Daydream – Best Of The Gunter Kallmann Choir” is a 2025 compilation album celebrating the lush, romantic sound of the iconic German vocal ensemble. This 20-track anthology, released by Polydor and Universal Music GmbH, showcases the Gunter Kallmann Choir’s signature blend of soft pop harmonies and orchestral arrangements that defined their style in the 1960s and 1970s. Known for their dreamy interpretations of international hits and film themes, the choir brings a nostalgic charm to each track.

Candid Record Unveils Chick Corea: “Paint the World” Reissue. Candid Record Unveils Chick Corea: “Paint the World” Reissue It has been 30 years since Chick Corea, the 27-time GRAMMY winner and virtuoso keyboardist, unveiled his new incarnation of the Elektric Band, known as “Elektric Band II”. Today, June 28th, this 1993 release featuring guitarist Mike Miller, bassist Jimmy Earl, drummer Gary Novak, and saxophonist Eric Marienthal (the sole remaining musician from Corea’s previous Elektric Band iteration) is being released on Candid Records, available on all streaming platforms, CD, and for the first time ever as a 2-disc vinyl set. Recorded at Mad Hatter Studios in Los Angeles and primarily comprised of first takes, “Paint the World” is marked by Corea’s typical proficiency, spontaneity, impeccable execution, and jaw-dropping displays of chops that characterized his previous five Elektric Band albums. Written with these specific players in mind, the album is notable for its “less is more” approach to Corea’s particular style of genre-bending composition. This reissue is also notable for featuring “Final Frontier,” a rare track previously only available on Japan and Europe editions of the album.

Fluorescent clear red vinyl reissue of Chick Corea’s exploratory jazz-fusion classic “Sundance.” Originally recorded in 1969, this pressing features a remastered cut on heavyweight vinyl. Featuring an all-star ensemble including Dave Holland, Hubert Laws, and Woody Shaw

Psych-Rock Wizards on a Roll. Psychedelic Porn Crumpets are one of the most exciting forces in modern rock. Formed in Perth in 2014, their blend of frantic psychedelic riffs and whimsical charm has established them as one of the best psych-rock groups in the world right now. Their sound channels the spirit of classic ‘60s-’70s psychedelic rock from Led Zeppelin to Black Sabbath to The Beatles, but turbocharges the nostalgia with chunky modern adrenaline and multi-layered guitar harmonies. There’s no down-tuned seven strings or machine-gun double bass drums, instead citing Monty Python and The Mighty Boosh as key influences on their style and humour. The band’s instrumental skill is top-notch with scorching riffs, powerful drumming, and swirling basslines with as many psychedelic breakdowns and dizzying tempo shifts as there are catchy earworms and danceable grooves.

EARLY DUBLIN BROADCAST FROM THE MIGHTY POGUES Founded in Kings Cross, London in 1982, as ‘Pogue Mahone’ – the anglicisation of the Irish Gaelic póg mo thóin, meaning ‘kiss my arse’, The Pogues reached international prominence in the 1980s and early 1990s, recording several hit albums and singles. Their politically tinged music was informed by lead vocalist and main songwriter Shane MacGowan’s punk background, yet used traditional Irish instruments such as the tin whistle, banjo, cittern, mandolin and accordion. The future members of the Pogues first met when MacGowan, Peter "Spider" Stacy (tin whistle), and Jem Finer (banjo) were together in an occasional band called The Millwall Chainsaws in the late 1970s - after MacGowan and Stacy met in the toilets at a Ramones gig at The Roundhouse in 1977. MacGowan was already with The Nips, though when they broke up in 1980, he concentrated on Stacy's Millwall Chainsaws. They later added Cait O'Riordan on bass and Andrew Ranken on drums. The band played London pubs and clubs, and released a single independently. They came to the attention of the media and Stiff Records when they opened for The Clash on their 1984 tour. Shortening their name to The Pogues they released their first album, Red Roses for Me, on Stiff Records that October.

