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viewing 1 To 25 of 95 items
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LP
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BEAT 109LP
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For the first time on vinyl, a pressing of this legendary tape released in 1993 in Colombia, documenting "Ultra Metal," the country's early extreme metal scene. Volume 1 of 2 of the vinyl release of The Colombian Awakening tape, released in 1993 by Schizophrenia Records, a comprehensive collection of face melting, raw recordings from the early Colombian extreme metal scene, with styles ranging from death metal to thrash and grindcore. A savage and powerful document of one of the most intense underground scenes of the era, kickstarted by the infamous Parabellum. A must for fans of underground metal! Includes remastered audio, new cover and a foldout inner sleeve with extensive liner notes. Limited edition of 300 copies. Featuring Aspid, Neus, Holocausto, Attack, Akerrak, Censura, Antagon, Eutanasia, Sarcasmo, Belial, and Averno.
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LP
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BEAT 110LP
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Second and final volume of the vinyl pressing of this legendary tape released in 1993 in Colombia, documenting "Ultra Metal," the country's early extreme metal scene. Second volume completing the vinyl release vinyl release of The Colombian Awakening tape, released in 1993 by Schizophrenia Records, a comprehensive collection of face melting, raw recordings from the early Colombian extreme metal scene, with styles ranging from death metal to thrash and grindcore. A savage and powerful document of one of the most intense underground scenes of the era, kickstarted by the infamous Parabellum. A must for fans of underground metal! Includes remastered audio, new cover and a foldout inner sleeve with extensive liner notes. Limited edition of 300 copies. Featuring Athanator, Imri, Tenebrarum, Crucifixion, Confusion, Cataleptic, Degradeath, Posguerra, and Bastard.
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BEAT 113LP
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Vinyl repress of the sought after second album by Azuzena, queen of Spanish heavy metal. A powerful return to her metal roots originally released in 1989. Originally released in 1989, Liberación has been long out of print. After a disappointing first effort, Liberación meant a return to true heavy metal form by Azuzena, a powerful statement and the great, last album by this legendary woman. Includes two bonus tracks, remastered audio, new cover and a foldout inner sleeve with extensive liner notes. Limited edition of 300 copies.
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BN 010LP
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Limited restock, last available copies. "Snockument is a vinyl sampler of some of Michael Hurley's favorite covers of his songs, spanning 30 years or more, threaded with a love and admiration for the songs of Hi Fi Snock. Some tunes were recorded specially for the occasion (Calexico, Cass McCombs, The Hackles, dbh and Little Sue) while others were picked up along the way (Cat Power, Yo La Tengo, The Chicken Chokers, Vernon Tonges and Jason D. Williams). They have been mastered specially to create a fine unity of all the selections as though all were performed in the same place on one day. This limited-edition vinyl LP on the Blue Navigator label includes a gatefold insert featuring art by Snock himself. Produced by Michael Hurley (USA), Brendan Foreman (Ireland) and Sarah Illingworth (New Zealand), with thanks to Steve Peters and Jonathan Scheuer (Nonsequitur) and Byron Coley (Feeding Tube Records)."
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BBR 007LP
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"What a treat for the rude crowd this is! A taste of every 2Tone Ska band to ever record a Peel Sesion, with the likes of titans of the genre like The Specials, Madness, The Selecter, The Beat, and The Bodysnatchers. All the bands featured were at the top of their game at the time of the recording, making this an energetic ride through 2Tone's legendary catalog. 14 tracks of over-the-top ska craze!"
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BUDA 860400CD
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"Dar es Salaam, still the 'haven of peace' alluded to in its name, in the 1960s and 1970s, moreover have seen the influx of a number of bands from neighboring Congo-Zaire. Typically contracted by some of the upmarket clubs and hotels for a limited time: some of the individual musicians and bands stayed on, among those the musicians of the future Orchestre Maquis and Orchestre Safari Sound."
