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And unlike some of her contemporaries, she never gave up on twang as she developed her own voice. Zaino III. Bill Callahan has an uncanny ability to make you think about life. The images are vivid, the language simple, and the metaphors open to interpretation. His records seem to be made up of a million vivid scenes that combine for a compelling portrait of the human condition. And the music matches the dreamlike state of the lyrics. Guitars intertwine softly with slinky bass lines.
Callahan has used his art to make sense of the world, and in turn helps us make some sense of it, too. By romanticizing his experiences of love and loss, of remembrance and regret, of functioning in the world or feeling paralyzed by it, Sheff produced a standout collection of sordid and stinging stories. The songs on The Silver Gymnasium are packed full of forbidden love, controlling parents, fizzling friendships, premature death, prostitutes and drug addicts, broken-hearted bartenders, car crashes, self-medication, loss of innocence and clinging to the promise of youth as if your life depended on it.
The album grows on you, and sooner or later its nostalgia becomes your own—only the names and places are different. For 47 minutes on her breakout third album, Sharon Van Etten is right there with you, whispering her tortured lullabies into your ear in the most intimate manner. It feels like an artful exchange, a private conversation between artist and listener.
Though there are dense instrumental textures rumbling in the distance, Tramp is built mostly on sparse acoustic guitar. Its revelations are fixed in that intimacy, that private conversation Van Etten has designed to share with you, and you alone. Wolfe and fellow frontwoman Holly Laessig sing in unison or in close tonal harmony throughout the record, bringing an extra dose of force to an album already fortified by strong song structures, substantive lyrics and precise playing.
The album offers empathy for the heartbroken and sultry fun for partiers, all backed by fuzzy guitars and polyrhythmic percussion. That string-soaked introduction. That syrupy baritone. A sense of drama and a sense of humor. But it suits the talented Swede. The rustic trio marries uplifting jubilee and poetic earnestness with ease. The album is overflowing with upbeat Americana gems, but the real power here is found in the more somber tunes. The pair picked up the pieces and later found Pekarek and the formula for The Lumineers.
On their debut, they channel those dark and vulnerable moments in heartfelt highlights throughout. Her SubPop debut was a quiet, sublime album of intimate and earnest songs, but her simple arrangements of piano and strings received airplay on college radio next to Sleater-Kinney and Blackalicious.
Songs For a Blue Guitar is a standout, comprising acoustic-led ballads that run the gamut from somber to upbeat and always contemplative. But his seventh solo album, Break It Yourselffits those dreaded descriptors, from the titles onward. There are references to Greek mythology, to horrible international Album). There is, per usual, quite a bit of whistling.
It is, however, a bit more reserved than the earlier Birds. Break It Yourself greets its listener like a friend-turned-lover making the first move: sitting on opposite ends of the couch, inching closer and putting its arm around you.
The Civil Wars seems like the moniker for a band exploring overt, loud disagreement. They have no problem transitioning from tempered introspections to fiery declarations, at times within a single song. War has never been so pleasant. His voice—a pinched, warbly, nasal thing—simultaneously strikes as hyper-affected and unselfconscious and might turn a listener off instantly if heard as the former. His songs glide on an ever-shifting bed of gentle fingerpicked cross-rhythms.
Cripple Crow is stacked—22 tracks across 80 minutes. Banhart seems the kind of prodigious songwriter who effortlessly breathes material. Cripple Crow resembles a dream journal of half-remembered morningtime fragments. With mostly acoustic instruments—ukulele, banjo, accordion, violin, cello and trumpet—and soaring choruses, this Denton, Texas, quintet builds nearly every song into a joyful crescendo adding voices—and urgency—as it progresses.
The band went on indefinite hiatus in after moving to Nashville, but left behind this near-perfect snapshot of a time when anything was possible: three multi-instrumentalist buddies living together in a college town, playing house shows, and figuring out what was possible in the studio. Their optimism lives on in every vinyl groove. Scruffily handsome folkies are a dime a dozen in Seattle.
Violin and piano help elevate the songs beyond their earthy origins, and three-part harmonies—anchored by co-frontmen Josiah Johnson and Jonathan Russell, and boosted by the Cat-Power-gone-Appalachian crooning of violinist Charity Rose Thielen—sweeten the deal. Big Thief has amassed a large and devoted fanbase the old-fashioned way: by releasing four astonishingly good albums in just three-and-a-half years, by touring relentlessly and seemingly without rest, by Instagramming a lot of photos of themselves grinning and embracing each other in various bucolic settings.
