Boardwalk - Boardwalk - VINYL LP

Indigo Sparke's majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations her words tell the stories, and the sounds act them out. It's a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work-it's a complex collection that expands her sound and outlook. Work on Hysteria began at the start of the COVID-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album's 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). InchOriginally we were going to co-write, but after he heard my demos he said, 'There's so much in here already,'Inch Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmaily and drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life. Centering Sparke's powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album's lungs, giving every note breath. From the pulsing immediacy of InchInfinite HoneyInch to the soaring InchGod Is a Woman's NameInch and InchHold OnInch's towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one's inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building InchPressure in My ChestInch and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. InchSet Your Fire on MeInch builds and bursts not unlike Angel Olsen's own raw folk-rock

*Only whispered about by collectors, Sidewalk's sole LP from 1976 was privately issued in a 100 copy run that sellers currently ask towards $10,000 for. Working directly with members of the band, Jackpot Records has lovingly restored the original master tapes to bring this record to private press fans for the first time. Sidewalk's sound existed somewhere between Steely Dan's relentless jazz-prog shredding, the outdoor festival chug of Chicago and the technical prowess of YES if they backed up a lost 70's AOR songwriter.At the height of FM Radio rock, Sidewalk combined high-level chops with innovative chord progressions and advanced studio production to create a serious contender in the Cal-Jam festival era. But they tragically disbanded after pressing up this sole LP as the only document of their existence. This LP is pressed on high-quality vinyl and includes original artwork with liner notes written by Doane Perry of Jethro Tull.

Charlie Feathers Rocks and here's the ultimate 31 track Bear Family Records® CD to prove it! The first tag and decade spanning compilation covering the 1950s to 1990s. No overlaps with the Bear Family Records® CD 'RockaBilly' BCD16309! Rockin' music from 195677 including classics like Get With It, One Hand Loose and Tear It Up plus supreme tracks from later years, incl. That Certain Female a later Rollin' Rock recording which became cometlike popular worldwide by Quentin Tarantino's blockbuster 'Kill Bill'! Recordings made for Sun, Flip, Meteor, King plus sides he made after his rediscovery in late '60s and early '70s rockabilly revival, a.o. some recordings for the tag Barrelhouse Records. As a bonus, there is the very rare track Adamsville by Bill Privett, with Charlie Feathers on guitar about a spectacular bank robbery in Adamsville (the hometown of Sheriff Buford Posser), Tennessee. Detailed liner notes by Martin Hawkins, roots music expert and author of the book 'Sun Records The Brief History of the Legendary Record tag'. Carefully remastered for the best possible sound quality. The long overdue tribute to a legendary uncompromising artist in our 'Rocks' series! The rocking music here is mostly from the 1950s and '60s (classics such as Get With It, One Hand Loose, Tear It Up) but some later tracks remind us that Charlie Feathers was playing and recording his own version of rockabilly in Memphis for over 40 years. Feathers was one of the very few artists who really did have a style all his own. His rock was not the same as anyone else's. It was more country, yet also more bluesy, and with a pulse all it's own; more about rhythm than anything. Charlie only had a short '50s career but on iconic labels like Sun, Flip, Meteor, King then was rediscovered in the '70s rockabilly revival and beyond.