Cherry Red Records and Toyah release of Chameleon – The Very Best of Toyah. This is the first career-spanning collection to encompass Willcox’s full recording history. Spanning 45 years of music, the impressive collection includes the top 40 singles ‘I Want To Be Free', ‘It’s A Mystery’, ‘Thunder In The Mountains’, ‘Brave New World’, ‘Good Morning Universe’, ‘Rebel Run’ and ‘Don’t Fall In Love’, alongside classic cuts right up to the 2021 Top 20 album Posh Pop. A pioneering figure in the UK’s new wave and post-punk movement, Toyah has made an indelible mark on the entertainment industry with her unique voice, electrifying stage presence, and artistic versatility.

Steely Dan’s third studio album Pretzel Logic, was released in February 1974. A diverse set, it included the group's most successful single, ‘Rikki Don't Lose That Number’ and a note-for-note rendition of Duke Ellington’s ‘East St. Louis Toodle-Oo’. Pretzel Logic was the first Steely Dan album to feature Walter Becker on guitar. "Once I met [session musician] Chuck Rainey", he explained, "I felt there really was no need for me to be bringing my bass guitar to the studio anymore". A rift began growing between Becker/Fagen and Steely Dan's other members who wanted to tour. Becker and Fagen disliked constant touring and wanted to concentrate solely on writing and recording. The other members gradually left the band, discouraged by this and by their diminishing roles in the studio. Steely Dan's last tour performance during their initial run, was on July 5, 1974, a concert at the Santa Monica Civic Auditorium in California. Six weeks before this final concert, the Dan were in the UK, and on 26th May, they performed a quite stunning show at London’s Rainbow Theatre. Playing a good selection from the new record, plus a raft of cuts from previous records, plus the unreleased and curiously titled ‘This All Too Mobile Home.’ Previously unreleased, the show was recorded for live radio broadcast and is now available here for the first time.

The sixth stop of the tour was at Tokyo’s Budokan Hall, and Young hired a film crew to tape the two-night stand. Nobody bothered to tell Poncho, and he dropped a bunch of acid before going onstage one of the nights. “I couldn’t even look up,” he told author Jimmy McDonough. “I was so high. I’d hit the strings of my guitar - they were like eight different colours - and they bounced off the floors and hit the ceiling.” • Despite the Budokan shows being the best remembered from the 7 date-stop in Japan in March ’76, Neil and the Horse’s first show in the country, at the Aichi-ken Taiikukan, Nagoya, on the 3rd of the month, was generally considered to be the finest. In line with the entire tour, which also visited Europe in late March and early April, and later, played back in the US, Neil would perform a solo, acoustic set first, following which a full on, electric, band performance would ensue. • The full Nagoya concert was also recorded for live broadcast, from which this new 2CD set is taken. But as added content too, Young’s acoustic set from Budokan on 10th March is also included.

STUNNING PHIL COLLINS SHOW FROM HIS FIRST SOLO TOUR • In December 1978, Genesis went on hiatus while Phil Collins went to Vancouver, to focus on his family; his marriage had become strained after his extensive touring. Having failed to save the relationship, Collins returned to the UK in April 1979, by which time Tony Banks and Mike Rutherford were recording their solo albums. With time to spare before recording a new Genesis album, Collins played on the Brand X album Product and its accompanying tour, played on John Martyn's album Grace and Danger, and started writing his first solo album, Face Value, at his home in Shalford, Surrey.

Live at Swing Auditorium, San Bernardino, California, USA 7th March 1975. Misspelled "San Bernadino" wherever it is mentioned: front cover, CD, back cover, etc. DYNAMIC CAREER END BROADCAST FROM THE FACES In the wake of calamitous label mismanagement that left one of the most important bands of the mod/psychedelic movement creatively hog-tied and practically bankrupt, Small Faces singer/guitarist Steve Marriott jumped ship to form Humble Pie with Peter Frampton. So prodigious were Marriott's talents that it took two musicians to fill his shoes. Luckily, a couple of guys that would soon be among the most recognizable and popularly adored rock stars in the world found their social calendars surprisingly wide open at the dawn of the '70s.