Two Hands does not dramatically depart from the mesmerizing folk-rock fusion of U. Both records stand as outstanding and individual statements from a band operating at some rare creative peak.
Few albums truly exhibit the inscrutable mystery and inescapable desperation of the world as Folklore. Somehow, David Eugene Edwards and his band explored the edges of those vanished territories of the American folk-music tradition, channeling the fear of now lost pastorals. Stripping away most of the electric guitars and rhythmic drive of their previous work, the album rarely breaks from the dirge-like ruminations on God, judgment, love and murder.
Folklore speaks with the earthward metaphors of those who lived in the shadow of unseen pursuers and confronted their worst suspicions with music as their weapon. While his early releases were more a collage of loose ideas organized around a singular, murky sound, Daze presents 11 carefully composed tracks with beginnings, middles and ends. Vile was always a contemplative songwriter, but here his lyrics became more ponderous and worldly rather than navel-gazing.
Themes of movement and escape are the bedrock, providing a calming balance—lyrically, thematically, sonically. It closes exactly as it begins, with a long, winding, peaceful melody—one of the prettiest Vile has ever penned. In lesser hands, the American Graffiti -styled themes of star-crossed lovers and summer nights would drown in their own sincerity.
Here, they provide a pleasant escape to a mythical America of endless horizons and youthful resilience—not such a bad place to be. The title track is an apocalyptic love song submerged in waltzing, Spector-styled orchestrations—with Tillman embracing his wife, at peace as they drown. Sonically, Honeybear finds Tillman in a ruminative mood, favoring lavish strings, sweeping layers of voices and acoustic guitars.
The release of the scarves in High Hopes has received a huge cheer here in Brazil, which hasn't been the case previously. And the crowd had two surprises in store for David and the band: during The Girl in the Yellow Dress a cloud of coloured balloons was released which wafted across the audience, seemingly in time to the music; and for Run Like Hellthe final song of the set, before the encore, a group of fans in the front row held up handpainted posters each with 'RUN' on them. For the final few songs the rain poured and there were flashes of lightning, but no-one cared, and the concert ended with a moving Comfortably Numb.
As David said: "You've been a fantastic audience". When Polly and Damian arrived at the storey cultural centre, the building was suffering a power cut and they were nervously ushered into the emergency lift. Thankfully, five minutes later the power came back on and all concerned with organising Damian's first literary salon in South America breathed a collective sigh of relief. Damian both surprised and delighted the capacity audience by donning a tweed kilt and matching Highland jacket, a brave choice given the heat.
Polly read two extracts from her book, The Kindnessand Paula the translator did a great job of reading the Portuguese version. And then it was time to introduce the 'special guest', "he is the man who sings the lyrics that Polly writes", and then enters David stage right to a delighted and rather non-plussed audience. Damian asked David and Polly about their songwriting partnership and how the process works; David played some bars from early versions of Rattle That Lock and A Boat Lies Waiting to illustrate how the two of them create and shape the songs.
After questions from the floor there was a lengthy book signing, and then back to the hotel to prepare for an early departure to Curitiba, the next concert on this South American trek.
Listen to the podcast here. The atmosphere in the stadium was crackling with anticipation as the 45, chanted "David Gilmour", led by the 'standing room' only fans on the pitch. The afternoon thunderstorms had cleared and everyone was ready to enjoy a concert that they had waited many years to witness. The sea of iPhone lights twinkled around the stadium as the band began the opening 5 A. Between songs the chanting would start up and, at one point, just before A Boat Lies Waiting David had to gently ask for some quiet.
MoneyFat Old Sun and Comfortably Numb have rarely been played better, the extended improvised soloing saw David's playing scale the heights, supported superbly by the band, who all seemed to be inspired by the wonderful audience.
David told them: "How beautifully you are singing". And then a huge roar, which signaled the arrival of David and the band to the stage, with one newcomer, Lucita Jules, singing backup vocals with Bryan Chambers.
The band were on great form, taking up where they left off in London, but this time with a 'choir' of 40, joining in and singing along to the Pink Floyd favourites. Then it was time for the band to rehearse in the impressive green and white stadium, picking up where they left off in the Royal Albert Hall on 3rd October. Today will be David's first ever concert in South America. Tickets for the dates, on September 25, 28, 29 and 30will be on sale from Prices are the same as before, and there is a ticket purchase limit of four per person, per household, which will apply across all four shows.
