regional competitions and festivals. It was there that she connected with her mentor, bassist/songwriter John Pennell. At just 12 years old, the virtuosic singer and fiddle player joined Pennell’s band (the soon-to-be-renamed Union Station).

Two years later, after recording alongside Swamp Weiss and Jim Hoiles on 1986’s Different Strokes, Krauss signed to the revered roots label Rounder Records, releasing her debut album, Too Late to Cry, at 16 years old. The 1987 album, which earned Krauss critical acclaim, featured members of Union Station as her backing band and was primarily comprised of songs by Pennell, along with selections by the likes of Rodney Crowell, Tony Trischka and Nelson Mandrell, whose “Sleep On” showcases the expressive nature of Krauss’ vocals. 

In 1989, Alison Krauss & Union Station made their official debut with Two Highways. From this point forward, Krauss would alternately record as a solo artist or be billed as per above with the group. Earning a GRAMMY nod and multiple nominations at the International Bluegrass Music Awards (IBMAs), the album featured a mix of traditional material, originals by Pennell and a handful of covers, including the Allman Brothers’ “Midnight Rider” and the Paul Craft-penned “Teardrops Will Kiss the Morning Dew.”

Krauss returned to the studio as a solo artist to record her follow up, 1990’s I’ve Got That Old Feeling. Co-produced by renowned Dobro player Jerry Douglas (who would later join Union Station), the heartfelt album found Krauss maturing as an artist and crafting her own brand of bluegrass, incorporating elements of country and even pop in songs like “Tonight I’ll Be Lonely Too,” “Steel Rails” and “Dark Skies.” I’ve Got That Old Feeling marked Krauss’ first appearance on the Billboard Country chart, while the title track, penned by Sidney Cox of The Cox Family, also earned Krauss her first GRAMMY (Best Bluegrass Recording).

That winning streak continued with 1992’s Every Time You Say Goodbye, the second LP from Alison Krauss & Union Station, which received a GRAMMY for Best Bluegrass Album. As with their debut, the album blended traditional fare with unexpected covers, including Shawn Colvin’s “I Don’t Know Why” and Karla Bonoff’s “Lose Again” (famously recorded by Linda Ronstadt), plus a handful of originals, including the title track, which has long remained a fan favorite.

A year later, 21-year-old Krauss became the youngest artist ever at the time to join the Grand Ole Opry. Not long after, she guested with multigenerational bluegrass band The Cox Family—first appearing on songs like “When God Dips His Pen of Love in My Heart” on 1993’s Everybody’s Reaching Out For Someone, followed by the 1994 collaborative album I Know Who Holds Tomorrow, which featured traditional and modern spirituals, including those by Paul Simon (“Loves Me Like a Rock”), Loretta Lynn (“Everybody Wants to Go to Heaven”) and an original by Krauss’ Union Station bandmate, Ron Block (“In the Palm of Your Hand”).

In addition to her work with The Cox Family, Krauss was becoming an in-demand collaborator on other artists’ projects. Now That I've Found You highlights several guest appearances, including those with Jerry Douglas (“I Don’t Believe You’ve Met My Baby”) and Tony Furtado (a rendition of the Lennon/McCartney classic “I Will”), as well as the modern country standard “When You Say Nothing at All,” recorded by Alison Krauss & Union Station for a 1994 Keith Whitley tribute album. The compilation also features a variety of (then previously unreleased) solo tracks, including covers of “Baby Now That I’ve Found You” (first made famous by British ’60s soul group, The Foundations), Bad Company’s “Oh, Atlanta” and “Broadway” from Sidney & Suzanne Cox.

While 23-year-old Krauss was on the verge of stardom before the February 1995 compilation hit stores, her career skyrocketed following its release. The band’s cover of “When You Say Nothing at All” was a breakout hit for Alison Krauss & Union Station, peaking at No.3 on Billboard’s Hot Country Songs chart, landing in the Top 10 of Canada’s Country Tracks chart and finding success on both the US and UK pop charts. Certified Gold by the RIAA, the song went on to win Single of the Year at the Country Music Association Awards (CMAs). “Baby Now That I Found You,” meanwhile, was a Top 50 Country hit in the US and Canada, later earning Krauss a GRAMMY for Best Female Country Vocal Performance. Last year, Rolling Stone included the recording in its “200 Greatest Country Songs of All Time” roundup.

Thanks in large part to the success of both singles, the 2x-Platinum-selling Now That I’ve Found You became Krauss’ first of many bestselling albums—peaking at No.13 on the Billboard 200, No.2 on the Country chart and topping the Canadian Country chart. The album also earned high marks from critics. Rolling Stone praised Krauss as “A crystalline soprano, she sings with riveting emotion—and no melodrama whatsoever. [Now That I’ve Found You] gives up delicate wonders.” In a retrospective, AllMusic hailed the album’s unexpected success as “remarkable for a musician who had never captured the attention of a mass audience. It may have been a surprising success, but it also was deserved. Krauss was arguably the leading bluegrass musician of the late ’80s and early ’90s, pushing the music into new directions without losing sight of its roots.”