Bobby Hutcherson Live at Montreux is a live album by American jazz vibraphonist Bobby Hutcherson recorded at the Montreux Jazz Festival in 1973 and released on the Blue Note label in Japan and Europe only. The album was rereleased on CD with one additional performance from the concert. The Allmusic review by Michael G. Nastos awarded the album 4 stars and stated "Hutch and Shaw have ample room for solos, and they prove why they are the best in the business at inventing improvisations based on these viable themes. Ten years after these recordings, Shaw and Hutcherson would reunite for the trumpeter's Elektra Musician dates Night Music and Master of the Art. This excellent performance provides a perfect prelude to those equally potent sessions, and all come highly recommended".

BUDDY HOLLY belongs to that select group of artists whose importance and influence eclipse the need for statistical corroboration. Indeed, given that no one has ever recorded an absolutely 100% perfect body of work, Holly came pretty damn close consequently, no matter which compilation of his recordings you listen to, it always sounds great. This collection of killer BUDDY HOLLY &?THE?CRICKETS sides is a classic example; drawn from EPs issued variously in the US, the UK, West Germany and Australia between 1957-62, it features a selection of hits, misses, B-sides, LP tracks, Buddy's pre-Crickets "solo" sides, and a handful of posthumously-released, overdubbed versions of songs from his legendary apartment tapes. The tracks are sequenced in the order that they were originally recorded, rather than released, as it makes sense to hear them in this chronology.

Housewives, househusbands, ladies, gentlemen, and everyone in between… Avril A is ready for relaunch. A - V - R - I - L
Never released Hi-NRG, synth-pop, wonky rock n' roll from a queer Manchester underground icon of the 80s and 90s. By day, Avril Eventhal was a housewife in North Manchester's Orthodox Jewish community. By night, she was the fabulous Avril A, a larger than life cabaret performer who found a loyal audience in gay venues across the country and was adored for her outrageous live shows. She celebrated her unconventional style, finding joy and space for creative reinvention with the queer community. Avril died in 2017, leaving behind a massive archive of material documenting every aspect of her career in songwriting and performance. For two years, Memory Dance has been working with Avril's niece and family on a digitisation and restoration project bringing these audio recordings back to life. With her signature leopard print dress and feather duster in hand she delivered an unforgettable song and dance routine - as it was billed, “an audio-visual assault on the audience”.

Housewives, househusbands, ladies, gentlemen, and everyone in between… Avril A is ready for relaunch. A - V - R - I - L
Never released Hi-NRG, synth-pop, wonky rock n' roll from a queer Manchester underground icon of the 80s and 90s. By day, Avril Eventhal was a housewife in North Manchester's Orthodox Jewish community. By night, she was the fabulous Avril A, a larger than life cabaret performer who found a loyal audience in gay venues across the country and was adored for her outrageous live shows. She celebrated her unconventional style, finding joy and space for creative reinvention with the queer community. Avril died in 2017, leaving behind a massive archive of material documenting every aspect of her career in songwriting and performance. For two years, Memory Dance has been working with Avril's niece and family on a digitisation and restoration project bringing these audio recordings back to life. With her signature leopard print dress and feather duster in hand she delivered an unforgettable song and dance routine - as it was billed, “an audio-visual assault on the audience”.

The Honeys Collection Review by John Bush
Fans of the Beach Boys will definitely be interested in this collection from the Honeys, a girl group trio including Brian Wilson's wife Marilyn, plus her sister Diane, and their cousin. Signed to Capitol, thanks to Wilson, most of the Honeys sessions were supervised by Wilson himself, occasionally with Capitol's in-house producer Nik Venet. The Honeys Collection brings together 26 tracks covering the group's early- to mid-'60s singles (and several backing vocal dates on records by other artists).