Grace, a live album originally released in 1972 is Franklin’s best-selling album of all time. To celebrate the 50th anniversary of the album, Rhino will be releasing a limited edition 2LP white vinyl. Featuring the title track ‘Amazing Grace’ as well as ‘Climbing Higher Mountains’. Track List LP 1 Side A Mary, Don't You Weep Medley: Precious Lord, Take My Hand / You've Got a Friend Old Landmark Give Yourself to Jesus Side B How I Got Over What a Friend We Have in Jesus Amazing Grace LP 2 Side A Precious Memories Climbing Higher Mountains Remarks by Reverend C.L. Franklin God Will Take Care of You Side B Wholy Holy You'll Never Walk Alone Never Grow Old

biggest things we experience - our traumas, upbringing, vulnerabilities almost like visual snow. This record is life through my lens, through my body - the mid 20s anxiety, the substance abuse of friends around me, the viscera of being in love for the first time, navigating PTSD and grief and self sabotage and joy, moving through worlds with wonder and sensitivity - what it’s like to be trapped in this particular body. There is a quote from a Joanna Hogg film called the Souvenir, it’s an A24 semi-autobiographical film with Tilda Swinton - it recounts a young film student falling in love with an older, charismatic man as a young film student then being drawn into his addiction - in an early scene he’s explaining why people watch films - “we don’t want to see life as it is played out we want to see life as it is experienced in this soft machine.” So there we have it, the record is called....My Soft Machine.” - Arlo Parks

Steven Hall, Jennifer Warnes, and Peter Zummo. 30 years have passed since Arthur Russell left us, in relative obscurity, from AIDS complications in 1992. Yet his work—as composer, songwriter and dance music innovator—is better known now than ever before. Since Audika Records and Arthur’s partner Tom Lee began excavating and curating Arthur’s vast archive beginning in 2003, critics worldwide have hailed Russell as a visionary. Countless younger artists cite him as an influence. There has been an internationally acclaimed documentary film (Matt Wolf’s Wild Combination) and biography (Tim Lawrence’s Hold onto Your Dreams), a critical study (Matt Marble’s Buddhist Bubblegum) along with various tribute albums, concerts and events. In 2016 Arthur Russell’s archive was acquired by The New York Public Library for the Performing Arts at Lincoln Center as part of their American Music Collection. If Arthur Russell isn’t quite the pop star he imagined he would be, he is at least widely considered one of the most significant figures in late 20th century American music. The majority of the material selected for “Calling Out Of Context” comes from two sources. The first was a completed album which dates from 1985, entitled “Corn” ofwhich three very different test pressings remain (complied and reissued in 2015). The second source was material earmarked for Rough Trade recorded between 1986 -1990. Both “Make 1,2” and “Hop On Down” (originally titled “Hop On Down To Petland”) are two songs that Arthur wrote specifically with the plan of releasing as singles. Sadly, Arthur was faced with an unsympathetic market which viewed his material as uncommercial or too eccentric. In the case of the abandoned Rough Trade recordings, Arthur had become ill due to complications from HIV. He simply could not let go of his material. Nonetheless, he worked and reworked songs into an infinite labyrinth of possibilities, working incessantly with confidence and optimism until the last years of his life. As a cellist, songwriter, composer, and disco visionary Arthur Russell consistently blurred the lines of our expectations of what pop music could be. Contrary by nature, Arthur’s spontaneous reaction to and altered perception of his environment produced music that remains challenging and contemporary. Arthur’s open hearted attitude to music was far ahead of its time, and now that time is ours. Track listing: The Deer In The Forest Part One-The Platform On The Ocean-You And Me Both-Calling Out Of Context-Arm Around You-That’s Us/Wild Combination-Make 1,2- Hop On Down-Get Around To It-I Like You-You Can Make Me Feel Bad-Calling All Kids (remixed with love by Walter Gibbons) “A nomad with an absolute commitment to freedom, whose natural element was music itself” - Olivia Laing “…a man crooning to himself out in the Iowa sunfields, killer whale deep in the ocean, drifting through the submarine city night and cobalt space” -David Toop/The Wire Tracklisting: Vol Side Track Title 1 1 1 The deer in the forest part 1 1 1 2 The platform on the ocean 1 1 3 You and me both 1 2 1 Calling out of context 1 2 2 Arm around you 2 1 1 That's us/Wild combination 2 1 2 Make 1,2 2 1 3 Hop on down 2 2 1 Get around you 2 2 2 I like you! 2 2 3 You can make me feel bad 2 2 4 Calling all kids

through his hometown. Russell’s childhood home and family echo, too, through ‘Just Regular People’, ‘I Wish I Had a Brother’, ‘Wonder Boy’, ‘The Dogs Outside are Barking’, ‘Sharper Eyes’ and ‘I Felt’. Meanwhile, songs like ‘I Kissed the Girl From Outer Space’, ‘I Still Love You’, ‘List of Boys’ and ‘Barefoot in New York’ fizz with pop and dance grooves, gesturing at Russell’s devotion to New York’s avant-garde and disco scenes. Finally, the long-awaited ‘You Did it Yourself’, until now heard only in a brief heart-stopping black-and-white clip in Matt Wolf’s documentary ‘Wild Combination’, awards us a new take with a driving funk rhythm and Russell’s extraordinary voice soaring at the height of its powers. On ‘Iowa Dream’, you can hear a country kid meeting the rest of the world - and with this record, the world continues to meet a totally singular artist.

the full breadth of Asha's illustrious career, we aimed to provide a snapshot into her ever- evolving musical journey and a tribute to the vast richness of her catalogue.

