{"title":"Tiny Global Productions","description":null,"products":[{"product_id":"pulsars","title":"Pulsars","description":"\u003cp\u003eDave Trumfio grew up playing music in a suburban Chicago basement, but his native talent soon found him producing talents as diverse as house pioneer Mr Fingers, the legendary The Pretty Things and legendary reggae act Niney The Observer all within months of his first real go behind the mixing desk. Dave soon opened a studio in Wicker Park, just as a small contingent of cult heroes who lived there for cheap rent and cheaper bars - Liz Phair, Urge Overkill, Tortoise et al - burst into acclaim. Dave looked further afield - Billy Bragg \u0026amp; Wilco, Mekons, Captain Beefheart’s Gary Lucas, acts from Iceland, Australia, the UK. One afternoon Dave and his brother Harry recorded nine songs as Pulsars. Within weeks, the band opened for Oasis and was courted by ten labels, and soon signed seven-figure deal with Almo Sounds - founded by A\u0026amp;M owners Herb Alpert and Jerry Moss - the largest deal ever offered to a new Chicago artist. The band played with Sean Lennon, Blur and Supergrass and toured Japan four times, where they were hailed as heroes of subversive minimalist pop...but Almo Sounds’ promotion deal with Geffen fell apart just as Pulsars began a tour with Weezer. Promotion was pulled, and radio support collapsed in a mere moment. And that was it! Rolling Stone: \"One of the gems of the mid-Nineties alt-rock gold rush, the lone album by the brotherly duo the Pulsars is a himmering collection of blissed-out synth-pop peppered with references to long drives to Wisconsin, pet robots and S\u0026amp;M...” \u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50380229574987,"sku":"2215267","price":22.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50380229935435,"sku":"2215273","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_79c3bc11_thumbnail_4096.jpg?v=1726211260"},{"product_id":"house-of-all","title":"HOUSE Of ALL","description":"\u003cp\u003eThese days everyone loves The Fall, but rarely has a band's rise to cult status been quite as lengthy, unpredictable and unprecedented as that of those lovable Mancunian misfits who went through more line-up comings and goings than anyone sane would bother to count. Martin Bramah, The Fall's singer until Mark E Smith's lesser guitar skills caused them to swap places, was, per Daryl Easlea, \"possibly the last true equal to Smith in the group\" and likewise the longest survivor of the original line-up. Yet while The Fall was later famous for their legendary productivity, Bramah often went great spans of time between releases, releasing fewer albums in thirty-five years (under any guise) than he has in the last seven with Blue Orchids - who already have a fantastic new album in the can. What caused HOUSE Of ALL to come together is something of a mystery. Bramah has joined forces with four other mighty Fall alumni: Steve Hanley, The Fall's longest-serving bassist, as well as his brother Paul Hanley, who drummed on what may be the best run of Fall records, from \"Grotesque\" to \"Bend Sinister\". The three have also played together as Factory Star, for a brief period. Joining them are two surprise members - drummer Simon Wolstencroft, who joined the Fall around the time Paul left, and more surprisingly, guitarist Pete Greenway, The Fall's longserving and final guitarist who has, to our knowledge, never played with the other four before. And the album? Recorded in a burst of intense creativity, we won't tempt to propagandise you, the album speaks or itself, but it wouldn't be a false boast to say that it stands with much of the best Fall or Blue Orchids music, displaying an energy and psychic impulse all its own, each member playing as sharply and with as much drive as ever, around manic motorik grooves and a shocking lack of 'compromise'. It's an album of depth which demands multiple visits to uncover its many dimensions, yet it still satisfies upon first listen.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"LP","offer_id":50389275738443,"sku":"2020924","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50389276164427,"sku":"2020944","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/HOUSE_Of_ALL_-_HOUSE_Of_ALL_de898b04_thumbnail_4096.jpg?v=1726356674"},{"product_id":"the-greatest-hit-money-mountain","title":"The Greatest Hit (Money Mountain)","description":"\u003cp\u003eThe first really revolutionary fracture in The Fall was the departure of guitarist Martin Bramah. Commonly understood as the only viable challenger to Mark E Smith's dominance of the band, Bramah was The Fall's first singer and primary songwriter at the start. His subsequent group, Blue Orchids, was originally a reconstitution of the first recorded line-up of The Fall, without Mark, but with another slightly later Fall member, Eric McGann. After slight revisions in the lineup, Blue Orchids created a singular sound of maniacally aberrant psych on two thrilling singles - \"The Flood\" and \"Work\" - before recording one of the most imperfectly perfect debuts in what could no longer really be called 'rock and roll'.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eThe Greatest Hit (Money Mountain)\u003c\/i\u003e eschews the frenetic energy of those singles to present itself as the greatest 'morning after the trip' albums ever - Martin and Una's wonderful explanations of the experiential backdrop to \"Sun Connection\" take up nearly as much space as those of all the other songs combined! Without exception, the songs are brilliant, majestic and memorable . . . plus it's possible that more covers of songs from \u003ci\u003eThe Greatest Hit\u003c\/i\u003e have been recorded by bands of credibility and renown than from any single Fall LP (although we're counting!), with near-contemporaneous versions arising from Fish \u0026amp; Roses, Slovenly, Dustdevils and Aztec Camera and many others since.\u003c\/p\u003e\u003cp\u003eNever reissued on vinyl since its 1982 release, due to objections from the WB Yeats estate for the album's musical interpretation of the author's \"Mad As The Mist And Snow\" (now in public domain!), this deluxe edition includes a bonus album with two unreleased pre-album demos, two further demos released only on long out-of-print cassette compilations from more than forty years ago, and scorching live set featuring several of their early songs, extensive liner notes from Martin Bramah and Una Baines, a reproduction of the original lyric fold-over booklet and (with the 2LP version), a download card. The original artwork for the album and booklet have been restored painstakingly, and as Bramah himself says, \"It's better than the original.\" After over four decades, we're proud to make available this classic album again.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LPx2","offer_id":50395058045259,"sku":"2081098","price":27.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50395057619275,"sku":"2081489","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Blue_Orchids_-_The_Greatest_Hit_Money_Mountain_39df0a51_thumbnail_4096.jpg?v=1726454000"},{"product_id":"magpie-heights","title":"Magpie Heights","description":"\u003cp\u003eMartin Bramah, lead guitarist in The Fall, was the final original musician to leave the band and inarguably the most important factor in the band's original sound. What Bramah took with him on departure was a sort of hazy psychedelic vision featured so readily on The Fall's debut, Live At The Witch Trials, and continued through his work with Blue Orchids, even if that lineage was obscured somewhat by The Fall's popularity and consistent stream of releases. For Bramah, the decades after The Fall were fraught. After regrouping as Blue Orchids with fellow Fall castaways Una Baines and Rick Goldstraw), initial releases rose to notoriety with two caustic and intense 7\" singles, The Flood and Work, along with the more varied collection of songs featured on their debut LP, The Greatest Hit (Money Mountain), which topped the indie charts and remains a touchstone for many artists. Personal issues within the band made progress difficult. The 12\" EP Agents Of Change, introduced changes to their sound (in part due to their work with Nico - yes, that Nico). But after its release, silence followed. Bramah sightings were elusive - a solo on an album by Una's band The Fates, a 12\" single with mesmerising songs performed, oddly, in a sort of reggae style. A short second stint in The Fall. You get the picture. Any semblance of a career only began with a series of archival and new releases starting in 2015: a new studio album, followed by another new album nearly every year thereafter. Each sold better than the last, until this year's debut release by HOUSE Of ALL, a 'side project' featuring four other former members of The Fall. It was a hit within days of its announcement, in no small part to its immediacy - recorded in three days - and a healthy dollop of scandal . . . the spectre of retrospective threat to MES's hegemonic rule of The Fall. Greatest Hit (Money Mountain) with dollops of unheard material. And still, Magpie Heights is an unexpected addition to Bramah's canon, which will have increased by three brilliant album in under a year. That's more music, in fact, than Bramah released in his first three decades after leaving The Fall. The Face Of Time harkens back to the psych-garage of The Magical Record Of Blue Orchids, As My Vision Cleared makes a case for Bramah's unique stylistic sense within the realm of lysergic folk balladry, a kind of dark glam in Tableau Vivant . . . and seven other wonders. With a line-up now stabilised around Martin Bramah, longtime cohort John Paul Moran, Tansy McNally (whose painting adorns the cover), DeSelby Lewis and Howard Jones, the band may be coming to a city near you on the November \/ December 2023 tour. The expanded reissue of The Greatest Hit (Money Mountain) will follow shortly after.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50396269805899,"sku":"2166156","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50396270100811,"sku":"2166162","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Blue_Orchids_-_Magpie_Heights_6ad32b75_thumbnail_4096.jpg?v=1726480342"},{"product_id":"gut-feels","title":"Gut Feels","description":"\u003cp\u003eCD + A5 booklet package. Many of you will know JOHNY BROWN as the long-time leader of BAND OF HOLY JOY, whose quasiindustrial beginnings rapidly developed into ragged-but-beautiful glory to near chart hits and then a string of marvelous lengthy epics questioning the nature of everything under the sun. Gut Feels captures a little of all of that, but it's some beguiling musing on the glorious and lost early days of punk, youthful discovery and later attempts to recapture that magic. Just last night - by coincidence - David Lance Callahan told us about how John used to poke around Newcastle as a 12-year-old buying up objets-de-punk as early as the first Sex Pistols 7\"! Where does that magic go? is as good a question as any for many of us, and more than a few of us can relate in some way to lyrics such as: \"We listened to the Raincoats in our raincoats, And we listened to the Passions too, But mostly we were waiting for the Fall, We were always waiting for the Fall. By winter we were earring bum freezer jackets and end of pier soiled white drill shorts as we listened to the great white funk of A Certain Ratio and made uncertain adjustments to our lives . . .\" Ten haunting new songs from Johny, who perceives this project as an embryo of something new coming soon. There's an early-BOHJ tone to some of this, and Johny's collated a beautiful full-colour booklet of text, dialogue, lyrics and street photography to go along with it all.