Indeed, in the years and decades following Now That I’ve Found You, Krauss has significantly shaped the sound—and popularity—of modern bluegrass, with over 12 million records sold worldwide. The Bluegrass Hall of Fame, which inducted Krauss in 2021, declared her to be “one of the most influential performers to ever be associated with bluegrass music.” She also remains among the most celebrated. In addition to her 27 GRAMMY Awards and 44 nominations, Krauss has received nine CMA Awards, 14 IBMAs and two Academy of Country Music (ACM) Awards, among many other honors.

To date, Krauss has released 15 studio albums (including those with Union Station and Robert Plant). Last month, Alison Krauss & Union Station released their highly anticipated eighth studio album, Arcadia—their first since 2011. The band kicks off their 75-date North American tour tomorrow in Louisville, KY. For a list of tour dates, visit the band’s official website.

Click here to pre-order Now That I’ve Found You: A Collection.

Tracklist:

Side A:

1.  Baby, Now That I’ve Found You

2.  Oh, Atlanta

3.  Broadway

4.  Every Time You Say Goodbye

5.  Tonight I’ll Be Lonely Too

6.  Teardrops Will Kiss The Morning Dew

Side B:

1.  Sleep On

2.  When God Dips His Pen Of Love In My Heart

3.  I Will

4.  I Don’t Believe You’ve Met My Baby

5.  In The Palm Of Your Hand

6.  When You Say Nothing At All

Four decades after igniting college-radio airwaves and launching R.E.M.’s remarkable career, their 1981 debut single “Radio Free Europe” is broadcasting a new signal. Today, R.E.M. proudly announces Radio Free Europe 2025, a five-track benefit EP led by a never-before-released 2025 remix by the band's longtime collaborator Jacknife Lee. The release celebrates the 75th anniversary of the “OG” Radio Free Europe/Radio Liberty (RFE/RL), and arrives just ahead of World Press Freedom Day on May 3.

Radio Free Europe 2025 is available to stream and download today. A limited-edition 10-inch orange-vinyl pressing—available for pre-order now exclusively via the official R.E.M. store and independent record stores—lands September 12. Proceeds from all vinyl sales will go to RFE/RL, an editorially independent nonpartisan and nonprofit 501(c)(3) corporation.

Radio Free Europe/Radio Liberty was established by the United States 75 years ago and currently broadcasts news and information in 27 languages to 23 countries where a free press is either banned by the government or under threat. Throughout the Cold War and continuing today, RFE/RL is often the only lifeline to the outside world for people living under extreme censorship.

Members of R.E.M. say this mission of promoting free expression has always resonated with the band.

“Whether it’s music or a free press – censorship anywhere is a threat to the truth everywhere. On World Press Freedom Day, I’m sending a shout-out to the brave journalists at Radio Free Europe,” says Michael Stipe, lead singer and founding member of R.E.M.

“Radio Free Europe’s journalists have been pissing off dictators for 75 years. You know you’re doing your job when you make the right enemies. Happy World Press Freedom Day to the ‘OG’ Radio Free Europe,” says Mike Mills, bassist and founding member of R.E.M.

“To me, R.E.M.’s music has always embodied a celebration of freedom: freedom of expression, lyrics that make us think, and melodies that inspire action. Those are the very aims of our journalists at Radio Free Europe—to inform, inspire, and uphold freedoms often elusive to our audiences. We hold dictators accountable. They go to great lengths to silence us—blocking our websites, jamming our signals, and even imprisoning our colleagues,” says RFE/RL President and CEO Stephen Capus.

Released through Craft Recordings, the Radio Free Europe 2025 EP was overseen by the band’s original producer Mitch Easter—who first captured R.E.M. at his Drive-In Studio during their maiden road trip to a professional studio in April 1981. That seminal session yielded the band’s earliest recordings of “Radio Free Europe,” “Sitting Still,” and the instrumental “Wh. Tornado,” all collected here.

The set opens with the 2025 remix by GRAMMY®-winner Jacknife Lee (U2, Snow Patrol, Taylor Swift, The Killers), who also produced R.E.M.’s final two studio albums, Accelerate and Collapse Into Now. Lee gives the track a fresh take while staying true to its indie-rock DNA. Completing the package are Mitch Easter’s original 1981 recordings—the sought-after Hib-Tone single mix of “Radio Free Europe,” its flip-side “Sitting Still,” the “Wh. Tornado” demo, and Easter’s long-rumoured, never-before-released 1981 remix “Radio Free Dub.”

In 2009, “Radio Free Europe” was inducted into the Library of Congress’s National Recording Registry for “setting the pattern for later indie-rock releases.”

Click here to pre-order/stream Radio Free Europe 2025 now.

Click here to make a tax-deductible donation to Radio Free Europe/Radio Liberty.

