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Mute Records was one of the most striking British labels of the post-punk years – second maybe only to Factory Records for the way it mixed art and design to package modern music – a legacy that began with the label's very first 45, and continued through countless great albums and singles for years to come! This beautiful volume is an especially strong look at the first decade or so of Mute – and showcases the way it found new styles to present its music – a rich legacy of sounds from Nick Cave, Depeche Mode, Yazoo, Fad Gadget, Nitzer Ebb, Einsturzende Neubauten, and many others – a mode that continued even after Mute had found bigger fame in the mainstream, and started to issue some of its productions on major labels. The book traces hundreds of images, and even includes label scans, mock-ups, and other related work – along with a complete representation of the label's albums too. This hardcover edition is full color throughout, over 300 pages, and a great companion to the classic music of Mute! Book

Two of the first records from Tuxedomoon – both of them incredible for their time, and even more so now! Half-Mute was the group's last recording before departing their San Francisco roots – a strange artful document that bears little resemblance to the US scene at the time, and which has sounds and styles that remind us much more of work coming from the German and North England experimental groups of the period. Electronics are at the core of the set – used in spare but effective ways – sometimes in support of darkly poetic vocals, but other times concerned only with themselves – exploring sound textures and rhythms in a manner that recalls some of the more tuneful work by Throbbing Gristle. There's a sound here that's sinister, yet subdued – a refreshing change to the excesses of the period, and with a quality that has allowed it to travel the passage of time extremely well. Titles on Half Mute include "Fifth Column", "Seeding The Clouds", "Loneliness", "James Whale", "What Use?", "Volo Vivace", and "Tritone". Scream With A View is an EP from the same stretch – one that's even darker at times, often plodding into a bleak landscape of spare textures and tones. Titles include "Nervous Guy", "Where Interests Lie", and "Family Man". CD

Wonderful live work from Can – a set that follows the sprawling, open space of their other legendary concert performances from the mid 70s – but one that also shows some of the shift they were making around the Flow Motion years as well! As with the run of records that Mute has unearthed and released in recent years, this one doesn't feature individual songs – and instead has a concert-length jam from the group – really wonderful interaction between the rhythms and instrumentation, with a shape-shifting quality that's beautiful all the way through! Yet the timing of this one also opens the door for more of the keyboard-heavy lines that were in place on Flow Motion, and some of the slightly more melodic moments from that record too – although they almost emerge here as a surprise next to some of the darker moments. The set features the full performance, in five numbered chapters. LP, Vinyl record album

A mindblowing classic from Can – a set that has the group just getting better with each new record – to a point where it's the early 70s, and they're already in territory that's completely their own! The set features long tracks that spin out beautifully – driven that that rhythmic drive that the group always had at their best – so different than some of their contemporaries who might have gotten stuck in a sonic corner and never found their way out – while Can was bursting forth with energy and imagination that has kept them still sounding amazing as the decades move on! The set's the last one with the mighty Damo Suzuki, but fortunately not the last with the incredible drums of Jaki Leibezeit – and titles include the 19 minute jam of "Bel Air" – plus "Future Days", "Spray", and "Moonshake". LP, Vinyl record album

Smoking live work from Can – a set that's very different than their studio work of the time, and which maybe gives an idea of how they came up with all the fantastic sounds on their famous albums! The set's really just one long freewheeling performance – driven by stunning instrumentation from Irmin Schmidt on keyboards, Holger Czukay on bass, Michael Karoli on guitar, and Jaki Liebezeit on his fantastic funky drums – all topped by lyrics from Damo Suzuki that really send the whole thing over the top – and maybe give structure to the jam at the core of the set. The double length package features five passages of music – all hard-driving genius! CD

Smoking live work from Can – a set that's very different than their studio work of the time, and which maybe gives an idea of how they came up with all the fantastic sounds on their famous albums! The set's really just one long freewheeling performance – driven by stunning instrumentation from Irmin Schmidt on keyboards, Holger Czukay on bass, Michael Karoli on guitar, and Jaki Liebezeit on his fantastic funky drums – all topped by lyrics from Damo Suzuki that really send the whole thing over the top – and maybe give structure to the jam at the core of the set. The double length package features five passages of music – all hard-driving genius! LP, Vinyl record album