As previously, the ticket holder's name will be printed on the ticket, and photo ID checks in place to confirm customer identity, to minimise the re-sale of tickets on the secondary market. Tickets will go on sale on Thursday 3rd December at Purchasers can charge by phone in the US on and from select Ticketmaster outlets, with a limit of two tickets per customer.
The performance made spectacular use of the venue's original special effects mechanisms, which can produce rain, fog and clouds through a system that draws steam directly from a Con Edison generating plant nearby.
Entitled David Gilmour: Wider Horizonsit is billed as 'an intimate portrait of one of the greatest guitarists and singers of all time'. The minute film covers much of David's personal and profession life, and features some of his collaborators, in particular Polly Samson and Phil Manzanera, who help to shed light on the creative process, including how some of the songs on Rattle That Lock were crafted. It is essential viewing for anyone interested in David's career and music, but, should you miss it, it will be available on the BBC iPlayer after transmission.
Click here for more information. A trailer, focussing on David's early musical learning process, can be seen below. Monday 2nd November Vote for Rattle That Lock A diverse shortlist has been announced of the 50 record covers, including Rattle That Lockthat have been nominated for 'Best Art Vinyl ' in Art Vinyl's annual search for the most creative and well-designed record cover of the year, joining an archive of designs from the past ten years.
You can cast your vote here. Sunday 18th October David, Polly and the Banned Tonight saw the staging of a concert to celebrate ten years of the Belarus Free Theatre, an artistic voice in a world where free speech and art is being suppressed: 'I'm With The Banned'.
Performing at London's Koko were a selection of artists whose stance has brought them to the attention of the authorities, including Brutto, Boombox, and Nadya Tolokonnikova of Pussy Riot. David appeared with a bespoke lineup of musicians, including four members of Boombox, Jon Carin, Bryan Chambers and, on Rattle That LockAlbum) all-star backing choir of Polly Samson, family and friends.
For more information on Belarus Free Theatre, go to belarusfreetheatre. Danny is profiled in a special documentary directed by Aubrey Powell, available in the Deluxe box version of the Rattle That Lock album, which also includes the animated film.
Click here to link to NPR. Saturday 3rd October Albert Hall No. Theo Travis played saxophone on the tour dates preceding London. Of a show packed with highlights, space precludes listing them all, but perhaps mention can be made of Jon's versatility on a multitude of instruments as well as vocals, Kevin's atmospheric organ intro to Us And Them and jazz piano on The Girl In The Yellow Dressalongside Guy's swinging double bass, an instrument he took up specifically to play the song.
Mention must be made of lyricist Polly Samson, whose words provide the emotional core of all but two of the songs from Rattle That Lock. To name but one, the explosive live power that is Duet - Paul Winter (2) - Common Ground (Vinyl Any Tongue starts with the lyric, and that, allied to David's impassioned vocal and guitar, the musical arrangement and the overwhelming audio and visual experience, is only one of the many reasons why this is a very special show. Tonight's setlist was David and band returned to London's most atmospheric venue tonight, ready to give their all to the penultimate show on this leg.
The audience responded to their energy with rousing support during the show, in which, as stated in the UK's Independent newspaper 'the peerless production values and breath-taking laser show of the finale matched the majesty of the music'. Tonight's show marked the return of Coming Back To Life to the set which included Thursday 1st October David Appears on 'Later Tuesday's show can be viewed in the UK here. Thursday 1st October Album Chart Update More International countries have published their charts, so we can confirm that the Rattle That Lock album has now topped the album chart in 11 countries, as well as reaching No.
Many thanks all the donors who gave selflessly to the campaign to save lives in the Mediterranean. The sum will keep the MOAS craft operational for more than six days, helping them to save more refugees in peril. To learn more about their work, click here. The list includes: No. It is at No. More album chart positions will be advised soon. At least another two are expected, so keep checking here for details; there should be another longer list here after Wednesday of this week.
Congratulations again to a great team for a great result. Friday 25th September Albert No. A wave of audience enthusiasm took everything up a notch, and the musicians gave it their all to a tremendous reaction throughout. Among a parade of special moments were the appearance of Gabriel Gilmour on piano for In Any TongueGuy and Steve's co-ordinated break in Sorrow and David's emotive and impassioned solos on High Hopes and Comfortably Numbbut the strength of the ensemble throughout meant that this was simply a fantastic show, without question.