Craft Recordings is proud to announce Miles ’55: The Prestige Recordings, a 16-track retrospective spotlighting a series of landmark 1955 sessions recorded at Rudy Van Gelder’s storied Hackensack, NJ studio for Prestige Records. Featuring selections from Miles: The New Miles Davis Quintet, Miles Davis and Milt Jackson Quintet/Sextet, and The Musings of Miles, among others, Miles ’55 showcases one of jazz’s most important ensembles: the “First Great Quintet” comprised of then-relatively unknown players, including tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones, plus the likes of Milt Jackson, Ray Bryant, and Oscar Pettiford. That year marked a pivotal turning point for Davis, as he began to find his voice as a trumpet player and confidence as a bandleader, with his live performances hinting at the mythical figure he would soon become. These foundational recordings not only set the stage for the trumpeter’s future classics but also showcased the burgeoning genius of his soon-to-be legendary bandmates.

Arriving August 22, Miles ’55 will be available as a 2-CD set, 3-LP set pressed on 180-gram vinyl, and in both standard and hi-res digital audio. All audio has been remastered from the original analog tapes by GRAMMY-winning engineer Paul Blakemore, with lacquers cut for the vinyl version by Kevin Gray at Cohearent Audio while physical editions of the collection offer a new essay by GRAMMY-winning music historian Ashley Kahn (author of Kind of Blue: The Making of the Miles Davis Masterpiece), as well as insightful session notes by GRAMMY-winning writer, Dan Morgenstern. The complete collection is available to pre-order/pre-save, while the track “There Is No Greater Love” can be streamed today.

The collection builds on Craft’s Miles ’54 box set, which was released to broad acclaim last fall. Tape Op called Miles ’54 “A beautiful box set…The pressings in this release are excellent and sound incredible.” UNCUT added, “If you’re curious about this period in [Davis’] career, the newly mastered and lovingly packaged Miles ’54 is a fantastic place to start.” Tracking Angle noted that the remaster sounded “crisp and dynamic,” with “the bass thumpingly clear and precise, the trumpet golden, the other horns billowing brass and air, and the piano… percussive and blooming—in many ways, fuller-sounding,” while also praising the pressing as being on par with far more expensive editions. Nate Chinen at WRTI,  Record Collector praised its “dynamic remastering,” declaring the tracks to sound “breathtakingly fresh.”

***

“There was a particular sound that had defined the ’50s,” writes Ashley Kahn in the Miles ’55 liner notes. “It was an approach that balanced a modern, post-bop feel with echoes of a simpler time. And it belonged to one trumpet player in particular.” That musician was none other than Miles Davis (1926 – 1991). By the middle of the decade, Davis was confidently finding himself as a musician, composer, and bandleader. He had certainly paid his dues. After cutting his chops with such luminaries as Charlie Parker, Dizzy Gillespie, and Coleman Hawkins, Davis broke out on his own, first forming a nonet (early recordings of which were eventually released as The Birth of Cool), and scoring a recording contract with Prestige Records. Despite his struggles with substance abuse in the first half of the decade, Davis was clean, focused, and ready to get back to work by 1954.

That year, Davis headlined major New York venues, including Birdland, and recorded five landmark sessions for Prestige, resulting in albums like Miles Davis with Sonny Rollins, Miles Davis Quintet, and Miles Davis All Star Sextet. Yet, while 1954 found Davis maturing as an artist, it was the following year that solidified his path as a bandleader and genre-defining musician. Kahn notes, “On Miles’s 1954 recordings, one can hear a pronounced musical consistency coming together. In 1955, one can begin to identify it. His trumpet sound had locked onto an emotionally rich identity, intense and now constant.”

Perhaps Davis’ most defining moment of 1955, however, was the formation of a talent-packed yet virtually unknown ensemble of musicians, now known as the “First Great Quintet.” Featuring Sonny Rollins on tenor saxophone (soon to be replaced by another up-and-comer, John Coltrane), Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums, the group made their debut at Birdland in April. In another milestone, three months later, Davis delivered a momentous performance at the second Newport Jazz Festival. His much-talked-about appearance marked “The real beginning of the Miles Davis legend,” according to jazz critic Joe Goldberg in his 1965 book, Jazz Masters of the Fifties.

In between these key moments, Davis was also spending time in the studio, recording marathon sessions that would yield some of his best albums of the decade. Miles ’55 comprises three of these dates (all captured by the great Rudy Van Gelder) beginning with June 7th. Davis was still in the early days of solidifying his new band, and this date (a quartet setting) features two musicians that would become permanent members: Philly Joe Jones and Red Garland, with the addition of bassist Oscar Pettiford. First released as The Musings of Miles in September 1955, the session was comprised of two Davis originals (“I Didn’t” and “Green Haze”), Dizzy Gillespie’s “A Night in Tunisia,” plus the standards “A Gal in Calico,” “I See Your Face Before Me,” and “Will You Still Be Mine?”

In his track notes, which originally appeared on 1988’s Chronicle: The Complete Prestige Recordings, 1951–1956, Dan Morgenstern writes that this session “Represented the germination of The Quintet,” adding that Davis’ approach to balladry here highlights the “muted…playing that was to make The Quintet and its leader so very popular.” Kahn mirrors this in his commentary, noting that “Miles made the most of that feel in particular. It worked exceedingly well on slower blues and ballads, especially after pushing a Harmon mute into the bell of his horn. He came to use it regularly, and it helped him reveal himself through melody and mood.”