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An early classic – with the cuts "People Are People", "Everything Counts", "Love In Itself", "Get The Balance Right", "Leave In Silence", and "Work Hard". LP, Vinyl record album

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... 12-inch, Vinyl record

A catchy post punk club number – with an unstoppably irresistable synth line and propulsive electro beat. 12-inch, Vinyl record

... CD

Wonderful live work from Can – a set that follows the sprawling, open space of their other legendary concert performances from the mid 70s – but one that also shows some of the shift they were making around the Flow Motion years as well! As with the run of records that Mute has unearthed and released in recent years, this one doesn't feature individual songs – and instead has a concert-length jam from the group – really wonderful interaction between the rhythms and instrumentation, with a shape-shifting quality that's beautiful all the way through! Yet the timing of this one also opens the door for more of the keyboard-heavy lines that were in place on Flow Motion, and some of the slightly more melodic moments from that record too – although they almost emerge here as a surprise next to some of the darker moments. The set features the full performance, in five numbered chapters. CD

One of the essential Nick Cave albums from his creatively fertile mid 80s years – an all covers collection that finds Nick dredging the soil for some old bones to bring back – Bad Seeds style. Kicking Against The Pricks doesn't so much as advertise itself as a covers record, nor should it – it's purely a Nick Cave & The Bad Seeds record – making songs recorded earlier by Gene Pitney, Jimmy Webb, Roy Orbison, the Velvet Underground, Leadbelly, Johnny Cash and others into gritty, tension fraught gems that hold up as well as anything in Cave's canon, from the fierce early stuff with the Birthday Party to his truly poetic lit rock bits of genius in the late 00s. A classic! Titles include "Muddy Water", "I'm Gonna Kill That Woman", "Long Black Veil", "Hey Joe", "Black Betty", "All Tomorrows Parties", "The Hammer Song", "By The Time I Get To Phoenix", "The Carnival Is Over" and more. CD

... 12-inch, Vinyl record

... CD

... 12-inch, Vinyl record

Smoking live work from Can – a set that's very different than their studio work of the time, and which maybe gives an idea of how they came up with all the fantastic sounds on their famous albums! The set's really just one long freewheeling performance – driven by stunning instrumentation from Irmin Schmidt on keyboards, Holger Czukay on bass, Michael Karoli on guitar, and Jaki Liebezeit on his fantastic funky drums – all topped by lyrics from Damo Suzuki that really send the whole thing over the top – and maybe give structure to the jam at the core of the set. The double length package features five passages of music – all hard-driving genius! CD

The groundbreaking debut of Can – a record that came out on 1969, and is every bit a part of its time – but also light-years ahead of so many of its contemporaries, with a quality that's kept the music intensely resonant over the decades! The songs are long, jamming, and full of plenty of prog and psych elements – yet they're also unlike those genres at all – maybe colder, starker, more visionary – using just familiar instruments, but in ways that are oddly unsettling – thanks in part to the intensity of the group's sense of interplay! The amazing Jaki Leibezeit is on drums, next to the raw guitar work of Michael Karoli, the insane basslines of Holger Czukay, and mad organ of Irmin Schmidt – topped here with vocals from the group's initial singer, Malcolm Mooney. The whole thing's fantastic – and titles include "Father Cannot Yell", "Mary Mary So Contrary", "Outside My Door", and the incredible side-long "You Doo Right" – which takes up the second half of the album! CD

... 12-inch, Vinyl record

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Arguably one of the best records cut for the short-lived Mode label in the late 50s – and easily one of the best from trumpeter Conte Candoli too! For the session, Conte front a quartet with Vince Guaraldi on piano, Monty Budwig on bass, and Stan Levey on drums – and Guaraldi's piano style's got a heck of a lot more soul than you'd expect, a detail that brings a nice depth to a session that might have been otherwise lightweight – and which comes off with the same strength overall as the pair's outing from the same time for the Crown label. Candoli seems to play about half the tracks with a mute, but still in a style that's more open and fluid than much of his other work from the time – and titles include "Tara Ferma", "Diane", "Mambo Blues", "Mediolistic", and "Walkie Talkie". CD