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"CD.","offer_id":50402596782411,"sku":"2184717","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Johny_Brown_-_Gut_Feels_93f4cfd9_thumbnail_4096.jpg?v=1726551697"},{"product_id":"continuum-5","title":"CONTINUUM","description":"\u003cp\u003eWhat a difference a year makes, right? HOUSE Of ALL's follow-up to their self-titled debut came about at some risk to band and label . . . so absolutely sure of their debut, Martin Bramah asked for an advance on recording costs for the follow-up before their self-titled album had even been released. Needless to say, things went pretty well with the debut, which led to a few sold-out tours, wildly enthusiastic press and great sales. Follow-ups do come with perils, but perhaps Bramah's presumption was the very thing which has allowed CONTINUUM to escape the dread second album syndrome, 2 because . . . it's fantastic! Whatever initial re-establishment of synaptic connection was needed to get things grooving on their debut, after many years since they'd last played together (excepting Peter Greenway, whose genuine bravery in joining four former members of The Fall whom he alone had never played with before) is history now. The grooves are bigger, the lyrics brilliant, Tomos Williams' production is top-notch and the necessity sitting on this album while the first one kept on rolling offered the advantage of allowing Dave Trumfio (of The Mekons and Pulsars) time to fine-tune the mixing and mastering . . . and it sounds HOT. HOUSE Of ALL will be playing plenty of dates (some below) to promote the album, and members will be available for interviews and whatnot throughout the year. And please note the sleeve joke 'continuum' from the first album cover!\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50402599338315,"sku":"2192746","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50402599534923,"sku":"2184723","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/HOUSE_Of_ALL__CONTINUUM_255a8ef2_thumbnail_4096.jpg?v=1726551818"},{"product_id":"where-it-really-starts","title":"Where It Really Starts","description":"\u003cp\u003eJon Langford's been in more bands than you have digits and that's true even if you were born with a few extras! From his early days in Mekons, Delta 5, Three Johns and even Sisters Of Mercy (booted for not wearing black) to a veritable explosion of one-off recordings and performances with more names than we could ever hope to list in full. A Wikipedia description for this group, The Bright Shiners (described therein as 'circa 2022 through at least 2023, in Northern California') provides some sense of the complex taxonomy needed just to keep track of Jon's massive oeuvre. Happily, that's an understated description of a serious new outlet for his endless creativity, and The Bright Shiners' recording activities have produced a full album, Where It Really Starts, the first recording in a collaboration with Tamineh Gueramy, Alice Spencer, and Jon's frequent musical partner, John Szymanski. Jon's never sung or written better, and the sense that the band realised they were onto something great is palpable in an instant. Each song is a minimalistic jewel - there's nothing here that doesn't need to be - yet the album is unsparing of aptly astonishing adornment - wonderful harmonies, horns, mellotron, bowed guitar, piano. looped percussion and more), by our reckoning this is one of Jon's finest works of art and his best outfit outside The Mekons themselves Jon Langford \u0026amp; the Bright Shiners will tour mercilessly throughout 2024.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50405275140427,"sku":"2188111","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50405275763019,"sku":"2188123","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Jon_Langford__the_Bright_Shiners_-_Where_It_Really_Sta_38b13c9c_thumbnail_40.jpg?v=1726575151"},{"product_id":"the-granada-sessions","title":"The Granada Sessions","description":"\u003cp\u003eBoth Tymon Dogg and Richard Dudanski had musical roots playing in The 101'ers with future Clash singer\/guitarist Joe Strummer. All three shared a deep love for southern Spain, due perhaps to the influence of the Romero sisters, Paloma (later \"Palmolive\" of The Slits) and the artist Esperanza, who were among the first Spanish punk refugees in London. Tymon's career began with beguiling interactions with Apple Records, The Moody Blues and future Led Zeppelin members John Paul Jones and Jimmy Page before he discovered his true musical self as a punk \/ folk experimentalist, opening shows for the likes of The Slits, Raincoats and Pop Group and becoming the longest-running musical foil in Strummer's career, continuing into The Clash and Mescaleros. Similarly, Richard played in Basement 5, Public Image Ltd, The Raincoats and others before following Esperanza back to Granada...which subsequently became second home to Tymon and Joe. Spain is not without its own punk heroes, and chief among them was Granada's Antonio Arias, another pal of Joe's and leader of Spain's musical heroes, Lagartija Nick, which also included Dacoits members Juan Codorniu and JJ Machuca. Antonio sings the albums two Spanish-language songs. while Tymon sings the other nine...and there's an instrumental, \"Mongols\", which the band considered too epic as a stand-alone instrumental to mess with! Tymon sings three songs from his past: \"The Wheel Of Life And Death\" has been heard before as a live bonus track on the expanded reissue of \"Battle Of Wills\", \"Conscience Money\" was heard in a very different version on the impossible-to-find \"Made Of Light\" album, and an embryonic take of \"Something To Prove\" turned up the even rarer 1989 solo album, \"Relentless\". If you imagine the playful elasticity of \"Sandinista!\" recast into a more straightforward record, with Tymon taking the lead on something more than that album's \"Lose This Skin\", you're halfway there. Guests include Killing Joke bassist \/ famed producer Youth and Dr Robert from The Blow Monkeys.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50415706931531,"sku":"2192929","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50415708668235,"sku":"2192939","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Tymon_Dogg__the_Dacoits_-_The_Granada_Sessions_ec048aad_thumbnail_4096.jpg?v=1726692071"},{"product_id":"interior-windows","title":"Interior Windows","description":"\u003cp\u003eIn the wake of Young Marble Giants’ breakup, two camps were created, with Stuart Moxham taking the band’s minimalist, geometric play to extremes and Alison Statton adding more warmth and feeling to the same basic template and creating something stunning but based in popular forms. Those two opposing - almost knee-jerk - means of forging new paths away from one of music’s most astonishingly unique debuts both happened to include Stuart’s brother - Alison’s former boyfriend - Phil Moxham. In recent years, both artists have almost reversed course, with Stuart proving himself an ace songwriter in classic pop form, and Alison’s work again approaching a modern abstraction of quiet folk music - experimental but accessible. But that’s another tale. Without a real template to guide him, Stuart’s new form of music - as The Gist - was widely regarded as wildly uneven. Stuart admits that he didn’t know which way to go, so in perverse style, he decided to take all directions at once. \u003c\/p\u003e\u003cp\u003eThe Gist’s original discography stood at a scant 18 songs, but only seven featured Stuart’s own voice, often in heavily processed and oddly mixed form. So while The Gist’s label, Rough Trade, had the widest array of unique voices in popular music, Stuart buried his own voice. Sales disappointed. The Gist were dropped. A decade later, starting with a critical reevaluation of The Gist’s sole album, Embrace The Herd, in an issue of Mojo, the tide begin to turn. \u003c\/p\u003e\u003cp\u003eRecent discovery of a trove of unreleased songs, versions and demos showed that Stuart had ample material on a par with his YMG work, sometimes in rough demo form, but often in five or six complete, entirely different arrangements. With the 2017 album of unreleased material by The Gist, \u003ci\u003eHolding Pattern\u003c\/i\u003e, a new audience discovered the band and the release sold out quickly. \u003ci\u003eInterior Windows\u003c\/i\u003e adds 13 new performances or alternate versions to the band’s catalogue, and does the service of finally making both sides of The Gist’s first 7” 45 (recorded at the same session as the final YMG single) available again, along with their contribution to the Rough Trade \/ NME classic compilation C81, and in keeping with The Gist’s tradition, at least one song on which Stuart does not appear. \u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50417059987787,"sku":"1095145","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50417059856715,"sku":"1095144","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2c83f1dc-9e1f-4a84-b7b8-77ffd680d5c8_thumbnail_4096.jpg?v=1726715294"},{"product_id":"magic-mothers","title":"Magic Mothers","description":"\u003cp\u003eAny reasonably knowledgeable fan of post-punk will likely recognise the name of Una Baines. A founder of both The Fall and Blue Orchids, Una's influence in the development of both bands is a matter of historical fact . . . so much so that people scarcely realise how few recordings she's actually made - a solitary 7\" with The Fall, one LP and a few singles by Blue Orchids, and that's it, barring her most recent recording, The Fates' obscure album \"Furia\", released nearly forty years ago on a tiny label until its rediscovery a few years back on the Finders Keepers label. Una's spent much of the last four decades working in community organising, raising a family, and functioning as a symbolic godmother to many Mancunian artists and musicians who cite her as an aspiration and mentor. Her band Poppycock has undergone several line-up changes between their sporadic - almost exclusively local - live appearances. Una was never shy in describing her personal ideals and artistic expression in terms of feminism - even if the term was occasionally derided by some female punk artists. \"Magic Mothers\" displays a consistency of vision rare traceable back to interviews she did during The Fall. Hearing it, we're reminded of the emotional fierceness set against pop arrangements from acts like Look Blue Go Purple and Dead Famous People, or the spare pop jazziness found in songs by Marine Girls, Tracey Thorn's pre-fame combo. The arrival of \"Magic Mothers\" will come as a surprise to many. Though recorded in fits and starts over the last fifteen years, it's a cohesive statement with an expansive cast of friends and allies, including Blue Orchids' Howard Jones and The Fall \/ House Of All's Simon Wolstencroft, plus many others. The original keyboardist for both The Fall and Blue Orchids, Una Baines returns with her brilliant musical partners for her first album in 39 years!\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50421954740555,"sku":"2196563","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50421955625291,"sku":"2196570","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Poppycock_-_Magic_Mothers_a07a8f56_thumbnail_4096.jpg?v=1726761677"},{"product_id":"the-last-glam-in-town","title":"The Last Glam In Town","description":"\u003cp\u003eRemember The Glitter Band? Original songwriter \/ leader John Rossall is back with his best album ever, abetted by glam-era friends, plus Nightingales and Membranes. Contrary to the old blather, it was The Glitter Band, and glam rock in general, that pointed to possibilities which exploded during punk, not -let's be honest! -the dirty beard-wearing post-hippie meanderings of pub rock. Glam! Those outfits! The endless soaring choruses! Outer space futurism! At its best, it couldn't be topped. Even famed glam fans The Ramones couldn't match the perfect minimalism of The Glitter Band, adding a \"ho!