The second session, taking place on August 5th, featured the great vibraphonist Milt Jackson, pianist Ray Bryant, bassist Percy Heath, and Art Taylor, then an up-and-coming drummer. Tenor saxophonist Jackie McLean also joins for two of his own compositions: the bluesy “Dr. Jackle” and the up-tempo “Minor March.” Released in 1956 as Miles Davis and Milt Jackson Quintet/Sextet, the set also features Thad Jones’ “Bitty Ditty” and the reflective “Changes,” penned by Bryant.

Davis’ final session of 1955—captured on November 16th—is the most notable, as it resulted in the bandleader’s debut album with his solidified quintet (Coltrane, Garland, Chambers, and Jones). Released in 1956 as Miles: The New Miles Davis Quintet, the LP was comprised of four standards, an unusually snappy rendition of “How Am I to Know?,” plus “Just Squeeze Me,” “S’posin’,” and “There Is No Greater Love” (the only track not featuring Coltrane), as well as the debut of Benny Golson’s “Stablemates,” and the Davis original, “The Theme,” which would become his classic sign-off.

Simply featuring the bandleader’s first name emblazoned across the cover, the album, Morgenstern writes, “Exemplifies the group’s repertoire, pacing, and presentation.” While the quintet was still gelling, their raw talents were palpable. Morgenstern elaborates: “John Coltrane still seems to be seeking his true identity, he is certainly a new and distinctive voice and a commanding presence, the perfect foil for a fully matured and supremely confident Miles. And that rhythm section, while it was to refine its unity and suppleness even further, is already something to marvel at.”

Although Miles was not initially embraced by critics, the album would later be regarded as a defining moment in the trumpet player’s career. Kahn writes, “In 1965, [jazz critic] Joe Goldberg wrote that ‘It has been called the most important and influential group of its time. But when…Miles was released, few thought so.’ He argued that, in fact, all of Davis’ music since that album—save for his work with Gil Evans, and modal experiments like Kind of Blue—‘has been an extension and further exploration of ideas set down in…Miles.’”

As Davis skyrocketed to international fame, the quintet became the dominant small jazz group of the late ’50s and a defining voice in the hard-bop scene. In the ensuing years, Davis continued to push the limits of jazz music—shaping the sounds of post-bop and fusion, while experimenting with electronic elements, funk, rock, pop, and African rhythms well into the late ’80s. Today, Davis holds a mighty legacy as one of the most important figures of 20th century music, with an influence that expands far behind the realm of jazz.

Click here to pre-order/pre-save Miles ’55: The Prestige Recordings

Tracklist (3-LP):

Side A

1.  I Didn't

2.  Will You Still Be Mine?

3.  Green Haze

Side B

1.  I See Your Face Before Me

2.  A Night In Tunisia

3.  A Gal In Calico

Side C

1.  Dr. Jackle

2.  Bitty Ditty

Side D

1.  Minor March

2.  Changes

 Side E

1.  Stablemates

2.  How Am I To Know?

3.  Just Squeeze Me

 Side F

1.  There Is No Greater Love

2.  The Theme

3.  S'posin'

Tracklist (2-CD/Digital):

Disc 1

1.      I Didn't

2.      Will You Still Be Mine?

3.      Green Haze

4.      I See Your Face Before Me

5.      A Night In Tunisia

6.      A Gal In Calico

7.      Dr. Jackle

8.      Bitty Ditty

Disc 2

1.      Minor March

2.      Changes

3.      Stablemates

4.      How Am I To Know?

5.      Just Squeeze Me

6.      There Is No Greater Love

7.      The Theme

8.      S'posin'

Craft Recordings announces the first-ever vinyl reissue of Backwaters—the acclaimed 1982 album from innovative bluegrass outfit The Tony Rice Unit. Spanning an array of musical styles (dubbed “spacegrass”), Backwaters blends original material (“Backwaters,” “Just Some Bar in the French Quarters”) with acclaimed classics, including “My Favourite Things” and “On Green Dolphin Street.” Arriving September 12th, the LP is pressed at Fidelity Record Pressing with lacquers cut from the original tapes (AAA) by Kevin Gray at Cohearent Audio. This reissue marks the first time the original analog tapes have been used in the cutting process, as the original pressing was digitally mastered. Fans can also find the album on standard and hi-res digital platforms on June 27. Click here to pre-order and stream the album.

One of the most revered names in bluegrass, Tony Rice (1951–2020) was instrumental in shaping the genre during his lengthy career, while his distinctive touch on the guitar influenced countless others. Born in Virginia and raised in Los Angeles, CA, Rice launched his career in Louisville, KY, where he became the lead vocalist and guitarist of J.D. Crowe’s legendary group The New South. In the mid-’70s, not long after the release of their self-titled bestseller (featuring fellow bluegrass icons Jerry Douglas and Ricky Skaggs), Rice returned to California to join David Grisman’s esteemed quintet.