BBE's Kings Of. . . series goes 2 steps deeper with this stellar entry – a scenic overview of the world of house – selected by Masters At Work! MAW have worked with BBE many times in the past, but never has a project been more appropriate. Kenny Dope and Louie Vega assemble a wonderful mix of material – masterfully blending the roots of the house movement with some far reaching touches! Kenny Dope manages the 20 tracks on the first disc: "The Sound (Smoothe mix)" by Resse & Santonio, "Taste My Love" by House To House feat Kym Mazelle, "Can You Feel It (instrumental version)" by Mr Fingers, "Sexuality" by Blake Baxter, "It's You" by ESP, "It Is What It Is" by Rhythim Is Rhythim and more! Louie Vega programs the 22 tracks of disc 2: "V Gets Jazzy" by Louie Vega and Mr V, "Koro Koro" by No Smoke, "Rushing" by Loni Clark, "Bring Down The Walls" by Robert Owens, "Our Mute Horn" by Masters At Work, "Deeper" by Susan Clarke, "Promised Land (club mix)" by Joe Smooth, "Never No More Lonely" by Mr Fingers, Inc and more! CD

Hard to believe this is the fifth project together between Curren$y and Harry Fraud – and definitely a standalone project, despite what you might guess from the title! The album was originally supposed to be a deluxe take on Outrunners, but the duo are so quickly collaborative, they ended up creating a whole new work in the process – often with the kind of cool crispness of the previous record, but with fresh material throughout – and guest appearances from Snoop Dogg, Trippie Redd, Styles P, and Larry Lune. Titles include "White Ashes", "Work Too Hard", "Vintage Haze", "180 Days", "Quicksand", "Kitt", "New On Mute", and "The Crow's Nest". CD

One of our favorite-ever Miles Davis albums – and a groundbreaking soundtrack that forever changed the way that jazz music was used in film! According to legend, the sounds here were recorded by Miles on a hot Paris night – late in the studio, after a live performance – in a very intimate setting that had he and the combo creating these little poetic passages along with the action in the film! In addition to sublime and moody muted trumpet from Miles – the small group also features tremendous tenor work from the great Barney Wilen – a French modernist who's at the height of his powers – and beautiful bass from Pierre Michelot, whose rich tones really frame the whole proceedings. The rest of the group features bop pianist Rene Urtreger and American drummer Kenny Clarke – but the real charm comes from the interplay between Wilen, Davis, and Michelo. Titles include "Florence Sur Les Champs-Elysees", "L'Assassinat De Carla", "Diner Au Motel", "Evasion De Julien", "Nuit Sur Les Champs-Elysees", "Le Petit Bal", "Au Bar Du Petit Bac" and "Sur L'Autoroute". LP, Vinyl record album

Moody magic from Miles Davis and Gil Evans – one of the pair's most perfectly poised albums together, and a set with a slight bossa nova undercurrent! Evans' shimmering horn patterns are in fine form here – complicated, but never in cold and too-modern ways – just the right sort of backdrop for Miles' muted solo work – blow with a great sense of space and care throughout! There's almost a soundtrack sort of depth to the record, but the solos still keep the jazz element nicely in focus – and titles include "Summer Night", "Wait Till You See Her", "Aos Pes Da Cruz", "Song #1", "Song #2", "Corcovado", and "Once Upon A Summertime". LP, Vinyl record album

A pivotal late album from Miles Davis – and a set that helped him find a whole new direction for his electric expressions in the 80s! Davis was still sounding great on his later records for Columbia, but he takes a nice turn here, working in collaboration with bassist Marcus Miller – hitting modes that echo contemporary currents in soul more than some of his other sets – maybe a bit like the shift that Herbie Hancock made a few years before with Future Shock. The bass of Miller is prominent on most cuts – alongside keyboards from Jason Miles and Adam Holzman, with a few contributions from George Duke and Bernard Wright. Miles solos strongly, in an update of his muted mode – and titles include "Backyard Ritual", "Splatch", "Full Nelson", "Don't Lose Your Mind", "Thomas", and "Tutu". LP, Vinyl record album

Kenny may be quiet, but he's never muted – and the record is far from the sleepy session you might guess from the title! The album's a real standout in the Dorham catalog – a set that let's Kenny's trumpet sparkle beautifully in a quartet that includes piano from Tommy Flanagan, bass from Paul Chambers, and drums from Art Taylor – all bringing their own spirit to the record, but really hanging back in the space to let Dorham's sound dominate the record. Kenny's notes are beautifully shaped throughout – in a mode that has echoes of Clifford Brown's sweetness, but which also speaks with a raspier, earthier tone overall! Titles include 2 key Dorham classics – "Lotus Blossom" and "Blue Spring Shuffle" – plus "Mack The Knife", "My Ideal", "Blue Friday", and "Old Folks". CD