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BR 183LP
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A new album by composer Oksana Linde presents new electronic pieces, composed between 1986 and 1994, that have remained unreleased. This set of electronic pieces explores more ambient and meditative sounds. Travesías, her second album released by Buh Records, features pieces created in her private studio in San Antonio de Los Altos, Venezuela. These works belong to the same creative period as the pieces included in her acclaimed debut album, Aquatic and Other Worlds (BR 160LP, 2022). Born in 1948 in Caracas to Ukrainian immigrant parents, Oksana Linde's journey is an example of resilience and innovation. After abandoning her career as a chemist due to health problems, Linde devoted herself to music, experimenting with synthesizers to create a deeply evocative sonic universe. She produced a vast number of recordings during the 1980s, many of which remained unreleased until the publication of Aquatic and Other Worlds. This new collection of pieces, taken from the extensive archive of cassette tapes preserved by Linde, unveils yet another perspective of her work. The pieces "Mundos Flotantes" (Floating Worlds), "Horizontes Lejanos" (Distant Horizons), and "Arrecifes en el espacio" (Reefs in Space) were specifically composed for the show Travesía Acuastral (Aqua-Astral Journey), presented by Linde in February 1991 at Casa Rómulo Gallegos as part of the 3rd Encounter of New Electronic Music. This event, produced by Maite Galán in collaboration with the Musikautomatika group, was a milestone in shaping an experimental electronic music scene in Venezuela, one of the most active in Latin America at that time. Linde composed a series of pieces for use in meditation sessions, four of which are included in this compilation: "Luciérnagas en los manglares" (Fireflies in the Mangroves), "Estrellas I" and "II" (Stars I and II), and "Kerepakupai Vena." The latter refers to two words from the Pemón Indigenous community in southeastern Venezuela, meaning Angel Falls, the name of the world's tallest waterfall. Travesías solidifies Oksana Linde's position as an essential figure in electronic music and furthers the effort to bring to light one of the most fascinating archives of electronic music produced in Latin America. This compilation is released through Buh Records in a limited edition of 500 copies. Compilation and liner notes by Luis Alvarado. Mastered by Alberto Cendra at Garden Lab Audio. Cover photo by Elisa Ochoa Linde. Art and design by Gonzalo de Montreuil. This album was made possible thanks to the Ibermusicas fund.
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2LP
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BR 191LP
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For the first time, a representative anthology of Eduardo Polonio's early electroacoustic works is available in vinyl format. This compilation also serves as a review of the history of Spanish electroacoustic music, featuring works created at the Phonos Laboratory in Barcelona, the Alea Electronic Music Laboratory in Madrid, the Electroacoustic Music Cabinet in Cuenca, and the composer's private studio in Barcelona. The anthology Eduardo Polonio: Obra electroacústica 1969-1981 revives the early stages of the innovative composer with a curated selection of eight restored pieces. A limited edition celebrating his profound impact on Spanish experimental music. Eduardo Polonio (1941 - 2024) was one of the foundational figures in the emergence and development of electroacoustic music in Spain. From the raw electronic textures of "Para una pequeña margarita ronca" (1969) to the timbral subtleties of "Flautas, voces, animales, pájaros" (1981), this collection showcases Polonio's artistic evolution and highlights different facets of his work as a composer and musician. The included works reflect this multifaceted aesthetic. "Oficio" (1969) is a real-time improvisation recorded using two low-frequency generators and a modified electric guitar amplifier for sound modulation. Rabelaisiennes (1969), for prepared guitar, explores minimalism and instrumental experimentation. "Continuo" (1970), a piece for electric guitar and bass, anticipates ambient music while engaging with free jazz and psychedelia. "Me voy a tomar el Orient Express" (1976) stands out for its rhythmic and harmonic interplay between the lines forming the sonic texture. "Valverde" (1981) offers a microscopic study of a distinctive way flamenco guitar concludes bulerías phrases. "El reclinatorio en el tejado de la lejana abadía" (1971) is structured as an imaginary soundscape in the form of a suite. Polonio's life and work parallel the history of electroacoustic music in Spain. From his beginnings at Alea, Spain's first electronic music laboratory, to his collaborations with figures like Horacio Vaggione and Josep Maria Mestres Quadreny at Phonos, Polonio carved a unique path in the history of Spanish experimental music. Eduardo Polonio: Obra electroacústica 1969-1981 is presented by Buh Records as a limited double LP edition and in digital format, in collaboration with the Asociación de Música Electroacústica de España (AMEE). The audio in this edition has been restored and mastered directly from the master tapes by Víctor Aguado. The album includes extensive liner notes written by Víctor Aguado and Ramón del Buey, with artwork and design by Gonzalo de Montreuil.