\" where \"hey!\" was already perfection. But it's not quite remembered that way. Glam's audacity was gummed up by over-reliance on early rock covers, stingy recording budgets, endless tours eating up writing time, and the showbiz machinations of jealous stars - damaging enough to prevent The Glitter Band from seeing their records released in America. Despite further hits, the band stumbled when John Rossall left, after their second album, to start a solo career that never quite took off the way his many fans had hoped. A small but niggling rock 'n roll question is, what might have happened had Rossall and group been given the time, budget and freedom to record an album of their own creation? \u003c\/p\u003e\u003cp\u003eIt's been nearly half a century since Rossall left the band he started, but - unbelievably - that question has now been answered by the release of the best start-to-finish album by The Glitter Band or any of its alumni. Recorded Simon \"Ding\" Archer and 2mixed by Dave Trumfio, Rossall's \u003ci\u003eThe Last Glam In Town \u003c\/i\u003eis a near-perfect album of soaring tunes, energy and fun, capturing the spirit of The Glitter Band audaciously accurately. Though ably assisted by longtime collaborator Mark Standley, members of his touring band, as well as The Nightingales (whose leader, Robert Lloyd sings two songs), and arch-fan by John Robb of The Membranes (who also sings two), it's John Rossall front and centre, clearly having the time of his life. Bob Bradbury contributes the mighty Got My Groove, and tragically, Alan Merrill of The Arrows, writer of rock standard\u003ci\u003e I Love Rock And Roll\u003c\/i\u003e, gifted Rossall a potential hit in \u003ci\u003eEqualizer,\u003c\/i\u003e shortly before his death due to COVID-19 complications. 2020 is the perfect year for the joyous rock abandon and soaring optimism of \u003ci\u003eThe Last Glam In Town.\u003c\/i\u003e\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"CD","offer_id":50447403712843,"sku":"1102961","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/eb03c23e-eebd-49af-9dd5-b829c1f44aea_thumbnail_4096.jpg?v=1727077360"},{"product_id":"funambulist-we-love-you","title":"Funambulist We Love You","description":"\u003cp\u003eFormed from the ashes of an unrecorded ’77 punk band, Speed, Band Of Holy Joy’s initial musical forays were largely in the domain of industrial bricolage and occasional bursts of madness. By the time they began releasing records under their own name in the 1980s, the band’s humanist tendencies came to the fore, with astounding portraits of people on the periphery, resulting in such classics as \u003ci\u003eRosemary Smith, Mad Dot\u003c\/i\u003e and \u003ci\u003eDon’t Stick Knives In Babbies Heads\u003c\/i\u003e. The sharp sensibilities of founder and leader Johnny Brown eventually led to a star-making deal with Rough Trade, a few near hits and career momentum shattered when the label collapsed mere days after what might have been the band’s breakthrough album. Slowly, a new Band Of Holy Joy has blossomed. Despite all the expected rock ’n roll trappings - Great shows! Killer tunes! Special guests! - the band operate, well, differently. In some aspects, they’re an art collective. Inspired by the possibilities which burst forth after punk, the band’s expression takes many forms. Visual artist Inga Tillere plays a large role in shaping the band’s aesthetic and live events, and in musical foil James Stephen Finn, Johnny’s poetic vision transcends expectations without resorting to desperate reaches into esoterica. \u003ci\u003eFunambulist We Love You\u003c\/i\u003e may be the first true literary examination of the malaise set forth by Brexit, Trump, the rise of the far-right and a general disenfranchisement from most post-war liberal values. It rarely names any names, and it’s far from strident, but it’s undeniably a record forged by 2017. \u003c\/p\u003e\u003cp\u003eLP - With Lyric Insert and Download.\u003c\/p\u003e\u003cp\u003eCD - With Booklet.\u003cbr\u003e\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"LP","offer_id":50449675092299,"sku":"1018560","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/084ff99e-bf30-4ccb-8373-4174f52f303c_thumbnail_4096.jpg?v=1727105717"},{"product_id":"fabstract","title":"Fabstract","description":"\u003cp\u003eYoung Marble Giants' \"Colossal Youth\" has mystified and beguiled audiences since its 1980 release. Seen by primary songwriter Stuart Moxham as \"a last gasp\" at making a record, Stuart insisted the one-off 7\" deal offered by Rough Trade be altered to allow an entire album . . . that paid off when with a big seller which produces cover versions even from bands whose members were a decade or two away from being born on the album's release. When YMG disbanded, Stuart was at a loss; he'd never envisioned a follow-up. A series of experimental recordings made with pal Phil Legg (Essential Logic) and supported by other YMG members, musicians from This Heat and Swell Maps, old Cardiffian pals, and new friends like Vivien Goldman resulted in an album, \"Embrace The Herd\", as The Gist. Released just before Rough Trade made bold moves toward pop charts with Scritti Politti, The Smiths and others, the album was odd for its time, but has since taken on the lustre of genius. Years of silence followed, thereafter intermittently broken by the odd release from small labels. Stuart delved into family life, though he never stopped writing and recording. In more recent years, two retrospective compilation of lost recordings by The Gist have been released, as well as a superb collaboration with French arranger Louis Philippe, \"The Devil Laughs\". \"Fabstract\" is the final gathering of Stuart's lost recordings. Compiling long-lost YMG-era tracks with the recent brilliance of \"Crow, Crow\" and \"Suburban Monochrome\", through bits of whimsy and vastly alternate versions of fan faves, this diverse album shouldn't work . . . but it does, telling a satisfying story of an underrated talent whose mistake was following his muse, not the charts. This album precedes a new recording, years in the making, produced by Dave Trumfio, which promises to be Stuart's most complete - and original - work since \"Colossal Youth\".\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50454528393547,"sku":"2208522","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50454534685003,"sku":"2208525","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Stuart_Moxham__Fabstract_3f4f46bb_thumbnail_4096.jpg?v=1727184499"},{"product_id":"speed-the-day","title":"Speed The Day","description":"\u003cp\u003eTim Burgess of The Charlatans hosts Tim's Twitter Listening Party on Saturday evenings, where he chooses an album in advance and the show's followers simultaneously click 'play', listening in tandem while sharing anecdotes, impressions and criticisms of that week's choice. It's not uncommon for the artists themselves to pop up and interact with fans, a welcome diversion while we're all bottled up at home. Tim's recent choice of Blue Orchids' \u003ci\u003eThe Greatest Hit (Money Mountain) \u003c\/i\u003ewas no random one - the album's influence on The Charlatans is palpable, though the album remains one of rock's greatest obscurities. \u003c\/p\u003e\u003cp\u003eSo one week after Susanna Hoffs turned up to talk about The Bangles, it was no surprise to see Blue Orchids founder Martin Bramah arrive and announce himself, only to mysteriously disappear in seconds, for the duration of the show. And thus it has been with Blue Orchids. Tantalising, brilliant songs appearing out of nowhere, an album arriving, only for Martin to take unannounced leave for years, without explanation. So it's a miraculous turn of good fortune that Blue Orchids have released as much new material in the last five years than in the thirty-six (!) years before that, even if you include Blue Orchids-buy-any-other-name combos like Thirst and Factory Star into that equation. The sterling quality and wit of those releases remains undimmed since the beginnings of the band back in 1980. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eSpeed The Day\u003c\/i\u003e retains the classic line-up from the last two albums' line-up and adds electric ukulele player Tansy McNally, hailing from Australia and adding a different psychedelic lacquer to an impassioned set of nine new songs, pls an oddly paranoid cover of Chicago's \u003ci\u003e25 Or 6 To 4,\u003c\/i\u003e which slyly mutates lyrics about late-night songwriting into a paean to speed. 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Once at the brink of possible pop stardom that Bramah tossed aside by refusing to move down south to London - which he did a few months later anyhow! - his music has always had a rather perverse commerciality. Relative to the size of their respective catalogues, Bramah's songs have been covered by credible artists roughly as often as those by his first band, The Fall. The hazy oddness and off-kilter sound of Blue Orchids' debut LP, The Greatest Hit (Money Mountain), did not offset its popularity of the cognoscenti. It sold over 15,000 copies and saw its songs covered by the likes of Aztec Camera and pioneering American indie bands such as Slovenly, Dustdevils and Fish \u0026amp; Roses, and it's still a cult classic today - soon to be released as a double album, with unheard songs.\u003c\/p\u003e\u003cp\u003eThe album recalls Blue Orchids' classic debut more than any other chapter of Bramah's catalogue - just take a look at the song titles! The lyrics were written in a freer verse than typical song lyrics allow, the music written later. John Paul Moran - Bramah's longest-serving musical partner - evokes the same eerie atmosphere from his keyboards as Una Baines did from her’s years before, with new member Tansy McNally (ukulele) and rhythm section Vincent Hunt (bass) and Howard Jones (drums) holding it all together. \u003ci\u003eAngus Tempus Memoir\u003c\/i\u003e is Bramah's most beguiling work in decades and will be supported by numerous UK dates throughout the year, in tandem with a host of special projects. Forty years on, Martin Bramah's Blue Orchids revisit the darker side of The Money Mountain in their most captivating work since their 1982 debut album\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black | LP","offer_id":50458778435915,"sku":"1159421","price":22.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50458779124043,"sku":"1159422","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a576a872-140e-4dee-8fff-06f905a9367c_thumbnail_4096.jpg?v=1727213867"},{"product_id":"black-cat-dark-horse","title":"Black Cat, Dark Horse","description":"\u003cp\u003eSince we've known him, Robert Lloyd has made quite clear his enormous affection for the songs and sounds of Freakwater, the duo of Janet Beveridge-Bean and Catherine Irwin who've been wrongly denied their place as rightful and willful progenitors of alt-country's 'movement', which (frankly) is to their credit. Their genius in offering absolute authentic to the sound oldtime Appalachian folk music with a modern façade that in no way negates tradition (one of their albums is titled Feels Like The Third Time) is unparalleled within the genre, and Freakwater remain under-appreciated. After the start of Covid, Robert dared approach Janet with the idea of recording together. Over the course of the long pandemic, songs were bandied about for months, and when recording was finally practical, a band was assembled with dates set up for a recording session in Valencia, Spain. Robert and Janet were joined by Robert's long-time ally, Pete Byrchmore, the musical foil for Robert's solo album on Virgin and a former Nightingale, Mark Bedford, the bassist for Madness and Terry Edwards' Near Jazz Experience, and Pablo Roda, Spanish mystery drummer, couldn't have worked out more perfectly. Tracks were selected without regard for collective presentation, just the goal of walking out of the studio with an album of perfect gems. Forget Lee \u0026amp; Nancy or George \u0026amp; Tammy, Rob and Janet have an immediate chemistry that only sounds long-lived - and too uniquely them to merit any comparison.