Kenny may be quiet, but he's never muted – and the record is far from the sleepy session you might guess from the title! The album's a real standout in the Dorham catalog – a set that let's Kenny's trumpet sparkle beautifully in a quartet that includes piano from Tommy Flanagan, bass from Paul Chambers, and drums from Art Taylor – all bringing their own spirit to the record, but really hanging back in the space to let Dorham's sound dominate the record. Kenny's notes are beautifully shaped throughout – in a mode that has echoes of Clifford Brown's sweetness, but which also speaks with a raspier, earthier tone overall! Titles include 2 key Dorham classics – "Lotus Blossom" and "Blue Spring" – plus "Mack The Knife", "My Ideal", "Blue Friday", and "Old Folks". CD

Kenny may be quiet, but he's never muted – and the record is far from the sleepy session you might guess from the title! The album's a real standout in the Dorham catalog – a set that let's Kenny's trumpet sparkle beautifully in a quartet that includes piano from Tommy Flanagan, bass from Paul Chambers, and drums from Art Taylor – all bringing their own spirit to the record, but really hanging back in the space to let Dorham's sound dominate the record. Kenny's notes are beautifully shaped throughout – in a mode that has echoes of Clifford Brown's sweetness, but which also speaks with a raspier, earthier tone overall! Titles include 2 key Dorham classics – "Lotus Blossom" and "Blue Spring" – plus "Mack The Knife", "My Ideal", "Blue Friday", and "Old Folks". CD

A well-titled album from Harry "Sweets" Edison – not just because of its play on his nickname, but because of its overall sound! The set's an obscure "with strings" date for Harry – one that has his trumpet nicely wrapped up in larger backings that have a gentle, laidback feel. The moody, mellow sound is a great complement to Harry's horn – really showcasing his talents on muted ballads – and the album also features contributions from Gerald Wiggins on piano and Leroy Vinnegar on bass. Titles include "But Beautiful", "What Is There To Say", "Green Dolphin Street", "Everything Happens To Me", "Days Of Wine & Roses", and "Blues For Christine". CD

Dizzy's Big 4 here are a quartet of players that includes Ray Brown on bass, Joe Pass on guitar, and Mickey Roker on drums – all of whom work with Dizzy in a lightly skipping groove that's a nice contrast to some of his other 70s work! The style certainly has some of the spacious qualities that Dizzy was bringing to his records of the 70s – that post-bop "little says more than a lot" style that we really love – but the overall mode is somewhat gentler too, and with just a guitar to emphasize some of the rhythms of the tune, there's some airiness to the numbers that's really compelling. Dizzy's trumpet is often muted, and titles include "Birk's Works", "Frelimo", "Hurry Home", "Russian Lullaby", and "September Song". CD

The trio of trumpeters meets the Oscar Peterson 4 – in a session of long tracks that have a liveish feel in the best Dizzy Gillespie mode! Most of the work here is in classic hardbop blowing style – with the trumpeters stating the head, then breaking out into well-voiced solos that outdo each other with inspiration – but there's also a bit of the lighter, airier quality that showed up on Dizzy's records of the generation too. The horns are mixed a bit too – so that some trumpets are muted, some are open, and Terry plays a bit of flugelhorn – and Peterson's quartet features Joe Pass on guitar, Ray Brown on bass, and Bobby Durham on drums. Titles include "Daahoud", "Chicken Wings", "Just Friends", and "The Champ". LP, Vinyl record album

An extremely soulful session from European trumpeter Dusko Goykovich – recorded in the US with a lineup that can't miss! The core rhythm trio features Tommy Flanagan on piano, Eddie Gomez on bass, and Mickey Roker on drums – and the great Jimmy Heath joins Dusko on the frontline for about half the album, blowing soulfully on tenor with the same kind of creative introspectivity we've come to expect from his own albums! A few tunes feature Goykovich in that bright muted style that he's used a fair bit in recent years, while others have him opening up with a deeper tone. Titles include "Blues Valse", "Teamwork Song", "Inga", "Soul Connection", "Adriatica", and "NYC". CD

