{"title":"Lil' Chief Records","description":null,"products":[{"product_id":"pre-code-hollywood","title":"Pre-Code Hollywood","description":"\u003cp\u003eFeaturing Production and Guest Contributions from Nile Rodgers. Jonathan Bree’s fifth studio album \u003ci\u003ePre-Code \u003c\/i\u003e\u003ci\u003eHollywood\u003c\/i\u003e is described as a “dark disco” album full of “sad bangers”. Jonathan Bree has been called a “master craftsman” by Allmusic and on his fifth solo album he has synthesized his concept into refined and focused pop songs that bring a sense of immediate nostalgia one might get when listening to a John Hughes movie soundtrack or classic pop of a bygone era.\u003c\/p\u003e\u003cp\u003eBree sent a brave email to David Bowie’s Lets Dance and China Girl producer “The Hitmaker” Nile Rodgers. 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These aren’t wallowing sad songs, instead, they chronicle Chelsea Nikkel's recovery, and provide a hopeful and cathartic listen. Princess Chelsea’s cinematic, dreamy pop has been refined over 11 years, five albums, an E.P, and 11 singles. Her delivery and songwriting is distinctive for layering almost naive earnestness with cynical, tongue-in-check wit and aural sparkles. 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The album’s steamy standard was set with single “Live To Dance,” featuring Princess Chelsea, which was accompanied by a strictly adults-only video which paid homage to Duran Duran’s The Chauffeur, featuring ballerina and cabaret artist Bella Filbey, whose exposed, erotic pose is the centerpiece of \u003cem\u003eDon’t Call It Love’s\u003c\/em\u003e striking cover. 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