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50468801544523,"sku":"2023902","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50468803215691,"sku":"2023915","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/LLOYD__BEAN__-_Black_Cat_Dark_Horse_9168e393_thumbnail_4096.jpg?v=1727352083"},{"product_id":"eilidh-bradley-project","title":"Eilidh Bradley Project","description":"\u003cp\u003eEilidh Bradley was a star in the eyes everyone who knew her. A famed local Mancunian scenester, record sleeve cover model (that’s her on the cover of The Bodines’ ‘Therese’, among others) and admirable performer, just why things never quite commercially clicked for her is a true mystery. A flirtation with possible great success with Solar Race - complete with ongoing support from John Peel, an LP for Silvertone recorded at Abbey Road by Steve Albini, and opening slots on Bush and Hole tours - didn’t really pan out, despite the stars seeming so perfectly aligned. Described by those who knew her as intelligent, ambitious and kind, Eilidh's life ended in tragedy in 2014. Her body was discovered at her home some time after her actual passing. No official cause of death was revealed. It was in those younger, carefree days of 1990 or 1991 - actual dates unknown - that Eilidh recorded a session of true pop perfection, with able assistance from Si Wolstencroft from The Fall, Chris Bridgett of Dub Sex, Andy Rourke from The Smiths and Primal Scream’s Martin Duffy. Eilidh and Si financed the session; all the fellows backing her did so out of sheer admiration for Eilidh’s talent. The four tracks they recorded were long thought lost, until Chris stumbled across a tape earlier this year. Each song is a stellar shimmering example of a project which might have led to a huge success, making the failure of any label to pick up the recordings a mystery. Sadly, three of the five members of this amazing quintet have now left us - Eilidh, Martin and - just shy of a year ago - Andy. It’s a small miracle that these tapes were found, roughly a third of a century after the studio date that produced them. This 12” EP comes in a 12” LP sleeve and is pressed in exceedingly limited numbers. 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Dwelling somewhere between avant-garde folk, Weimar cabaret and with an eerie sense of punk's D-I-Y ethos, the 1975 album failed to sell in appreciable numbers.\u003c\/p\u003e\u003cp\u003eBy then, \"Woody\" was known as Joe Strummer and had formed The 101'ers with Elgin Avenue friends and squat-mates. Tymon sporadically played songs with the band, including his \"Dog Dirt On Your Shoe\" (the only known recording of which is included here), a forerunner to punk expression if there ever were one.\u003c\/p\u003e\u003cp\u003eFinding himself in NYC years later, Tymon was ushered into the studio by Mick Jones to record the first song completed for \u003ci\u003eSandinista!\u003c\/i\u003e, \"Lose This Skin\", possibly the most polarising song on the album. 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Unavailable for forty years, the album has been expanded to include a seven-song 1980 live set and six rare studio tracks. With one exception, this extra material has never been available on vinyl, more than half of it was never released at all. Tymon's archives contain bountiful rare and unheard material, and this expanded edition of Battle Of Wills is the first of several planned archival releases.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"CD","offer_id":50482944704843,"sku":"2028829","price":14.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50482945163595,"sku":"2028830","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/cd086932-c3a4-bb87-e225-195872ec649a_fff340e4_thumbnail_4096.jpg?v=1727558491"},{"product_id":"four-against-fate","title":"Four Against Fate","description":"\u003cp\u003eAn air of the unsettled is a staple of Robert Lloyd’s career, from The Prefects’s dank dexterity and jittery paranoia of the first Nightingales’ release, \u003ci\u003eIdiot Strength\u003c\/i\u003e, onward through four decades of top-notch recordings. If the unique persona of Lloyd and crew always came across on their ten albums and countless line-ups, it was largely as an acquired taste of the musical cognoscenti. Labels good and bad seemed to feel, at one point or another, a public duty and a point of pride to release a Nightingales album before returning to the business of business. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eFour Against Fate\u003c\/i\u003e is remarkable. It’s the work of what’s now the band’s longest-serving line-up. The instrumental precision of any version of Nightingales has been one of the band’s defining hallmarks, but the psychic interplay of a group can take a few albums to kick in with full majesty - here’s proof of that. The rhythm section of Fliss and Andi functions now on a purely intuitive level. Jim’s work now ranks with that of any guitarist in modern ‘rock’ music, not just in originality, but also across an egalitarian mass of inspiration. Each member sings. Although Robert’s voice functions as the band’s superego, Fliss takes lead in several songs. Few bands today sound as much like a single unit as do Nightingales, but this group has the bonus of a distinct and credible musical language, exemplified by The Desperate Quartet, which comes across as both a medieval war march and the anthem of looming apocalypse. When at the song’s halfway point, American classical musician Clara Kebabian’s violin and Mark Bedford’s (of Madness) double bass overtake the Robert, Fliss, Jim and Andi, it’s a jawdropper of such intense perversity that it alone defies the listener to not play the album again from the start. \u003c\/p\u003e\u003cp\u003eNot that this album lacks ‘hits’ - \u003ci\u003eThe Top Shelf, Everything Everywhere All Of The Time, Devil’s Due\u003c\/i\u003e and\u003ci\u003e The Other Side\u003c\/i\u003e are stunners. 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Down To The Marshes partially relies, as did the two volumes of English Primitive which preceded it, on strands of vaguely arcane British Isles folk music. Still, the album's subjects, tone and references are almost entirely modern; the presence of Indian modalities, for example, seems to dutifully acknowledge the country's post-war multicultural make-up . . . in case you've forgotten that this is modern music made with an eye to the future, whatever that may bring. That said, Down To The Marshes, is somewhat brighter, almost optimistic in a manner that the two previous albums were not, though with an slight ambiguous tone. \"Down To The Marshes\" has a joyous feel (particularly if one's aware that Callahan is a professional writer on ornithology), \"The Spirit World\" is welcoming, in spite of its cynical but brilliant lyrics. A slight updating to WH Auden's poem of German Jews fleeing the Nazis, \"Refugee Blues\", shows the underlying impulse behind it to be - tragically - as modern as ever. \"Robin Reliant\" soars, swoons and harkens back to the sound of Moonshake, and \"Island State\", the album's ambient folk ode, closes the album perfectly. You'll want to start it again. There are other treasures, of course. 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Decades of self-releasing compact disc-only albums from the far southwestern suburbs of London, with scant regard for promotion or the normal machinations of showbiz - touring, for instance - did little to spread the word about Rivers' unique and prestigious talents. A conversational singer with a delightfully warm and convivial stone, Rivers' sense of the absurd and willingness to portray aspects of life generally unrecognised by pop music, one supposes it's not entirely unfair to have expect Top of The Pops to come calling. Yet the relative absence of cult of Simon Rivers fans is somewhat perplexing, for his lyrics, ideas and tunes all do merit it. There's little affectation in the sense of stage persona, but heaps of personality and intriguing, occasional perverse idea. It's hard to listen to anything he's down without a degree of sheer enjoyment. It's real, without affectation. The very real bumps heads with the slightly mental, just like in life! So what does this new guise - Oldfield Youth Club - have to offer? It's partially a revival of Rivers' first 'real' band, Last Party, and it displays hallmarks of that band's youthful energy. There's a bit of teen glam in Good News I'm Afraid and (Theme From Oldfield Youth Club, even while lead track We're The OYC and When Bob Grant Ruled The World add a dollop of an energetic ruefulness to the mix. A Kind Of Loving In A Loveless Town is an immediate classic, a song one could hear dozens of times before really reaching the core of its magic and majesty. Lest this sound like the work of a solo artist, it does feel like a band - a rather clever one, in fact. Including members Kim Rivers and Neil Palmer (both from Last Party), as well as trumpeter \/ vocalist Alison Targett, Oldfield Youth Club is a band with an obvious musical kinship. There's a connection to the literal style of Vic Godard's Subway Sect (and members have been shared between both acts) or early Go-Betweens . . . there's an alchemical sensibility shared by all three acts wherein their words and tunes inform each other in a deceptively casual but arresting manner. It's hard not to love, a rare work that earns immediate affection and just grows better from there.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50490375242059,"sku":"2165071","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a3353501922_10_273df313_thumbnail_4096.jpg?v=1727660225"},{"product_id":"the-battle-of-twisted-heel","title":"The Battle Of Twisted Heel","description":"\u003cp\u003eMartin Bramah is a modest man, despite being one of the best and most consistent songwriters to emerge from the UK’s fervent post-punk scene. The original singer - that’s right, singer! - for The Fall, before it was discovered that Mark E. Smith could not actually play guitar, Martin wrote most of the original music for the first several Fall records - \u003ci\u003eRebellious Jukebox, Various Times, It’s The New Thing, Repetition, No Xmas For John Quays\u003c\/i\u003e - and was the last of the original members to leave (except for Mark.) Later he formed Blue Orchids, who released records for labels like Rough Trade, LTM and Cherry Red. During a lull in Blue Orchids activity in 2006, Martin decided to record a solo album for his own amusement, which he then made around two dozen copies of, making it among the rarest of all The Fall \/ Blue Orchids-oriented releases, and surprisingly, one of the best! With the exception of an overdub or two, Martin sings and plays all the instruments on the album. Nearly every song’s a winner, from the opening put-down of Fall main man Mark E Smith, \u003ci\u003eThe Fall Of Great Britain\u003c\/i\u003e to the closing \u003ci\u003eNecessity\u003c\/i\u003e. Not quite rock, not quite folk, the album’s simplicity and directness took on odd forms . . . when Martin formed Factory Star, initially with Steve and Paul Hanley (long-serving members of The Fall), the band went on to re-record many of these compositions in more rockin’ fashion. Jonny Langford of The Mekons \/ Waco Brothers and general good guy fame was taken enough with them that he ended up collaborating on a few songs with Martin (soon to be issued) while playing together Europe and having Martin open for the Three Johns reunion in 2015. Few people were lucky enough to hear the original release, which we’ve now restored, remastered and improved for its first ‘real’ release. Both the vinyl and compact disc versions are limited edition releases, and the vinyl comes with a download card. \u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"LP","offer_id":50494711365963,"sku":"1000588","price":17.