Don't think "disco" as in the New York scene at Studio 54 – as these cuts are much deeper and dubbier – served up under the supervision of Bunny Lee by studio maestros Barnabas and Pat Kelly! Instrumentation is by the Aggrovators, but the magic comes equally from the production effects as it does from the massive rhythms by the group – as all the elements are filtered out in space, and criss-cross back and forth in this wonderful way – never too sloppy or experimental, but definitely tripping out with the groove! Vocals are muted when they do make an appearance – and titles include "The Aggrovators Special Dub", "Money In My Pocket Dub", "Portobello Special Dub", "Super Rockers Dub", "The Bomb Dub", "The Killer Dub", and "The Dub Specialist". LP, Vinyl record album

Nnamdi Ogbonnaya is sometimes an artist completely unto himself – part of a contemporary underground that's always shaking free of genres and labels with each new expression – yet here, he's also got a key partner in crime through the production work of Lynyn, who brings this soaring sensibility to the record that really takes off in a great way! Most songs start slow, the percolate quickly – with Nnamdi's vocals muted somewhere in the mix, yet a key presence in the power of the way things emerge – sometimes tinged with retro elements on the production or instrumentation, but very future forward throughout. Sen Morimoto guests on "You Don't Know" – and other cuts include "Backseat", "Doing Too Much", "Barely Reason For A Smile", and "Glass Casket (rmx)". LP, Vinyl record album

The mellow tone of Cootie Williams gets a great showcase here – a laidback quartet date that's easily one of the most relaxed, open sessions we've heard from the trumpeter! Cootie blows a muted horn on most numbers, but he still comes across with plenty of soul – and support is from Nat Jones on piano, Harold Dodson on bass, and Bill Peeples on drums – on titles that include "Concerto For Cootie", "Some Of These Days", "Night Train", "Liza", and "Birmingham Blues". LP, Vinyl record album

Groovy, moddish, magnificent and sunny girl pop from The Land Of The Rising Sun – pummeling drums, jumping arrangements and groovy vocals from the mid-to-late 60s Japanese scene! This is fantastic stuff, any kitch or novelty appeal you might be expecting is kind of muted by the exceptional quality and excellent performances – but it is flat out fun! As the title states, strains of pop, beat & bossa – plus mod & psychedelic fuzz – and the vocals girl group vocals are bright, rocking, playful or sultry or innocent depending on the groove! 25 tracks in all: "Black Room by Jun Mayuzumi, Sharock No 1" by Mie Nakao, "Nagisa No Tenshi" by Mieko Hirota, "Hatsu Koi No Letter" by Miki Obata, "Bazazz Tengoku" by The Cupids, "Aeba Suki Suki" by Margaret With Bunnys, "Nukui Aitsu" by Mika Nohira, "Kiiro No Sekai" by J Girls and more. CD

A pivotal late album from Miles Davis – and a set that helped him find a whole new direction for his electric expressions in the 80s! Davis was still sounding great on his later records for Columbia, but he takes a nice turn here, working in collaboration with bassist Marcus Miller – hitting modes that echo contemporary currents in soul more than some of his other sets – maybe a bit like the shift that Herbie Hancock made a few years before with Future Shock. The bass of Miller is prominent on most cuts – alongside keyboards from Jason Miles and Adam Holzman, with a few contributions from George Duke and Bernard Wright. Miles solos strongly, in an update of his muted mode – and titles include "Backyard Ritual", "Splatch", "Full Nelson", "Don't Lose Your Mind", "Thomas", and "Tutu". LP, Vinyl record album

The first album we've heard in years by trumpeter Eddie Gale – an artist that we'll love forever for his 2 righteous sides on Blue Note! Gale's come a long way since his Blue Note years – and since his early 80s live album (the last recording we'd heard by him) – and he's working here in a style that mixes muted trumpet blowing with a range of electronics – in a style that's got some of the traces of messed-up mid 80s Ornette Coleman, and some of the mellower electric work of Miles Davis in his later years. Eddie sings a bit on one track, and the album's got a political undercurrent that reminds us of some of the mid 80s New York jazz/funk/electronics recordings. Titles include "Free You Free Me", "Welcome To Silicon Valley", "Inner Peace To You", "Afro Fire", "New York After Hours", "Route 95", and "Tribal Future". CD