Everyone can now take a short break before the final two London shows in a week's time. The full setlist was We all want to hit the top spot, however long we've been at it; I'm delighted. More chart positions around the globe will be posted in due course, but in the meantime it only remains to congratulate David, Polly and Phil, plus all the musicians and the team of engineers, designers, photographers and filmmakers whose contributions made Rattle That Lock such a successful and satisfying entity, as well as all at Sony Music for their sterling efforts.
Photo: Chiaki Nozu. Tonight's show built on yesterday's astounding presentation, with a relaxed band and an even more enthusiastic crowd, and as The Daily Telegraph said of last night's show, 'it was hard to imagine a better blend of atmosphere, visuals and sound'. Your donations, large and small, will make all the difference. Can we keep going? David has promised that if we reach this target, he will personally fund another four days, meaning that together we will have raised enough to keep MOAS at sea for eight days!
On an average day the Migrant Offshore Aid Station saves 30 lives. More from David here. A Boat Lies Waiting was therefore a poignant moment tonight, especially since there came the surprise appearance of David Crosby and Graham Nash, who of course sang on the recorded version. In a reprise of their guesting, they also added their peerless harmonies to On An Island as well as taking the lead on the verses of Comfortably Numb. His deservedly warm reception was, however, as nothing compared to the rapturous reception of the return of lasers to the live show: as mesmerising as ever, and monumentally exciting.
Live shows just don't get any better than this. The superlative production, light and sound really came into its own within the regal space of the Royal Albert Hall, in some places reducing the hugely enthusiastic audience to silence, and in other places to tears. The full list was Click here to see David and Polly talk in depth about their creative partnership, Syd Barrett, Roger Waters, Pink Floyd, the Rattle That Lock album and more, punctuated by clips from the studio recordings and the new live tour.
The indoor arena was at least able to offer shelter for music lovers from inclement weather, and, most importantly, was able to showcase the production's incredible circular screen, with its constantly changing animations and moving lights. The setlist remained as it has been recently, which is to say it included seven songs from the new album Rattle That Lockreleased only yesterday, to much acclaim.
This has allowed the audience to become more familiar with the new material, which was given a rousing welcome, most especially A Boat Lies Waiting.
David's fourth solo album Rattle That Lock is released today worldwide. Click here for all details. But let's not stop there. Operating from Malta, they use advanced drone technology to spot boats in distress and dispatch their ship, the Phoenix, to provide life-saving assistance. As David has said: "Please give what you can here. Together we can save lives". Learn more about MOAS's work here. Follow the wider campaign here. This did mean that the circular projection screen for this tour had to be retired for the night, forcing the lighting design to be adapted just for this one show by the lighting team, but the show lost none of its power as a result.
A collaboration between Sony Music France and France's national railway, the SNCF, led to a specially-chartered train being run from Paris to Avignon, close to Orange, and the lucky contest winners carried on the train were able to witness the band's soundcheck, in addition to being able to attend the sold-out show.
Two songs from the Rattle That Lock album grabbed the audience's attention in particular tonight: the powerful In Any Tongue and, as one might imagine, given its inclusion of the famous SNCF 4-note jingle, the title track, Rattle That Lock. For me and, probably, for you too, travelling to this part of the world is as easy as booking a flight or jumping on a bus.
But, as we have all been reading in the news, it's not that way for everyone. So far this year over 2, refugees have drowned in the Mediterranean trying to find a better life in Album). But there is something we can do to help. Today I would like to give you a challenge. If you can raise enough to keep it running for one day I will match your donations by funding another day myself.
If we raise more than the target that's no bad thing either! Please give what you can here. Together we can save lives. Tuesday 15th September Florence, Italy Tonight saw a change of style in venue, in that amphitheatres were exchanged for a custom-built venue, inhabiting a portion of a racetrack. The forecast was for thunder, but in the end it was another balmy night for the show in Florence and any thunder in the air was in fact the rapturous applause for another great show.
The full set was Even so, it could barely contain the marshalled excitement of David's Italian fans as they greeted every number with unrestrained enthusiasm. The threatened thunder and lightning failed to materialise, but was replaced by the electric atmosphere of a supercharged crowd, who reacted to numbers both old and new with equal enthusiasm, A Boat Lies Waiting perhaps being worthy of particular mention. After today's triumphant show, the tour team have to break everything down and reassemble the huge stage down the road in a completely different type of venue in Florence, so please spare a thought for unflappable Production Manager Roger Searle, for whom these shows are the culmination of many months of meticulous planning.