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50494711923019,"sku":"1000587","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/29f7cf97-8ca0-4be6-aa42-9e20efa82d97_thumbnail_4096.jpg?v=1727707580"},{"product_id":"skull-jam","title":"Skull Jam","description":"\u003cp\u003eHot on the heels of their recent album, \u003ci\u003eThe Once And Future Thing\u003c\/i\u003e, Blue Orchids are back with a surprising new 10\" EP with Download and an ongoing tour with the mighty Nightingales. This is their first EP in over twenty years and it spans every aspect of the band's sound and ideas. The title track, \u003ci\u003eSkull Jam\u003c\/i\u003e is a short slice of pop-noise which harkens back to the off-kilter scree of early songs like \u003ci\u003eDisney Boys\u003c\/i\u003e. Their 1982 debut album had an embryonic recording of \u003ci\u003eHanging Man\u003c\/i\u003e, constantly revised through the years, including a nascent Brit-pop styled take performed with Craig Gannon of The Smith for Snub TV. This new version was recorded as a warm-up during the recording of their last album and mirrors recent live renditions, with a meteoric motorik vibe that the original never hinted at. Originally scheduled as the a-side and b-side of a 7\" single, no one was happy with the necessity of editing \u003ci\u003eHanging Man\u003c\/i\u003e down from its seven-minute length to meet the demands of the running time for a single, hence the decision to expand the single to an EP and include the song in its full glory. \u003ci\u003eThe Devil's Answer\u003c\/i\u003e was a hit for Atomic Rooster back in the early '70s, and its inclusion here proves that Martin Bramah and crew can imprint their sound and vision even on the least likely tunes! But for many, the plum is \u003ci\u003eWork Before The Moon Falls\u003c\/i\u003e. Written shortly before Bramah's original departure from The Fall, its lyrics were held back by Mark E Smith for a different tune, which became a standout track on the second Fall album, \u003ci\u003eDragnet\u003c\/i\u003e. 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After forty-one years with The Mekons, establishing agit-popster combo The Three Johns, spearheading the lasting Americana movement with stalwarts The Waco Brothers and, most recently, garnering the his best reviews in a career full of them with Jon Langford’s Four Lost Souls, his stature has never been more impressive. Martin Bramah similarly refused all entreaties to play the game. Bramah was a founder of The Fall, its guitarist and primary composer in the band’s first few years and even its vocalist, until it was decided that Mark E Smith was unfit to play any instrument at all. He left after writing -uncredited -much of the band’s second album, then rejoined two former Fall members, keyboardist Una Baines and bassist Rick Goldstraw in Blue Orchids, who continued Bramah’s exploration of psychedelic sounds and visions in a series of classic singles and an album for Rough Trade. Infrequent but brilliant releases and a few ignored attempts by others to mould him into a star have been bolstered recently with a burst of creativity and output greater than at any other point in his career. A chance opportunity to hang out and play a few shows in Eastern Europe led to a one-off recording date, in which Langford and Bramah laid down four songs. Langford’s \u003ci\u003eWorm In Your Ear \u003c\/i\u003eis a new original and was subsequently tinkered with back in Chicago, while Bramah’s \u003ci\u003eStone Tumbling Stream\u003c\/i\u003e is a new fast-paced version of one of his best tunes. 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Blue Orchids are still compared to The Fall; Bramah was the Fall’s first guitarist and songwriter, and Blue Orchids continued exploring ideas behind The Fall’s \u003ci\u003eLive At The Witch Trials\u003c\/i\u003e. \u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"LP","offer_id":50498023260491,"sku":"1045863","price":19.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50498023293259,"sku":"1045862","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/9f7b849c-a4d9-4ee2-b50c-b53bd0cc33f0_thumbnail_4096.jpg?v=1727737033"},{"product_id":"perish-the-thought","title":"Perish The Thought","description":"\u003cp\u003eIt’s unusual for an act to hit its peak after four decades. Yet here it is. The Nightingales emerge as the industrious ant to their peers’ workshy grasshopper personae, appearingvictoriously at the finish line to puzzled realisations that they’d ever even been in the race. The Nightingales have notoriously had a new label for each new album, a fact which might reasonably call for consumer caution, but they don’t fit in with anything like a scene,they speak their own musical language, and while they bust out slogans about being “slightly superior to others of their ilk” . . . the truthis, they have no ilk. \u003c\/p\u003e\u003cp\u003eFaust’s Hans-Joachim Irmler adds keyboards and The Lovely Eggs’ Holly Blackwell’s languid voice features on onesong, but the album’s real shock is that the band has now gelled to an unspoken, nearly psychic interplay. Captain Beefheart, one of Robert Lloyd’s musical heroes, is best known for the difficult-but-classic \u003ci\u003eTrout Mask Replica\u003c\/i\u003e, and like that album, this one contains narya ‘hit’, yet here every song sticks in the brain and grooves . . . outclassing Beefheart’s masterpiece with its effortless charm. John Peel noted, “Their performances will serve to confirm their excellence when we are far enough distanced from the 1980s to look at the period rationally and other, infinitely better known, bands stand revealed as charlatans\". It’s doubtful he would have bothered with such a pre-emptive defence if he’d been able to witness the explosive growth of the band during their second incarnation.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black | LP","offer_id":50498023784779,"sku":"1045861","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/cf365d5f-d009-4986-bf70-b501c8837af9_thumbnail_4096.jpg?v=1727737053"},{"product_id":"neon-primitives","title":"Neon Primitives","description":"\u003cp\u003eBand Of Holy Joy have gone through many incarnations of musical imagination, inspiration and output, without straying from their roots in poetic expressions of social observation and critique - and good tunes! As are their diverse spiritual brethren - The Mekons, Nightingales, The Pop Group - Johny Brown and compatriots are best in periods of social upheaval and rule by opportunistic, insipid demagogues, which is why Band Of Holy Joy, like the aforementioned bands, are in the midst of a powerful renaissance. Rarely had an album title inadvertently captured the zeitgeist in as perfectly absurd a manner as the last full length, \u003ci\u003eFunambulist We Love You\u003c\/i\u003e, and its ‘hit’ (if you will) was the metaphorical \u003ci\u003eTo Leave Or Remain\u003c\/i\u003e, which caught the shock of the Brexit vote results at a moment so hazy with confusion that the issuecould still be read as a metaphor for confusion in a personal relationship. But that ship’s sailed. What only two years ago was vaguely plaintive consideration in the face of a coming storm has now cemented into rage. In real terms, \u003ci\u003eNeon Primitives’\u003c\/i\u003e stand-out track,\u003ci\u003e The Devil Has A Hold On The Land\u003c\/i\u003e, names the very forces of evil which have led to the ills of 2019. It’s unlikely any other song released this year will call to mind the insanity of the current crises when we dare to look back, some years from now. Not to diminish the powerof the album as a whole . . . \u003ci\u003eLost In The Night’s\u003c\/i\u003e palate-cleansing exorcism leads the way to \u003ci\u003eThe Devil Had A Hold On The Land\u003c\/i\u003e. A surprise cover of Vincent Gallo’s \u003ci\u003eSo Sad\u003c\/i\u003e is the drowsy Sunday morning hangover to \u003ci\u003eEcstasy Snowbirds’\u003c\/i\u003e woke realisation of a failed relationship. \u003ci\u003eTake Head Calumniators\u003c\/i\u003e is a call to arms against deceivers, breaking the introspection of the two previous songs. The second side features four songs of loose optimism performed in a mixture of styles. \u003ci\u003eSome People Have Winged Fortune\u003c\/i\u003e fractures aversion of the melody from Orange Juice’s \u003ci\u003eUpwards And Onwards\u003c\/i\u003e to a message of hope. \u003ci\u003eUrban Pilgrims\u003c\/i\u003e, lyrically reminiscent of Band Of Holy Joy’s early song craft, is a half-told tale of spiritual renewal in a landscape which would seem antipathetic to any form of rebirth. \u003ci\u003eElectric Pilgrims\u003c\/i\u003e links the process of aging to the nearness of satori. 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Listeners will be dazzled by the consistency and peculiar brilliance of each and every track. As a label, we’re sometimes afforded the chance to get behind a release that’s more deserving of attention than albums by artists with much bigger profiles, and \u003ci\u003eThe Odd Shower\u003c\/i\u003e is a prime example of such an occasion. Dismayed by the lack of attention to their earlier work, much of Simon and crew’s recent work was released only digitally. Rather than continue on that path, they redoubled their efforts to create an album which deserved their full treatment. A 7” 45, \u003ci\u003eLove Rat \/ Less Than Love\u003c\/i\u003e preceded this album and some of the tracks hereon, but as infectious as that single was, it provides by sparing hints to the magnificent contents of the album. There’s a Postcard feel to the the the album - that bilious humour, a sarcastic sentimentality hovering in contrast to absurdist portraits of the modern age, and Vic Godard’s ever-present influence best explained by his newly enshrined position as the band’s organist. Their pugilistic yet literary sensibilities may be at odds, but they’ve allowed for the addictive electro- tango of \u003ci\u003eWords Of Love\u003c\/i\u003e, the bizarre social commentary \/ celebration \/ comedy of \u003ci\u003eGirls In FITS\u003c\/i\u003e (that’s “fighting in the streets”), the Fallish guitar and keyboard rant underlining \u003ci\u003eAngry All The Time,\u003c\/i\u003e and minimalist folk homily Mistakes, which self-reflects for barely a minute. It is a homespun masterpiece, and if its physical release is a surprise, the curious will be delighted to learn that five other songs from the sessions are included on a special (and limited) CD EP called\u003ci\u003e Excretus In Completus\u003c\/i\u003e. Two of these are from what might have the follow-up single to \u003ci\u003eLove Rat,\u003c\/i\u003e two others are songs which couldn’t be included on the album for reasons of running time, and we’ve also added Vic Godard’s remix of \u003ci\u003eThe Addison Brothers\u003c\/i\u003e, which Vic himself released as a very limited one-sided 7”, with original artwork from Mandy Prowse on the flipside.