One of our favorite-ever Miles Davis albums – and a groundbreaking soundtrack that forever changed the way that jazz music was used in film! According to legend, the sounds here were recorded by Miles on a hot Paris night – late in the studio, after a live performance – in a very intimate setting that had he and the combo creating these little poetic passages along with the action in the film! In addition to sublime and moody muted trumpet from Miles – the small group also features tremendous tenor work from the great Barney Wilen – a French modernist who's at the height of his powers – and beautiful bass from Pierre Michelot, whose rich tones really frame the whole proceedings. The rest of the group features bop pianist Rene Urtreger and American drummer Kenny Clarke – but the real charm comes from the interplay between Wilen, Davis, and Michelo. Titles include "Florence Sur Les Champs-Elysees", "L'Assassinat De Carla", "Diner Au Motel", "Evasion De Julien", "Nuit Sur Les Champs-Elysees", "Le Petit Bal", "Au Bar Du Petit Bac" and "Sur L'Autoroute". This CD version restores the original 10 track lineup of the soundtrack, without any additional material. CD

One of our favorite-ever Miles Davis albums – and a groundbreaking soundtrack that forever changed the way that jazz music was used in film! According to legend, the sounds here were recorded by Miles on a hot Paris night – late in the studio, after a live performance – in a very intimate setting that had he and the combo creating these little poetic passages along with the action in the film! In addition to sublime and moody muted trumpet from Miles – the small group also features tremendous tenor work from the great Barney Wilen – a French modernist who's at the height of his powers – and beautiful bass from Pierre Michelot, whose rich tones really frame the whole proceedings. The rest of the group features bop pianist Rene Urtreger and American drummer Kenny Clarke – but the real charm comes from the interplay between Wilen, Davis, and Michelo. Titles include "Florence Sur Les Champs-Elysees", "L'Assassinat De Carla", "Diner Au Motel", "Evasion De Julien", "Nuit Sur Les Champs-Elysees", "Le Petit Bal", "Au Bar Du Petit Bac" and "Sur L'Autoroute". LP, Vinyl record album

A pivotal late album from Miles Davis – and a set that helped him find a whole new direction for his electric expressions in the 80s! Davis was still sounding great on his later records for Columbia, but he takes a nice turn here, working in collaboration with bassist Marcus Miller – hitting modes that echo contemporary currents in soul more than some of his other sets – maybe a bit like the shift that Herbie Hancock made a few years before with Future Shock. The bass of Miller is prominent on most cuts – alongside keyboards from Jason Miles and Adam Holzman, with a few contributions from George Duke and Bernard Wright. Miles solos strongly, in an update of his muted mode – and titles include "Backyard Ritual", "Splatch", "Full Nelson", "Don't Lose Your Mind", "Thomas", and "Tutu". CD

A real standout in the Bill Evans catalog for Riverside – and that's saying a lot, given how important all of his Riverside albums are! The core session's a rare quintet outing for Evans – one that breaks the mode of the usual trio format by adding in Freddie Hubbard on trumpet and Jim Hall on guitar – alongside rhythm players Percy Heath on bass and Philly Joe Jones on drums – already a unique enough match for Evans' talents. In a way, the record's one of those sessions that Riverside would sometimes do – pairing a key new voice as a leader with others in an all-star group – but in another way, it's also a return to the sound that first brought Evans' to a wider audience in the 1957 and 1958 years – when he was working in non-trio groups with more famous players – adding his unique piano stylings to their (then) better-known solo modes. The pairing of Evans and Hall has been beautifully documented on other records – and sounds equally great here – but the real treat is Freddie Hubbard's horn, which often lays back on most of the tracks, then bursts in with a brashness that really ignites some of the tunes! He's playing a bit muted here, trying to go for that Miles/Evans combination from the late 50s – but that's plenty ok with us, as we love those records a lot. Titles include "When You Wish Upon A Star", "You & The Night & The Music", "I'll Never Smile again", "You Go To My Head" and the Evans original, "Interplay". This double-length set also expands the original Interplay album with even more material from another group session in 1962 – a set recorded also with Philly Joe Jones on drums and Jim Hall on guitar – plus Ron Carter on bass and Zoot Sims on tenor. Titles include "Time Remembered", "Loose Bloose", "Fun Ride", "There Came You", "Fudgesickle Built For Four", and "My Bells". LP, Vinyl record album