During his time with the celebrated mandolinist, Rice broadened his musical palate, incorporating jazz, classical and other styles into his repertoire while honing his guitar technique. Those explorations informed his projects at the turn of the ’80s—particularly those with his group, The Tony Rice Unit. Coining the term “spacegrass” for their experimental work during this period, the group blended extended improvisations with elements of jazz, plus dashes of classical and even prog-rock—all on acoustic instrumentation (a style broadly referred to as “new acoustic”). 1982’s Backwaters is among their most famous albums from this era—and a pioneering title in the new acoustic canon.

Backwaters finds Rice joined by a stellar line-up of bluegrass musicians, including his brother Wyatt Rice (rhythm guitar), John Reischman (mandolin), Todd Phillips (bass), plus Fred Carpenter and Richard Greene on violin. Rice’s world-class acoustic guitar picking skills are on display throughout, as he leads his group through originals like the upbeat “Backwaters,” the languid “Just Some Bar in the French Quarters” and the Latin-flavored “Mobius Mambo.” The band also showcases their versatility through a selection of jazz standards, including Dave Grusin’s “A Child Is Born,” Rodgers & Hammerstein’s “My Favourite Things” (in the up-tempo style of Coltrane) and Bronislaw Kaper’s “On Green Dolphin Street.”

While Rice’s work would shift to more traditional-sounding folk and bluegrass music in the years following Backwaters, the album has long been considered a masterpiece in his prolific catalog of work. Today, it remains a sought-after fan favorite. In a retrospective review, AllMusic declared, “This is excellent music, impeccably played by a group of guys who are all virtuosos on their respective instruments…. Every note sounds right, and each member of the ensemble plays with exceptional taste and class.”

Rice, meanwhile, remained a force in bluegrass for the next three decades, releasing more than a dozen albums under his own name and more than two dozen collaborative titles, including those with The Rice Brothers, Norman Blake and The Bluegrass Album Band—a supergroup, which he founded alongside J.D. Crowe. Hailed by Ricky Skaggs as “The single most influential acoustic guitar player in the last 50 years,” Rice was also a sought-after session musician who appeared on recordings by Mary Chapin Carpenter, Béla Fleck and Emmylou Harris, to name a few. A GRAMMY® Award-winner and multiple IBMA recipient, Rice delivered his final public performance in 2013, during his induction into the International Bluegrass Music Hall of Fame.

Click here to pre-order and stream Backwaters.

Tracklist (LP):

Side A:

1.  Common Ground

2.  Just Some Bar In The French Quarters

3.  Backwaters

Side B:

1.  My Favourite Things

2.  A Child Is Born

3.  On Green Dolphin Street

4.  Mobius Mambo

Tracklist (Digital):

1.  Common Ground

2.  Just Some Bar In The French Quarters

3. Backwaters

4. My Favourite Things

5.  A Child Is Born

6.  On Green Dolphin Street

7.  Mobius Mambo

60 years ago this summer, Stax Records’ biggest stars landed in the City of Angels for a two-night residency at South LA’s 5-4 Ballroom. Billed as the Stax Revue, the whirlwind visit was a milestone for the young Memphis soul label and marked the first time that many of the artists on the bill—Rufus & Carla Thomas, Booker T. & The M.G.’s, The Mar-Keys, The Mad Lads, Wilson Pickett, and William Bell—had played to a Los Angeles audience. But the high-profile engagement, which took place on August 7th and 8th, 1965, was also set against a backdrop of racial tension—just days before the Watts Rebellion.

The audio from this historic concert was shelved for decades, with highlights initially released in 1991 as Stax Revue Live At The 5/4 Ballroom. Now, Craft Recordings proudly presents Stax Revue: Live in ’65!—a deluxe collection that not only includes the electrifying Los Angeles engagement, but also unearths a rare hometown showcase, captured earlier that summer at Memphis’ Club Paradise, featuring David Porter, Booker T. & The M.G.’s, The Astors, and Wendy Rene. As a special bonus, the expanded album features previously unreleased recordings from both cities’ shows, including a charismatic set by Porter, a searing performance of “In the Midnight Hour” by Pickett, a lengthy jam of “The Dog” by Rufus Thomas, and a high-energy rendition of “Boot-Leg” from Booker T. & The M.G.’s which is available to stream as an advance single today.

Available August 8th on 2-LP, 2-CD, HD digital, and standard digital, Stax Revue: Live in ’65! features newly remastered audio by GRAMMY®-nominated engineer Joe Tarantino, while lacquers for the LP were cut by Jeff Powell at Take Out Vinyl. Rounding out the physical formats are insightful new liner notes from GRAMMY-winning author and journalist Lynell George and the compilation’s GRAMMY-nominated producer, Alec Palao. Click here to pre-order or pre-save the album and read more about both concerts below.