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"CD","offer_id":50498716401995,"sku":"1083622","price":12.99,"currency_code":"GBP","in_stock":true}]},{"product_id":"the-devil-laughs","title":"The Devil Laughs","description":"\u003cp\u003eMuch has been written about Young Marble Giants’ small, perfect catalogue, which contained roughly two-dozen songs, nearly each one a perfect gem. Less is known about his long wilderness years after the break-up of his first professional band. His next project, The Gist, chopped YMG’s minimalism into a new sound. \u003ci\u003eThis Is Love, Public Girls\u003c\/i\u003e and \u003ci\u003eFool For A Valentine\u003c\/i\u003e showed his songs to be razor-sharp, but the album’s fragmented pieces were a step too far for some, though even the strangest, \u003ci\u003eCarnival Headache,\u003c\/i\u003e when cast insunlight by Alison Statton’s combo Weekend, was as fine a song as any he’d written - and \u003ci\u003eLove At First Sight \u003c\/i\u003ebecame a million-seller when covered by Etienne Daho. Then Stuart disappeared. A rmid-90s resurgence led to fine albums done on low budgets, before more silence followed. 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After a run of fine albums with The Wolfhounds, outstanding work with Moonshake and collaborations with members of Stereolab and PJ Harvey (among others), Callahan has outdone himself on this long-awaited solo album, the results of which merit the sort of deep dive best explained with with ample time and a quality turntable. Whethe\u003ci\u003er English Primitive I \u003c\/i\u003eis a product of the past year's isolation or of a long-simmering brew only now ready for dissemination is something Callahan has yet to reveal. \u003c\/p\u003e\u003cp\u003eWhatever its origins,\u003ci\u003e English Primitive I\u003c\/i\u003e is the work of a massive talent. Wolfhoundian riffage offered enough ramshackle charm to somewhat obscure Callahan's darker, more penetrating writing. Likewise, Moonshake's musically bi-polar approach disguised his underlying political impulse. Here Callahan's lyricism finally, indelibly, proves him to be among the finest British pop craftsmen. This is his masterwork, a mélange of what has been called \"mutant Eastern, West African, folk, blues and post-punk influences\" . . . an improbable cross-cultural gumbo, yet one which coalesced into a swirling, kaleidoscopic psychedelia of emotion unlike any other record in this era. \u003c\/p\u003e\u003cp\u003eAs with any recording favouring the avant-garde –works like Balaklava, Brian Jones Presents The Pipes of Pan at Joujouka, and The Heart Of The Congos– one might expect that the impact o\u003ci\u003ef English Primitive I \u003c\/i\u003ewill be revealed slowly, over a much longer span of time than the the too-often workaday product of today's independent music scene. 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Which is a fine album, but from the vantage it offered alone, it was difficult to reconcile the purported massive influence the Velvets had over bands as disparate as The Fall, The Slits and Vic Godard from output like \u003ci\u003eOh! Sweet Nuthin’ \u003c\/i\u003eor \u003ci\u003eCool It Down\u003c\/i\u003e. But kids today, they’ve got it easy. In 2020, nearly everything’s available, anywhere, all of the time, making the dissection of influence difficult and perplexingly pointless to some degree. Bingo Harry has subconsciously stumbled across a peculiar stash of forerunners. \u003ci\u003eUncovered\u003c\/i\u003e by Martin Bramah, the ex-Fall guitarist now guiding Blue Orchids through a new golden age, and his bandmate John Paul Moran (also in The Monochrome Set), it was Bingo Harry’s live double-guitar approach -vaguely reminiscent of the Verlaine \/ Lloyd interplay in Television - that piqued interest. A partially aborted studio session with Bramah and Simon Ding Archer, another Fall refugee, offered other dimensions, a Flying Nun label-like affection for lo-fi pop psychedelia, a healthy dose of pre-glam Marc Bolan and Tyrannosaurus Rex, matter-of-fact respect for the original peace and love hippie era without extravagantly self-indulgent musical extensions. Bramah was taken with leader Benny Jones’ unreleased demos enough that Blue Orchids included a version of Benny’s \u003ci\u003eIf They Ever Lay A Finger On Us\u003c\/i\u003e as the closing track on their album Righteous Harmony Fist, more than two years before release of that same demo here. Bingo Harry is an introduction to the band through some of their initial batch of home recordings and early studio efforts. The group will be gigging regularly once the epidemic's over and recording the best of dozens of recently-written tracks. \u003cbr\u003e\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black | LP","offer_id":50503971340619,"sku":"1103553","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/616039d0-4e04-4892-a83a-05bdc9534e87_thumbnail_4096.jpg?v=1727800506"},{"product_id":"my-beautiful-england","title":"My Beautiful England","description":"\u003cp\u003eWe love nothing more than belated success, from the Nightingales' rise to top cult band, to the string of five marvellous Blue Orchids LPs in six years (as much as Martin Bramah had managed in the previous four decades) . . . so give us more. Like David Westlake. The release of NME's C86 cassette heralded a new generation of artists who'd emerged since the preceding C81 assembled a set of acts who'd coaxed new dialects out of punk, rhythms, reggae and the avant-garde.\u003c\/p\u003e\u003cp\u003eThough variable, C86 became a phenomenon, making a bigger splash and enduring longer than anyone could have predicted. The evolution by 1986 of \"independent\" or \"alternative\" music into \"indie\" brought a modified focus. From C81's post-punk negotiations of politics and cross-cultural influence to C86's compact blasts of, on the one hand, effervescent melodic pop and, on the other, jagged Beefheart-esque racket. \u003c\/p\u003e\u003cp\u003eTiny Global Productions has proudly presented already one of the best from C86. The Wolfhounds' leader David Callahan's talent evolved masterfully into Moonshake, and more recently to a strain of blistering raga-folk psychedelia which deals with sociopolitical issues in brilliantly idiosyncratic fashion. And what of another of the best from C86 - the Servants, David Westlake's band? Ambivalent about the invitation to be on C86, Westlake gave the NME a wrong-footing b-side, before keeping a distance from the noise around the compilation. \u003c\/p\u003e\u003cp\u003eSubsequent releases from Westlake and The Servants and Westlake attracted fine reviews but settled quietly into relative obscurity, despite musical involvement from various Housemartins, Go-Betweens and Triffids, a quest by Stuart from Belle \u0026amp; Sebastian to find Westlake and form a band; not to mention Luke Haines' own five-year presence in the Servants before forming The Auteurs, Baader Meinhof and Black Box Recorder. \u003c\/p\u003e\u003cp\u003eWestlake went first into the law, then spent years in literary academia. Now the surprise arrival of \u003ci\u003eMy Beautiful England\u003c\/i\u003e. The album is a masterpiece of concept, composition and performance, a conceptual work of truths and reflections of difficult but deft and unflinching expression. \"It is not only fashionable now to denigrate England and its past; it is heresy to recognise good in it. The place that made me is disappearing. Its values and traditions. Among them: good manners, humility and clemency, resilience and perseverance, good humour. \u003c\/p\u003e\u003cp\u003eHistory is being refashioned – in spirit and material fact – by ideologues unshakeably certain they are in the right, and people are being distanced from their pasts. Some find themselves forced into passive acceptance of new distortions of the past, out of imitativeness or cowardice. I resist. This album is a memorial. Intentionally, a museum piece. 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Both sets are available here alone, on a double compact disc with magnificent art from Inga Tillere. \u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black | CD | x2","offer_id":50504309309771,"sku":"1161540","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/eb1214d0-e899-4bf7-9f32-fb8e473b2520_thumbnail_4096.jpg?v=1727803369"},{"product_id":"dreams-take-flight","title":"Dreams Take Flight","description":"\u003cp\u003e\u003ci\u003eDreams Take Flight\u003c\/i\u003e transitions from political discourse into a post-virus rebirth of human relationship and the inevitable fumblings of the society's psychological reconstruction over the forthcoming year. Have you ever wondered what purpose your joy or my pain? All those moments shared together to be washed away by the rain . . . Have you ever doubted our super hipster being love-in at all? Just a pair of urbane fools passing through waiting for our call . . . Take a leap into the great unknown. Almost perversely heart-on-sleeve, Johny Brown and compatriots have never fitted well within a particular scene - nor have they ever seem to try.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"LP","offer_id":50504440709451,"sku":"1122460","price":19.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50504441364811,"sku":"1122459","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ce7311fa-9d9f-410d-82e0-0323f3522328_thumbnail_4096.jpg?v=1727805467"},{"product_id":"where-do-we-go","title":"Where Do We Go?","description":"\u003cp\u003eBingo Harry sprang out of nowhere a few years back, when Martin Bramah of Blue Orchids was shocked by their opening set for his band, Blue Orchids. Bramah's enthusiasm went so far as to lead Blue Orchids to recording a then-unreleased Bingo Harry composition, \"If They Ever Lay A Finger On Us\", a subtle yet unusually powerful and enigmatic revolutionary song of caution to oppressors. \u003c\/p\u003e\u003cp\u003eThe original recording was later released on Bingo Harry's self-titled debut, which sold well, and merited more studio sessions. These days, Bingo Harry is more a often solo vehicle for songwriter Benny Jones than a band. Currently living on a houseboat in northern England (which somehow manages to contain his home studio as well), Benny spent the past few years recording dozens of songs before winnowing them down to fit on Bingo Harry's second album, \u003ci\u003eWhere Do We Go?\u003c\/i\u003e, not to mention constructing the collage of the album cover. \u003c\/p\u003e\u003cp\u003eThe cosmic inheritor of a certain Marc Bolan-esque knack for simple yet spiritual and thrilling tunes, Benny's songs span seemingly glam-induced groovers to a handful of gentle-but-trippy epics which would be overwrought in lesser hands, but here manage to capture a beautiful bit of the cosmos alongside their relevance to the wearying state of the world today. \"Shine If You Can\", the album's final track, works as well for an anthem of the times as anything you'll hear in the next few years.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"LP","offer_id":50504546648395,"sku":"2000666","price":22.