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Cecil Johnson Lyde Holden aka InchHome BoyInch (born 1948) is an artist whose musical talent has been unmistakable since his days as a young boy. Growing up listening to his parents 78 RPM Doo-wop, Blues, Jazz and Gospel records, he started signing in church when he was 6 years old. At the age of 10, his mother took him to the famous Club DeLisa (Chicago's celebrated night spot) and entered him in a talent contest where he won first price singing InchOnly YouInch by The Platters. This key-event had sparked a burning desire and a love for music in Cecil that would never leave him... it created an opportunity for him to become an entertainer and recording artist. Flash forward to the 1960's when he met Mr. Otis Leavill who was one of the leading figures in the Chicago Soul scene. Leavill was already a well-established recording artist, producer, recording studio co-owner and talent scout (he discovered Yvette Stevens aka 'Chaka Khan'). Guided by his now mentor, Cecil was exposed to professional studio recording work and productions. He began to work with Otis' roster of artists, developing his own songwriting skills and musical style in the process. Later he started working with many of Chicago's great musical talents of the time Curtis Mayfield, The Chi-Lites, Major Lance, Gene Chandler, Barbara Acklin... and countless others. Cecil Lyde helped recording songs for Chess, Brunswick and St. Lawrence Records. Sadly, by the early 1970's Chicago's famous InchRecord RowInch (the area where all the independent record companies were located) started to close down and as a result many bands broke up. Not discouraged by the closing of InchRecord RowInch, Cecil and some of his childhood singing buddies (under the name of Experience II) landed a production deal and found themselves signed to Capitol Records in 1973. The single 'Bout Time I Told You Baby' was well received and bec

Khruangbin's fourth studio album, A La Sala (InchTo the RoomInch in Spanish), is an exercise in returning in order to go further, and doing so on your own terms. It continues the mystery and sanctity that is the key to how bassist Laura Lee Ochoa, drummer Donald InchDJInch Johnson, Jr. And guitarist Mark InchMarkoInch Speer approach music. If 2020's Mordechai, the last studio LP Khruangbin made without collaborators, was a party record that enhanced the band's musical reputation far and wide, then A La Sala is the measured morning after. It's a gorgeously airy record completed only in the company of the group's longtime engineer Steve Christensen, with minimal overdubs. It's a window onto the bounties powering Khruangbin's vision, a reimagining and refueling for the long haul ahead. A La Sala scales Khruangbin down to scale up, a creative strategy with the future in mind.The trio's collective musical DNA, the years spent constructing it in Houston's local-meets-global cultural stew, ensures the band continues to sound like no one but itself. A cascade of crisp melodies emanates from Marko's reverb-heavy electric, dancing gently around Laura Lee's minimalist almost-dub bass triangles, while DJ's drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Yet there's a freshness to A La Sala's instrumental interactivity, less concerned with getting further out than going deeper in, a profound desire to celebrate the world's external wonders. Where prior albums strived towards music's polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin's sonic touch-points - whether spaghetti-western film scores (on InchFifteen Fifty-ThreeInch), West African discos (on InchPon PónInch), G-funk fantasias (InchTodavía VivaInch), living room dancing moments (the first single, InchA Love InternationalInch), or even

Limited vinyl LP repressing in gatefold jacket. Off the Wall is the fifth solo studio album by Michael Jackson. It was released on August 10, 1979, following Jackson's critically well-received film performance in The Wiz. While working on that project, Jackson and Quincy Jones had become friends, and Jones agreed to work with Jackson on his next studio album. Recording sessions took place between December 1978 and June 1979 at Allen Zentz Recording, Westlake Recording Studios, and Cherokee Studios in Los Angeles, California. Jackson collaborated with a number of other writers and performers such as Paul McCartney, Stevie Wonder and Rod Temperton. Five singles were released from the album. It was his first solo under Epic Records, the tag he would record on until his death roughly 30 years later. Album Tracks 1. Don't Stop 'Til You Get Enough 2. Rock with You 3. Workin' Day and Night 4. Get on the Floor 1. Off the Wall 2. Girlfriend 3. She's Out of My Life 4. I Can't Help It 5. It's the Falling in Love 6. Burn This Disco Out

Limited vinyl LP repressing in gatefold jacket. Bad is the seventh solo studio album by Michael Jackson. It was released on August 31, 1987, nearly five years after Jackson's previous studio album, Thriller. Bad was recorded during the first half of 1987. The lyrical themes on the record relate to media bias, paranoia, racial profiling, romance, self-improvement and world peace. The album is widely regarded as having cemented Jackson's status as one of the most successful artists of the 1980s, as well as enhancing his solo career and being one of the best musical projects of his career. Five of the singles hit #1 in the United States, while a sixth charted within the Top Ten, and a seventh charted within the Top Twenty on the Hot 100. Bad peaked at #1 in thirteen countries and charted within the Top Twenty in other territories. Album Tracks 1. Bad 2. The Way You Make Me Feel 3. Speed Demon 4. Liberian Girl 5. Just Good Friends 1. Another Part of Me 2. Man in the Mirror 3. I Just Can't Stop Loving You - Michael Jackson Feat. Siedah Garrett 4. Dirty Diana 5. Smooth Criminal