Following last week's triumphant indoor show, further credit must be given to Sound Engineer Colin Norfield and his team for balancing all the various sonic elements to great effect tonight in such a different setting. To listen to the programme, click here UK only. The shows scheduled for March 24th and 25th are both currently sold out. The extra tickets across both dates will be opened for sale on Saturday 12th September at Ticket buyers will be among the first to receive the new album, as every ticket purchased online will include a redemption for a Rattle That Lock CD.
On sale: BRT. Website: www. Website www. On sale: CRT. On sale: ART. For the sake of those who are yet to experience it, it probably is enough just to list the songs played Suffice to say that the screens, films and imaginative use of colour and staging made this a concert by which others should be judged.
For Brighton tickets, call the box office onor click here. For the London tickets, click here. They will be available online, at all Ticketmaster outlets, or by phone. The new date will be a rare performance at the venue that David last played with Pink Floyd back on 28th April Every ticket purchased online in North America will include a copy of the new Rattle That Lock album, via an online redemption link.
The choir has just relaunched their Website; visit it here. Launched at London's Wandsworth Prison in Aprilthe Liberty Choirs programme is a unique, community interest company and choir singing opportunity.
Created by MJ Paranzino and Ginny Dougary, it brings singers into prisons to join inmates as a choir, and provides ex-offenders the opportunity to join the choir and be part of a community upon their release. The programme follows through when the ex-offenders are released, with former prisoners joining community choirs, where they would recognise familiar faces and friends and re-integrate. David said: "The guys from the prison are lightened by this beautiful thing that they're doing and they're taking part in this action with no stigma.
Polly said: "The great thing was the milling around before and realising that on the whole there is no difference between people on the inside and people on the outside, it's just luck and circumstance. That was very clear today".
For more information and quotes, as well as more details on the choir's Major Founding Supporters, please see the Press Release from LD Communications.
Tickets can also be purchased at Ticketmaster. The poem itself encompasses twelve books, concerning the Biblical story of the Fall of Man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Trunk directors Alasdair Brotherston and Jock Mooney, alongside producer Richard Barnett, assembled a team of 12 animators, artists and compositors, who worked continuously over three months to bring the narrative and many technical elements together.
The team developed the narrative and took its main inspiration from the first three books of Paradise Lostbut also drew on details from across all twelve volumes. The film follows the fall of Satan from the kingdom of Heaven and his subsequent journey through Pandemonium, Purgatory and Chaos on his way to corrupt the virgin Earth.
Sounding unlike anything that came before, it filtered old Irish tunes through a decidedly college-rock lens. Calexico co-founders Joey Burns and John Convertino hear the world differently than most people. Not everyone would have imagined that surf guitar reverb would sound so at home beneath a blast of mariachi trumpet.
Feast of Wire is the Tucson, Ariz. While their proximity to the Mexican border is still a strong influence, Calexico raises the ante here with more song styles, instruments and collaborators. The result further proves that variety can provide just the right musical chemistry. Given the somber nature of some of the subject matter, many of the songs on Feast of Wire are unashamedly melancholic.
But all are emphatically vibrant and ultimately spiritually fulfilling because of the beauty of their construction and the honesty of their execution. InJohn Darnielle and The Mountain Goats were on the road when Darnielle learned that his abusive stepfather had died.
In giving The Sunset Tree over to this man, Darnielle explores a non-linear, irrational series of reactions. Kristian Matsson plays to his strengths on The Wild Hunthis second album. He keeps it simple, finger-picking strings to propel his gristly vocal melodies, which feel simultaneously cavalier and carefully wrought. Though his acoustic guitar often thwacks like a snare, his songs are uncluttered by percussion, harmonized vocals or the orchestral ornaments that are so prevalent in alt-folk.
After their eponymous debut album earned a well-deserved standing ovation from critics, Fleet Foxes set the bar high for their sophomore album. Helplessness Blues is sweet and comforting at its worst and inspiring at its best. The album is often about love — and the emptiness that can accompany its euphoria. Forget sexy. Although people with an affinity for homesick soldiers, star-crossed lovers and cleaver-wielding gangsters will find plenty to swoon over, The Decemberists brought epic back—and in a big way.
Hailing from the Rust Belt, Molina expertly blended the aggression of industry with a pastoral calm. But XO sure does. Tragically, Smith would have just one more album in him. On The Winter of Mixed DrinksFrightened Rabbit imbue their songs with sighing keyboards, screaming layers of melodious distortion, nested rhythms, choral harmonies—all the doodads that rock bands are liable to employ circa album number three.