1965 was a milestone year for Stax Records. Founded just a few years earlier by Jim Stewart and co-owned with his sister, Estelle Axton, the independent Memphis label was a rising force in the soul scene, with a handful of charting R&B and pop songs, as well as a growing roster of stars, including Otis Redding, The Mad Lads, Carla Thomas, Rufus Thomas, and Booker T. & The M.G.’s (who, along with The Mar-Keys, also served as the label’s house band). At the top of the year, Stax signed a distribution deal with Atlantic Records—a move that would help the label reach a new stratum in the industry. Helping to fuel its output was the newly established songwriting team of David Porter and Isaac Hayes, who would soon pen some of the label’s biggest hits. Over the next year, meanwhile, Stax would become a household name, with best-selling albums and regularly charting singles by the above-mentioned artists, plus Sam & Dave, William Bell, and Eddie Floyd.

With momentum at an all-time high, Stax booked its first Los Angeles revue with the label’s buzziest artists: Rufus Thomas, Booker T. & The M.G.’s, William Bell, Carla Thomas, The Mar-Keys, The Mad Lads and The Astors, along with Atlantic recording artist Wilson Pickett, who recorded at Stax. The two-night engagement—taking place August 7th and 8th—was scheduled at the storied 5-4 Ballroom as part of local radio station KGFJ’s “Summer Spectacular.” Emceeing the events was The Magnificent Montague, a beloved DJ at the station, known for his famous (and eerily ominous) catchphrase, “Burn, Baby, Burn.”

Located just south of Downtown LA, the venue’s history is notable, given the racial tensions that were simmering in Los Angeles. Once known as the “Apollo of The West,” the 5-4 opened in 1922 as a segregated establishment, remaining as such until 1947. From then on, it hosted the biggest stars in jazz, blues, and R&B, including Billie Holiday, Duke Ellington, Sarah Vaughan, and Nat “King” Cole. “The site, and the surrounding territory, told a nesting set of stories about Los Angeles—both its freedoms and limits,” writes Lynell George. “Many African Americans…learned right away that ‘freedom’ was two-tiered; L.A. put forward its own spin on Jim Crow segregation.” On August 11th, just a few miles away, the Watts Rebellion began—a six-day-long response to longstanding racial discrimination and police brutality in the city.

Despite the looming events, the shows are remembered in a positive light—as a calm before the storm. “Stax…was its own revolution, then, a small but mighty entity, whose playlist consoled, inspired, and uplifted a listening nation who most needed it to face their day-to-day life-battles,” explains George. That stirring power certainly translated to tape. “The recordings we hear on Stax Revue: Live In ’65! have that wonderful quality of verité—the capture of a fleeting moment that has unforeseen portent,” writes Alec Palao.

While the sweltering, packed club was audibly thrilled for the line-up, both nights were likely just as exciting (or nerve-wracking) for those on stage—many of whom had barely performed outside of Memphis. “This trip...is the first where a lot of the core instrumentalists…played a more sophisticated kind of gig than where they had come from,” explains Palao. George adds that it was “A next-level opportunity…. The audience would finally be able to put faces to the voices that coaxed, calmed, and serenaded them.”

Standout moments from L.A. include The Mad Lads performing their Top 20 R&B hit, “Don’t Have to Shop Around,” William Bell crooning his signature soul classic, “You Don’t Miss Your Water,” and Rufus Thomas tearing the house down with a previously unreleased, nearly 20-minute-long rendition of “The Dog” (available exclusively on the 2-CD and digital versions of Stax Revue). Also making its debut is Wilson Pickett’s powerful performance of “In the Midnight Hour,” which had just reached No.1 on the R&B charts and crossed into the Billboard Top 40. “At this moment we hear [‘In the Midnight Hour’] before it has become a rock standard,” notes Palao. “It still belongs very much to the Black community.” Looking back on the whirlwind engagement, William Bell recalls, “We were so well-received. The people were just so fantastic. And, we, we were like on Cloud Nine.”

While the Los Angeles residency helped cement Stax as a force on the national soul scene, its artists were acutely aware of the shows’ high stakes. In contrast, the hometown recordings from Club Paradise find the performers in their comfort zone. “You hear more obscure artists, the crowd milling around, and a more relaxed feel,” writes Palao. “They’re having fun with it.” While the long-shelved Paradise tapes came with little information, it’s presumed that they were recorded in June or July 1965 during a radio DJ convention.

The Paradise tracklist offers a generous set by Booker T. & The M.G.’s, including their bestselling 1962 R&B chart-topper and Top 5 pop smash, “Green Onions,” a vibey rendition of the Gershwin classic, “Summertime,” and a previously unreleased recording of their Top 10 R&B hit, “Boot-Leg” (also on the 5-4 setlist). Also featured are The Astors, who perform their 1963 ballad, “What Can It Be,” while Wendy Rene gets the audience moving with her lively “Bar-B-Que” (both previously unreleased).

The evening also includes multiple selections from legendary songwriter and producer David Porter (whose credits would soon include “Hold On, I’m Comin’” and the GRAMMY-winning “Soul Man,” both written for Sam & Dave alongside Isaac Hayes). While Porter wouldn’t release an album of his own for several years, he takes the stage here as a solo act. “The good-looking singer could have probably made a go of it at the time, given the favorable audience reaction,” notes Palao. Highlights include his rare 1965 single “Can’t See You When I Want To,” as well as a heartfelt rendition of Gene Chandler’s “Just Be True” (both recordings make their debut in this collection).