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50504547172683,"sku":"2000668","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Bingo_Harry_-_Where_Do_We_Go_c58c1fe0_thumbnail_4096.jpg?v=1727806656"},{"product_id":"the-last-laugh","title":"The Last Laugh","description":"\u003cp\u003eRevisiting a press release for the Nightingales' last album,\u003ci\u003e Four Against Fate\u003c\/i\u003e, we recalled hesitant anticipation for the forthcoming King Rocker, a film documentary of Robert Lloyd and Nightingales, made by Michael Cumming and Stewart Lee. After forty years of activity, Robert and the band had seen hyped recordings go lost, scant commercial success. Royalties? Ha. Yet response to King Rocker was immediately positive. Fab reviews galore, a long process regaining master rights which led to a series of expanded reissues with Fire. A tour postponed three times finally took place, to fully-packed houses. It was a very good year. The band felt a degree of anxiety prior to the sessions, which took place at Valencia's Elefante Studios. With bassist Andi Schmid isolated during Covid, the band had yet begun working out individual rough sketches, typically battered into songs over a period of months. They went into a new studio blind, with a new producer, Jorge Bernabe, without rehearsals . . . and produced a top-to-bottom masterpiece. Thirty seconds in, \"Sunlit Uplands\", is already a classic showcasing Fliss Kitson's increased songwriting power and the core dichotomy of the groups's best songs: perverse as fuck, catchy as fuck. I � CCTV is highlighted by a fab Jim Smith astral-garage guitar riff . . . and that's a one-two punch few albums ever equal, let alone carry over to the affectionate \"Frances Sokolov\", Robert's ode to mentor Vi Subversa, the playground riff that underlines \"Spread Yourself Out\" and then \"Bloody Breath\", the best encapsulation of all the band's genius in developing a kind of \"pop\" that no other combo has ever cracked. Other highlights include the lopsided mysterious beauty of \"Magical Left Foot\", the courtly raver of \"I Need The Money At The Time\" with a wonderful motorik groove driven by bassist Andi Schmid, and the album closer, \"My Sweet Friend\", a rockabilly lullaby which sounds like a magical outtake from Robert's one and only solo album It's a corker, it's a marvel, it's the best Nightingales record to date. 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A great leap in polish led to a deal with Rough Trade and several early '90s albums which flirted with the mainstream, with BOHJ almost an odder, less obvious cousin to Dexys Midnight Runners. 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The songs were mostly recorded during the same sessions but, if \u003ci\u003eEPI\u003c\/i\u003e showcased the ‘songs of innocence’, this new set comprises ‘songs of experience’.\u003c\/p\u003e\u003cp\u003e Callahan's lyrical themes here are frequently the sleaze and corruption of our ‘betters’, the intentional and unintentional brutality meted out on those weaker and the sometimes perverse ways in which this happens. There are moments of reflection among the broken mirrors, but they allow scant solace or reassurance. Dressed in another of Scottish artist Pinkie McClure’s witty and detailed stained glass creations and recorded at home and under a railway arch, EPII rises above its origins and invades the wider world, in all its colour, gritand glory. \u003c\/p\u003e\u003cp\u003eEach song serves as a monument to its internal tale – in fact, the whole LP is as much a collection of musical short stories as it is an album of songs. Opening with Invisible Man, the impression of a regular person with hidden grievances, biding his time and waiting to lash out is given. Waves of distant samples ebb and fall as the warped guitars swell and crash behind the main themes. We don’t know when this explosion will happen – we only know it will. A sleazy celebration of Britain’s position as the laundering capital of the world follows in the form of Beautiful Launderette. It’s good that we keep everything nice and clean for the whole planet, isn’t it? Business as usual, keeping the globe turning – that’s our role and we love it. \u003c\/p\u003e\u003cp\u003eThe Parrot rocks like only a prolonged evisceration of governmental mouthpieces and their court stenographers can. It’s a thankless task making sure that the powers that be retain their authority in all things and patrolling the borders of what is allowed to be said and believed, but somebody’s got to do it. If you’re providing a service, you’ll need to present a united front against the grievances of the public, so you’ll need The Scapegoat. Mistakes and accidents can’t be the company’s fault, so you’ll need to pay someone to be publicly and repeatedly sacked to make it appear as if you’re solving problems and getting better. \u003c\/p\u003e\u003cp\u003eLessons will be learned, going forward. The disturbing tale of Bear Factory begins side two and is the real-life story of the murder of one of the singer’s primary-school classmates in the 1970s, and true in every detail. The victim’s body was never found but the killer justifiably imprisoned for life. A more ancient scent of death pervades The Burnet Rose. This ground-hugging plant covers the graves of the victims in a seventeenth-century plague village on the Yorkshire coast to this day, commemorating their sacrifices when all around have forgotten. It’s this particular songwriter’s favourite flower. \u003c\/p\u003e\u003cp\u003eOrgy of the Ancients describes the intimate intricacies of ageing politicians and the press as they decide whether to go to war. In grotesque scenarios worthy of Caligula, they decide the fates of our children. And it’s not even half the truth. To finish, the songwriter looks back to an admired predecessor, when he sets William Blake’s famous poem London in a groovier setting than we’re used to – in the form of London by Blakelight. If London swings, it’s from the Tyburn tree.\u003c\/p\u003e\u003cp\u003e“Arguably his generation’s best lyricist” – Mojo\u003c\/p\u003e\u003cp\u003e“The year’s stand-out album for me” – Stewart Lee \u003c\/p\u003e\u003cp\u003e “A sort of modern-day pastoral” – Simon Armitage, Poet Laureate\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"CD","offer_id":50507225465163,"sku":"2000485","price":12.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50507225661771,"sku":"2000486","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a0349241853_10_fa4d00b0_thumbnail_4096.jpg?v=1727843097"},{"product_id":"no-place-like-home","title":"No Place Like Home","description":"\u003cp\u003e21st Century pop is curiously irrelevant: autotune, twelve 'writers' on a single song, sensationalist yet skin-deep social commentary . . . with none of the joy, excitement and surprises of pop's lengthy heyday, from the Brill Building through the New Wave era. Where did it go? That would be an apt introduction to an album of calculated throwbacks to a three-minute pop ideal . . . but \u003ci\u003eNo Place Like Home\u003c\/i\u003e isn't that record. \u003c\/p\u003e\u003cp\u003eWe doubt even Gemma could tell you where this collection of beguiling jewels came from exactly, each fully-formed, complete and satisfying, no two quite alike, and each devoid of Wet Leg or Dry Cleaning's crafty calculation, but with every bit of those acts' charm. The first single, Stop, is based on an idea so simple that it's nearly unfathomable why no one had come conjured it earlier. Like toilet paper or a pair of scissors, the song feels entirely obvious until one ponders its late arrival. Stop's motorik beat propels verses to a chorus of pure delight, bested by a bridge occurring so late in the tune that it comes across like a surprise second dessert. My Idea Of Fun, a tale of frequent drunken regret, comes with a video of minimalist humour and visual brilliance. On other songs, Gemma channels acts Delta 5, Au Pairs and The Raincoats, along with the humour of Ian Dury and a similar verité of London life found in the best of Madness. The more serious fare is equally compelling. \u003c\/p\u003e\u003cp\u003eRabbit Hole projects a daring newness of young freedom, Dance Of A Thousand Faces veers into Sprechstimme and expands into a swooping chorus, the feel of which subtly conveys present-day tensions reminiscent of the Weimar era. Tailspin captures the dark feeling which comes burdened with real-time consciousness of a loss of control, while the album closer, Frida, a tale of the loss of a dear friend manages to end in a guardedly upbeat tone. Gemma's debut album is sure to stir up deep interest and will be supported by a number of videos and live performances, plus free digital singles featuring otherwise unavailable non- album tracks\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black | LP","offer_id":50510484996427,"sku":"1159417","price":22.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50510486012235,"sku":"1159418","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/b71d27e5-6b2e-46c9-8706-8cab7b109f1e_thumbnail_4096.jpg?v=1727875175"},{"product_id":"lost-transmissions","title":"Lost Transmissions","description":"\u003cp\u003eDave Trumfio operated a lesser-known yet impressive studio, Kingsize Soundlabs, just as Chicago's alt-rock boom took place. As the city's insular music scene became the focus of outsized attention which couldn't possibly meet the needs of a trend-hungry exploitation eternally, Dave put his nose to the grindstone, catering to a small group of outsiders - British visitors such as The Mekons and Stuart Moxham, a number of Icelandic artists, as well as future stars of the embryonic alt-country scene, such as Wilco and Neko Case . . . and quite a lot of madness besides. One rare day off, Dave rang his drummer brother, Harry, and the pair recorded nine songs in a single afternoon. \u003c\/p\u003e\u003cp\u003eThe first outsider to hear the results was a friend from Atlantic who flew the band's 'emergency fill-in' manager to New York, where a deal was put on the table within an hour. While in shock at the speed of it all - the duo had yet to play a real gig - Pulsars were mistakenly asked to open a gig for Oasis, then at the peak of their fame. The dozen major label reps who attended the show fostered a six-month bidding war. But at the end of the day, it was Herb Alpert's surprise doubling of their monetary demands that led to the band's deal with Almo Sounds. Success was immediate in Japan, though in America the label foundered and collapsed . .. but undercover, the band managed to record some three hundred songs. 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Weaving the messy threads of suburban life into dense tapestries, he has something of the Go-Betweens' gift for melody, something of Mark E Smith’s ear for language, something of Vic Godard’s common touch, and almost none of the acclaim that should have been his due. Boo hoo. \u003ci\u003eEvery Happiness\u003c\/i\u003e should have been a word-of-mouth sensation when it was released, but one way or another there were no mouths, no words. \u003ci\u003eEvery Happiness\u003c\/i\u003e is as brilliant a \"lost classic\" as one could hope for. Equal parts storming anthems, introspective wonders and deranged bits of social observation. 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An incredible eight of its ten songs were covered by well-known bands. Blue Orchids began in 1980 after three former members of The Fall reunited, including The Fall’s founding guitarist Martin Bramah, as well as their first keyboard player, Una Baines. A deal with Rough Trade shortly followed, resulting in two 7” singles, a spot on NME’s \u003ci\u003eC81\u003c\/i\u003e cassette compilation of post-punk luminaries, the aforementioned \u003ci\u003eThe Greatest Hit (Money Mountain)\u003c\/i\u003e album, and its follow-up 12” EP, \u003ci\u003eAgents Of Change\u003c\/i\u003e. Following Una’s nervous breakdown and a tumultuous two years spent backing up Nico (of Velvet Underground fame), the band went on hold. Despite later line-ups featuring members of Primal Scream, The Smiths, James and other big names, no follow-up albums were issued in their day. Martin was asked to become lead singer of Inspiral Carpets, passed on that, rejoined The Fall for their biggest-selling album, \u003ci\u003eExtricate\u003c\/i\u003e, and retired from music for a few years. The vinyl album comes with a download card featuring an extra track, the compact disc includes that extra track, which was omitted from the vinyl due to issues with running time. 