The arrangements occasion stirring moments on the epic scale of early U2—this is burnished, stadium-sized, cloud-cover rock. The change is more one of scale than style.
This is a different sort of intimacy: The Winter of Mixed Drinks is less of a breakup record than a post-breakup record; the more pathetic feelings having hardened into self-reliant moxie. Frightened Rabbit wrings a winning simplicity from all this august isolation.
A cardiac pulse animates many of the songs, a mightily thwacking unison at the core of all LP kaleidoscopic embellishment. When writing songs together, Kakacek and Ehrlich developed a persona: Whitney is a lonely guy who drinks too much and lives alone. It was probably a pretty easy idea to embody. Both Max and Julien are quick to admit that the songs for Light Upon the Lake were written in the midst of consecutive breakups.
They felt a little bit like Whitney, so they built this as a bit of a concept album. If anything, it was the start of something new. The expansive lyrical content and layered allusions of Ys can be pretty hard to follow.
The record takes on a mythical cast, but if Newsom is delivering a parable, she leaves it to the listener to determine the moral of the story. Muchacho aims big. Like the benders and busts of Grievous AngelMuchacho pursues both sin and absolution and offers apology for neither. Houck works with elements of sand and soil and gold and steam to cast love in some comprehensible form of relief.
Rather, these songs are her attempt to make sense of it all, and she sifts through the promise, the heartache and the loneliness with dignity, even elegance. Julie Byrne is from New York City. And Seattle. And Chicago. And Buffalo. And probably other places, too. Her second widely distributed album, Not Even Happinessmakes a strong case for the latter. With a quiver full of memorable melodies and reverb that stretches to the horizon, this album is at once engaging, enigmatic and irresistible.
But Not Even Happiness is a beautiful and rewarding journey. InBrandi Carlile returned with her best album since The Storyand also her best yet. That Carlile remains the center of gravity in this star-studded universe is a testament to her considerable talents. Here she ably navigates a batch of songs that range from folk, country and blues to symphonic pop and rock pieces that would sound at home on a Broadway stage.
No matter the backdrop, Carlile sounds completely in control. No one probes the recesses of memory, of lost time and lost relationships, better than Mark Kozelek.
Those memories and relationships form the warp and woof of his worldview, and the tapestry he weaves is stunning in its longing and beauty. Musically, Kozelek alternates between gentle acoustic picker and Neil Young Godfather of Grunge mode, unleashing winding electric solos.
But the longing, the yearning, is a constant, and it is a palpable reminder of why he is one of the most distinctive and worthwhile artists of the 21st century. O is a stunning document of fragile eloquence that glides seamlessly from hushed ruminations to cinematic balladry. But if that sophomore album was a vivid glimpse into her weird little world, this sprawling sequel, conceived in flagrant defiance of conventional logic, is legitimately bananas. The title track is a serpentine fairytale of harp, mandolin, piano and other elfin instruments.
The album is not for the fainthearted. But over the course of the album, a weird thing happens: Her flutters and flourishes become comfortable, even at their saddest, and her babygirl voice takes on a grand assuredness. A long time ago, the notion of this band changing your life was less the stuff of cringe-inducing Zach Braff screenplays and more plain truth.
Cherub Rock - Smashing Pumpkins* - Oceania 3D In NYC (Blu-ray), If You Act This Way - Various - Jamaica Ska (Vinyl, LP), Enrique De Melchor* - Lets Stay Together / Quedemonos Juntos (Vinyl), Verallgemeinerung, Cant Be Serious - Ginny* / Clive Stevens & Brainchild (5) - Cant Be Serious / Mystery Man (Vinyl, Beyond (Deeper Love) (Seven Grand Ballroom Dub Mix) - Terrence Parker - Disco Disciple EP (Vinyl), Journey Into Sound - Hypersport Ltd. - Product 1.0 Deluxe Edition Mix (File, MP3), Proof (3) - Gurls Wit Da Boom (Vinyl), Various - Die Goldene Schlagerwelt (CD), Jam Back At The House - Various - Woodstock Two (Cassette), Straight In At 37 - The Beautiful South - Song For Whoever (CD), New Yorks A Lonely Town - The Trade Winds - New Yorks A Lonely Town / Club Seventeen (Vinyl), Du Gehst Durch Alle Meine Träume - Tonny Eyk - Piano Party (CD), Change In Louise - Joe Cocker - With A Little Help From My Friends (Vinyl, LP, Album)