In his liner notes, Palao ponders why these recordings (particularly the 5-4 sets) remained shelved for so long—particularly in an era when concert albums (like James Brown’s bestselling Live at the Apollo) were becoming all the rage. Whether it was sensitivity around the Watts rebellion disputes with Montague, or perhaps a more mundane reason as the label became busier, these performances certainly deserve to be heard again. 60 years later, they are just as electrifying. As Palao sums it up, “The 5-4 Ballroom show still packs the enviable punch of Stax in its prime, performing before its core audience. And the Club Paradise set reveals further, fascinating perspective upon this timeless tributary of American popular music.”

Click here to pre-order/pre-save Stax Revue: Live in ’65!

Stax Revue: Live in ’65! Tracklist (2-LP):

Club Paradise

A1. Booker T. & The M.G.’s – Green Onions

A2. Booker T. & The M.G.’s – Boot-Leg*

A3. Booker T. & The M.G.’s – You Can’t Sit Down

A4. Booker T. & The M.G.’s – Summertime

B1. Booker T. & The M.G.’s – Soul Twist

B2. David Porter – Just Be True*

B3. David Porter – Can’t See You When I Want To*

B4. The Astors – What Can It Be*

B5. Wendy Rene – Bar-B-Q*

5-4 Ballroom

C1. The Mar-Keys – Last Night

C2. The Mad Lads – Don’t Have To Shop Around

C3. The Astors – Candy

C4. William Bell – Any Other Way

C5. William Bell – You Don’t Miss Your Water

D1. Carla Thomas – Every Ounce Of Strength

D2. Booker T. & The M.G.’S – Boot-Leg

D3. Wilson Pickett – In The Midnight Hour*

D4. Rufus Thomas – Walking The Dog

*Previously unreleased.

Stax Revue: Live in ’65! Tracklist (2-CD/Digital):

Disc 1: Club Paradise

1. Booker T. & The M.G.’s – Green Onions

2. Booker T. & The M.G.’s – Boot-Leg*

3. Booker T. & The M.G.’s – You Can’t Sit Down

4. Booker T. & The M.G.’s – Summertime 

5. Booker T. & The M.G.’s – Soul Twist

6. The Astors – What Can It Be*

7. David Porter – I’ll Be Doggone*

8. David Porter – Just Be True*

9. David Porter – Out Of Sight*

10. David Porter – Can’t See You When I Want To*

11. Wendy Rene – Bar-B-Q*

Disc 2: 5-4 Ballroom

1. The Mar-Keys – Last Night

2. The Mad Lads – Don’t Have To Shop Around

3. The Astors – Candy

4. William Bell – Any Other Way

5. William Bell – You Don’t Miss Your Water

6. Carla Thomas – Every Ounce Of Strength

7. Booker T. & The M.G.’s – Boot-Leg

8. Wilson Pickett – In The Midnight Hour*

9. Rufus Thomas – Walking The Dog

10. Rufus Thomas – The Dog*

*Previously unreleased.

Bluesville Records, the hub for all things blues from Craft Recordings, is pleased to return two long-out-of-print classics to vinyl: Furry Lewis’ Back on My Feet Again (1961)—captured in the initial years of the singer-songwriter and guitarist’s career revival—and 1959’s Memphis Slim at the Gate of Horn, recorded not long before the influential pianist, singer, and songwriter left Chicago for Paris. Arriving August 1st and available for pre-order today, both LPs will be issued on vinyl in partnership with audiophile leader Acoustic Sounds and feature all-analog mastering by GRAMMY®-nominated engineer Matthew Lutthans (The Mastering Lab). The albums are pressed on 180-gram vinyl at Quality Record Pressings (QRP) with faithfully reproduced tip-on jackets (including Studs Terkel’s original liner notes for Memphis Slim at the Gate of Horn). Rounding out each title is an insightful obi strip with new notes by GRAMMY®-winning producer, writer and musician Scott Billington. Additionally, the remastered albums are available in hi-res and standard digital now.

Since launching in early 2024, Bluesville Records has celebrated America’s bedrock music genre, as well as the trailblazing musicians that contributed to its rich traditions, through handpicked titles—culled from the catalogs of such legendary labels as Stax, Prestige, Vee-Jay, Vanguard, Rounder and Riverside. In addition to its ongoing schedule of reissues, Bluesville seeks to honor these foundational artists—and their immeasurable impact on modern music—through a variety of initiatives, including curated playlists, in-depth editorial content, dedicated social media channels and much more. For more information, visit bluesvillerecords.com and read about the latest releases below:

Furry Lewis – Back on My Feet Again

Known for his gentle vocals and nimble guitar technique, Walter “Furry” Lewis was among the earliest active bluesmen to find fame later in life, amid the ’60s folk/blues revival. Born in the 1890s, Lewis was inspired by Memphis’ vibrant music scene and, as a teenager, launched his career as a performer on Beale Street. In the late 1920s, he cut his first sides for Vocalion and Victor Records, including “Kassie Jones” Parts 1 and 2, “Billy Lyons and Stack O’Lee,” “Judge Harsh Blues” and “John Henry”—all of which would become signature tunes for him. But that momentum was short-lived. As the Great Depression took hold of the country, Lewis was forced to retire from his musical dreams and take a job as a street sweeper.