Australia, and New Zealand. In addition, "C'est La Vie" booked its successes in the United States, peaking at #9 on the Billboard Hot 100. B*Witched is available on vinyl for the first time to celebrate its 25th anniversary. Available as a special anniversary edition, 1000 individually numbered copies are pressed on orange coloured vinyl and include an insert with lyrics.

techno scene in Berlin, and the experimental punk spirit of his current base in London, ‘Memory Device’ is an enthralling introduction to a musician who resolutely defies pigeonholing. Written during lockdown, and recorded with Al Doyle (LCD Soundsystem, Hot Chip) in East London, ‘Memory Device’ is both a dizzyingly inventive exploration of Baba’s complex musical DNA, and a thought-provoking treatise on the collective angst of modern existence; a dance record dealing in small ‘p’ politics that, spiritually, has been three decades in the making. It was after moving to London that he began writing new music as a solo artist, with his debut EP, ‘Nomad’, released in 2017. Soon after he met British guitarist Nik Balchin while they were working together at a bar in Whitechapel. The new collaboration resulted in the February 2020 release, ‘This House’, an eclectic four-track collection fusing funk, blues and soul, and featuring production from Jamie Hince of The Kills. In July the same year the duo released an unofficial mixtape, ‘Rethinking Sensual Pleasure’, which they wrote while locked down together at Baba’s parents’ house in New Jersey. Today Baba describes this process of producing a longer body of work as being akin to “ripping a Band-Aid off,” giving them the confidence to begin writing their debut. Work on ‘Memory Device’ began shortly afterwards, culminating in the pair recording the album between November 2020 and February 2021 with Al Doyle, who was chosen for his vast experience operating at the intersection between dance and rock music. Catch Baba Ali on tour throughout the UK with Yard Act in February 2022.

Soul. Limited edition blackvinyl. Limited press.

the listener’s mistake to make. What kind of record is a man with a punk past going to make when he’s been a mod, a rocker and a rare soul collector in between? One that draws on a familial history of activism, sacrifice and earnest hustling – the very same things we’re all being called upon to conjure as a society in this present moment. This is a body of work that lets neither performer nor listener off the hook, yet still understands the need for care and cause in the spaces between. Consider it: A band of fighters meant for the clear-eyed lovers of the world. Ben Pirani is not fooling around, and neither are the working musicians who agreed to make this record with him.” - Jocelyn Brown Colemine Records is proud to present the debut LP from Ben Pirani. A record that feels so very easy and familiar, but at the same time fresh and relevant. Like the hype sticker says, “Soul music that’s so positive it might just spark a revolution!” Tracks 1. Try Love 2. Not One More Tear 3. Light Of My Life 4. Art School Girl 5. Can’t Get Out Your Own Way 6. You Brought The Rain 7. It’s Understanding 8. Dreamin’s For Free 9. That’s What You Mean To Me 10. How Do I Talk To My Brother?

01 Stolen Car 02 Sweetest Decline 03 Couldn’t Cause Me Harm SIDE TWO 01 So Much More 02 Pass In Time 03 Central Reservation (Original Version) SIDE THREE 01 Stars All Seem To Weep 02 Love Like Laughter 03 Blood Red River SIDE FOUR 01 Devil Song 02 Feel To Believe 03 Central Reservation (The Then Again Version)

Kweli to Ludacris have rhymed over her intensely strong but sensual music. There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade. Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’ But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters. Tracklist: If I'm In Luck I Might Get Picked Up, Walkin Up The Road, Anti Love Song, Your Man My Man, Ooh Yea, Steppin In Her I. Miller Shoes, Game Is My Middle Name, In The Meantime,

Kweli to Ludacris have rhymed over her intensely strong but sensual music. There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t Feelin’ Bitchy until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade. Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ’60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album Bitches Brew. Her 1974 sophomore album They Say I’m Different features a worthy-of-framing futuristic cover challenging David Bowie’s science fiction funk with real rocking soul-fire, kicked off with the savagely sexual “Shoo-B- Doop and Cop Him” (later sampled by Ice Cube). Her follow up is full of classic cuts like “Don’t Call Her No Tramp” and the hilarious, hard, deep funk of “He Was A Big Freak.” Tracklist: Shoo-B-Doop and Cop Him, He Was a Big Freak, Your Mama Wants Ya Back, Don't Call Her No Tramp, Git In There, They Say I'm Different, 70's Blues, Special People

a celebration of a club era when anyone who felt like an outsider sought each other and formed a community of freedom-seekers to express themselves creatively through the rhythm, which we still celebrate today. VINYL SIDE BREAKS Side A 1. I'M THAT GIRL 2. COZY 3. ALIEN SUPERSTAR Side B 1. CUFF IT 2. ENERGY 3. BREAK MY SOUL 4. CHURCH GIRL Side C 1. PLASTIC OFF THE SOFA 2. VIRGO'S GROOVE 3. MOVE 4. HEATED Side D 1. THIQUE 2. ALL UP IN YOUR MIND 3. AMERICA HAS A PROBLEM 4. PURE/HONEY 5. SUMMER RENAISSANCE