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The titles - let alone the radically alterations hereon - give no clue to which tracks were remixed. Contributing their massive talents are DJ Surgeon, whose stint as an opener for Lady Gaga push the band ever closer to the charts (err, not likely, but the tune is brilliant!), The Go! Team's Ian Parton, who'd posted of his affection for the band and remains a figure of fascination, being a good dollop more talented than other young upstarts, and Randy Kuntz, whose devilish musical skills have added serious sizzle to the last few Nightingales records. As Nightingales toil on new projects, initial plans for The New Nonsense could not be realised. Worldwide vinyl pressing delays made delivery before last year's tour impossible. The project seemed destined for collector status from the start - we pressed too few copies, Robert though it would be 'novel' to set the back sleeve ninety degrees off from the front sleeve, \u003ci\u003eFour Against Fate\u003c\/i\u003e is now nearly two years old, and the creative efforts of the band did not slow during lockdown\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black | 12\"","offer_id":50528105398603,"sku":"1151818","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/4ea5f882-1976-4bdf-99e5-15e4b5baa6e3_thumbnail_4096.jpg?v=1728060700"},{"product_id":"bimini-twist","title":"Bimini Twist","description":"\u003cp\u003eAs soon as Spike discovered punk, he wasted no time forming Reptile Ranch (Wales’ own Scritti Politti), starting a label (Z Block), and releasing the compilation of the Cardiff scene, \u003ci\u003eIs The War Over?\u003c\/i\u003e After an act dropped out of the cooperatively-funded venture, Spike approached the disbanded Young Marble Giants to contribute a track or two. Bemused, they agreed to reform, and it wasn’t long before Rough Trade rang the public phone listed on the back cover of the LP to poach the combo, leading to an album which hit immediately and has inspired hundreds of artists since. All the while, Spike worked with Debbie Pritchard in a number of unheard bands - but that’s another tale. After YMG’s breakup, singer Alison Statton started Weekend with Spike and Simon Booth, a project which saw chart success and the birth of a nouveau-retro style as individualistic as YMG’s, one later co-opted by lesser acts. Weekend, too, split after their debut album. Despite Weekend having become Alison’s second big act, Rough Trade passed on her next project with Spike. Vinyl Japan stepped in to release the duo’s debut, \u003ci\u003eTidal Blues\u003c\/i\u003e and other releases followed, but as real life, jobs, and children beckoned, both Alison andSpike stepped away from music . . for more than twenty years. Their return is both unexpected. \u003ci\u003eBimini Twist\u003c\/i\u003e is the work of the two alone. Apart from some vocal tracking in a local studio to best capture Alison’s still wondrous voice -everything was recorded in their homes, much of it ‘live’, and these new songs show the duo’s charm and diversity, featuring Alison’s most personal lyrics and Spike’s peculiar musical genius.\u003c\/p\u003e\u003cp\u003eLP - Limited and comes with a download card. 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Well, boy were we wrong! Keeley is a band led by Keeley Moss, with musicians Lukey Foxtrot and Andrew Paresi, although it's a tight-knight group who propel the project and it makes no sense not to mention manager Nick Clift and studio genius Alan Maguire, who are also intrinsic members of this outfit. There's a conceit behind the band's work. Every song in the band's full repertoire shares a single subject - Inga Maria Hauser, a teenaged German backpacker found brutally assaulted and dead in a remote part of Ireland's Ballypatrick Forest in 1988. Moss's personal interest in the case caused her to create a blog, The Keeley Chronicles, which has reported on the case so doggedly that it's now viewed as the crucial source of public information on the case. And there's more to that story, of course. But our point is this: Beautiful Mysterious is that rarest of all jewels, the instant classic. Imagine going back in time to when you heard Fear Of Music, Colossal Youth or Forever Changes for the very first time, knowing what each would mean to you many years later. Don’t miss that chance with Keeley’s incredible Beautiful Mysterious. Well, here's your chance.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50532218962251,"sku":"2221023","price":24.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50532219191627,"sku":"2221037","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/KEELEY_-_Beautiful_Mysterious_fe98990c_thumbnail_4096.jpg?v=1728116796"},{"product_id":"scorched-jerusalem","title":"Scorched Jerusalem","description":"\u003cp\u003eBand Of Holy Joy's newest album is somewhat divorced from the general romanticism of their last four albums. \u003ci\u003eScorched Jerusalem\u003c\/i\u003e confronts the historic-political issues of the last several years head-on, and if you haven’t noticed we're in a mess. The album’s first side is beyond grim, mixing an almost Adrian Sherwood \/ Mark Stewart-style production to some of singer Johny Brown's starkest urgent lyrics in over forty years of recording. Although it feels as if the band has picked startling moments from the last decade-and-a-half or so (one song references Anders Behring Breivik's mass murder outside Oslo in 2011), there are moments - generally found on the second half - where the band's instinctive grace \u0026amp; beauty power past the pain and brutality - French Riots sounds almost joyful, Palace Commune scales the top tier of BOHJ's tower of majestic beauty, while When The Tulips Bloom The War Will End, with the sound of a Weimar-era waltz, as if to remind us of what lies behind us also lies ahead. We can't overstate the importance and brilliance of this album, and especially its relevance to the utter crap the world's going through at the moment. Johny and the band offer no solutions beyond \"simple faith in people\" (in the closing track), and only a liar would have you believe there's much more to count on than that . . . if we've even got that. We like to think we release a lot of great (if unheralded by the general public) records that mean something, at least to certain people. Scorched Jerusalem is a strange outlier in that it needs to be heard by more people than will likely hear it. It's rather late in their career for Band Of Holy Joy to have come up with something so utterly transformative as this album . . . but here we are\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50956346130763,"sku":"2235909","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50956346327371,"sku":"2235912","price":13.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Band_Of_Holy_Joy_-_Scorched_Jerusalem_3089a37e_thumbnail_4096.jpg?v=1737091041"},{"product_id":"showtunes-from-the-shadows","title":"Showtunes from the Shadows","description":"\u003cp\u003eRecorded over the past year or so, this wonder from \u003cstrong\u003eHelen McCookerybook\u003c\/strong\u003e is not only an amazingly entertaining collection of superb songs, but it features luminaries such as Robert Rotifer, the astonishing Gina Birch of \u003cem\u003eThe Raincoats\u003c\/em\u003e, The Monochrome Set’s epic Lester Square, erstwhile Massive Attack bassist Winston Blissett, ubiquitous genius Terry Edwards, The Chefs' Jack McCallum and more!\u003c\/p\u003e\n\n\u003cp\u003eHelen's a national treasure, and her new album is something we're honoured to put forth into the world. Precisely why none of her last eight or nine albums have seen release on vinyl is a mystery, but that’s history! Vinyl copies are limited as we have no idea what sales might be. This album available on CD and digital download, too.\u003c\/p\u003e\n\n\u003cp\u003eIf you haven't heard any of Helen's solo material, she's been kicking around since the birth of postpunk with bands like The Chefs and Helen \u0026amp; the Horns, and is a renowned academic who's written loads on music, such as \u003cem\u003eThe Lost Women of Rock Music: Female Musicians of the Punk Era\u003c\/em\u003e (as Helen Reddington), and she's also the co-director (with Gina Birch) of the excellent film, \u003cem\u003eStories of the She Punks\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eHer songs burst with originality, replete the same sort of charm, alluring personality and minimalism of peers like Marine Girls, The Raincoats \u0026amp; Television Personalities.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":50956351308107,"sku":"2235905","price":22.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50956351504715,"sku":"2235910","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Helen_McCookerybook_-_Showtunes_from_the_Shadows_bdf28944_thumbnail_4096.jpg?v=1737090988"},{"product_id":"house-of-all-souls","title":"House Of All Souls","description":"\u003cp\u003eA valentine for black hearts! An electric array of magic sounds! The shock return of a missing legend!\u003c\/p\u003e\u003cp\u003eThe surprise formation of House of llL by five former members of The Fall was bound to provide some pleasant surprises, not the least of which being the creation of an identity distinct from that of any specific Fall line-up, and here the band offer an steep evolution of sound of their two previous albums . . . darker, more elliptic and can we say it? A more mystical sum of talents than most groups ever manage.\u003c\/p\u003e\u003cp\u003eThey’ve kept their open door policy to former members of The Fall and expanded it. Phil Lewis, who's stepped in live for Pete Greenway, makes his studio debut, and the long-lost Karl Burns has emerged from his mystery lair to add a third set of drums to the line-up . . . besting The Glitter Band by 50%! How this will work live has yet to be determined, but the band has already scheduled dates in Spring, 2025.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eHouse Of All Souls\u003c\/i\u003e is somewhat more psychedelic than its predecessors, and despite seven players, each with his own particular style, the songs and production are shockingly cohesive. From the breakneck pace of first tune, Tempest And Storm to the superb album closer, Born At Dawn And Dead At Sunset, there's quite a lot to unpack - it's an album-lover's album, each track magnificent in its own way and impossible for us to pick a fave from the lot of 'em.\u003c\/p\u003e\u003cp\u003ePlenty has been written about The Fall, whose 50th birthday is just a few years off, but rare is the group with an equally perverse and persuasive influence in that period. When House of All debuted, Martin Bramah remarked on it being \"part of the Fall family continuum\" - a matter of actual fact, given the pedigree of its members. With this, House of All's third full-length album, it's proven fact that the bright lights of those multiple talents behind the band have yet to dim.\u003c\/p\u003e","brand":"Tiny Global Productions","offers":[{"title":"Black LP","offer_id":51144758952267,"sku":"2240861","price":22.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":51144758264139,"sku":"2240859","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/d72ceabc-bf1b-5d71-3bd3-bbb2ec537f63_a6d41027_thumbnail_4096.jpg?v=1737642399"}],"url":"https:\/\/shop.roughtrade.com\/collections\/tiny-global-productions.oembed","provider":"Rough Trade","version":"1.0","type":"link"}