30 years later, however, Lewis was given a second chance at stardom when music historian Sam Charters sought out the bluesman, encouraging him to return to the studio. His second album from this period was 1961’s Back on My Feet Again, originally issued via Prestige Records’ Bluesville imprint. Recorded at Memphis’ Sun Studios by Scotty Moore (Elvis Presley’s original guitarist), Back on My Feet Again finds Furry in a stripped-down setting—his soulful vocals accompanied only by his acoustic guitar. His dynamic approach to the instrument is on full display, as he employs his signature stylings (including rolling finger-picking and slide playing) and revisits several of his well-known early recordings, including “John Henry” and “Big Chief Blues,” while weaving in traditional material (“Shake ’Em on Down”) as well as newer compositions—“Back on My Feet Again” among them. Despite Furry’s lengthy break from music, his talents never wavered. “As singers mature their music often achieves a new expressiveness,” Charters once remarked about Lewis’ career revival.

AllMusic writes that the album “show[s] Lewis in excellent form, his voice as good as ever and his technique on the guitar still dazzling. Audiences—initially hardcore blues and folk enthusiasts, and later more casual listeners—were delighted, fascinated, charmed, and deeply moved by what they heard.” Indeed, Lewis enjoyed the spotlight for the last two decades of his life—playing the festival circuit, opening for acts like The Rolling Stones and Leon Russell, appearing on The Tonight Show with Johnny Carson, and even inspiring the Joni Mitchell song, “Furry Sings the Blues.” 

Click here to pre-order and stream Back on My Feet Again and scroll down for a tracklist.

Memphis Slim at the Gate of Horn

Known for his deep, commanding vocals and spirited piano technique, Peter “Memphis Slim” Chatman (1915 – 1988) was not only one of blues’ most versatile players but also one of its most prolific—with over 500 recordings to his name. Named for his hometown, Slim spent much of his youth touring the Southern bar and dance hall circuit before relocating to Chicago in 1939, where the city’s thriving blues scene offered greater opportunities. There, he found work as a sideman, working with some of the city’s biggest stars—most notably, Big Bill Broonzy. During their tenure together, the guitarist and singer encouraged Slim to find his signature voice as a performer, and, by the end of World War II, the younger artist was ready to fly on his own.

Over the next decade, Slim and his band released a string of Top 10 R&B hits, including “Blue and Lonesome,” the poignant “Mother Earth,” “The Come Back” and “Messin’ Around,” which topped the chart in 1948. A 1949 B-side, “Nobody Loves Me,” (known better as “Every Day I Have the Blues”) would soon become a standard, recorded over the years by B.B. King, Fleetwood Mac, Carlos Santana and Ray Charles, among many others. As American roots music found a new generation of fans, Slim signed to Vee-Jay Records, where he recorded a collection of his best-known songs for 1959’s Memphis Slim at the Gate of Horn.

The album featured many of the above-mentioned hits, plus favorites like the effervescent boogie “Rockin’ the Blues,” “Gotta Find My Baby” and “Slim’s Blues.” Making its debut was the instrumental “Steppin' Out,” which would soon become a signature piece for Eric Clapton. Joining Slim was his longtime bandmate Matt “Guitar” Murphy (famously featured years later in The Blues Brothers film). Despite being recorded at The Gate of Horn, a 100-seat Chicago folk club, the album was not captured during a live performance. Rather, the set is intimate—offering fans a rare opportunity to catch the influential artist at his finest. “When you hear a blues artist sing something he himself created, you hear a performance in its most exciting, throbbing moment,” wrote Studs Terkel, who penned the album’s original liner notes. “A man is telling you of his heart and soul. Here is the beauty of this album.”

Click here to pre-order and stream Memphis Slim at the Gate of Horn and scroll down for a tracklist.

Memphis Slim at the Gate of Horn Tracklist (Vinyl)

Side A:

1.  The Come Back

2.  Steppin' Out

3.  Blue And Lonesome

4.  Rockin' The Blues

5.  Slim's Blues

6.  Gotta Find My Baby

Side B:

1.  Messin' Around

2.  Wish Me Well

3.  My Gal Keeps Me Crying

4.  Lend Me Your Love

5.  Sassy Mae

6.  Mother Earth

Furry Lewis — Back on My Feet Again Tracklist (Vinyl)

Side A:

1. John Henry

2. When My Baby Left Me

3. Shake 'Em On Down

4. Big Chief Blues

5. Old Blue

Side B:

1. I'm Going To Brownsville

2. Back On My Feet Again

3. White Lightnin'

4. Roberta