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LP
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CIRUELA 12669LP
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Los Belking's belong to the exceptional cast of bands that emerged in the mid-sixties on the Lima scene that were capable of producing some of the best examples of rock music at that time at the level of contemporary scenes. At this point names like Traffic Sound, Los Saicos, Laghonia, We All Together, or Los York's -- to mention a few -- are considered the best in their styles and manners. The Belking's stand out not only for the virtuosity and masterful handling of the guitarist of Wilfredo Sandoval and Raúl Herrera but for the original and richness of their sounds, predicting the Latin rock of the '70s that shook the world. These sixteen pearls extracted from their discography recorded between 1966 and 1973 are proof of this, for many the best instrumental band on the continent.
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12"
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CLR 123EP
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Chris Liebing remakes Emmanuel Top's iconic "Turkish Bazar." A new version of the 1994 acid rave hit lands on Liebing's CLR. Initially released via the Le Petit Prince label, "Turkish Bazar" is an evergreen club hit, now painstakingly rebuilt by Techno powerhouse Chris Liebing, with each musical element reforged to create an essential new version. Liebing's version of "Turkish Bazar" features the instantly recognizable spoken word vocal of the original, while he ups its unmistakable 303 with an additional dose of acid. Raw, unfiltered licks are in tandem with pounding drums as airy pads and dainty sequences aim to soothe dancefloor madness. Extensively road-tested by Chris Liebing and blessed by Emmanuel Top for release via CLR, this is a mammoth revisit that lives up to the original's timeless appeal. Founded by influential techno lynchpin Chris Liebing in 1999 and reemerging in 2021 after a five-year hiatus, Create Learn Repeat (CLR) has hosted a range of artists like Shlomi Aber, Dubfire, Flug, Bjarki, DJ Dextro, and more while also focusing on developing newer acts in the scene such as Risa Taniguchi, The Southern, and Klint.
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CS 010LP
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The newest album by Chicago's noise rock band. BigʼN was, is and always shall be a legacy noise rock band (est. 1990) comprised of vocalist William Akins, guitarist Todd Johnson, bassist Fred Popolo, and drummer Brian Wnukowski. After releasing a stellar debut album (1994), followed by their sophomore and signature effort Discipline Through Sound on Skingraft Records (1996) and a split single with Shellac, the band became inactive for some years. In 2018, BigʼN recorded and released a new EP, Knife of Sin, via Computer Students. In 2022, they released DTS 25, an expansion of their pioneering second album. Both were recorded by the late, great Steve Albini. BigʼN is back once again with a ruthless new album, End Comes Too Soon -- their first in 28 years -- released via Computer Student. It's all still here as present and disciplined as ever -- Brianʼs powerful, reliably precise drumming with melodic phrasing that shapes the songs, Fredʼs metallic superstructure of a bass that builds the defined framework of the music, Toddʼs clangorous guitar that has more harmonic content than a lot of his noisier peers, and William Akinsʼ yarling vocals, the most recognizably human thing about the band, that convey layers of tension and intent, all the emotional content of a hellbound therapy session. Tragically, on May 7, 2024, Steve Albini suddenly passed away of a heart attack. Naturally, BigʼN were shocked and devastated. End Comes Too Soonʼs title comes from a lyric, and is unrelated to Albini; still, the album became a roundabout love letter to the man, his studio, and his legacy. Like its predecessors, the album is structured by snippets of musical interludes or Transmissions -- and there are six here, under the common code "XMSN." Also available in aluminum packaging (CS 010LTD-LP).
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LP
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CS 010LTD-LP
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Aluminum packaging version. The newest album by Chicago's noise rock band. BigʼN was, is and always shall be a legacy noise rock band (est. 1990) comprised of vocalist William Akins, guitarist Todd Johnson, bassist Fred Popolo, and drummer Brian Wnukowski. After releasing a stellar debut album (1994), followed by their sophomore and signature effort Discipline Through Sound on Skingraft Records (1996) and a split single with Shellac, the band became inactive for some years. In 2018, BigʼN recorded and released a new EP, Knife of Sin, via Computer Students. In 2022, they released DTS 25, an expansion of their pioneering second album. Both were recorded by the late, great Steve Albini. BigʼN is back once again with a ruthless new album, End Comes Too Soon -- their first in 28 years -- released via Computer Student. It's all still here as present and disciplined as ever -- Brianʼs powerful, reliably precise drumming with melodic phrasing that shapes the songs, Fredʼs metallic superstructure of a bass that builds the defined framework of the music, Toddʼs clangorous guitar that has more harmonic content than a lot of his noisier peers, and William Akinsʼ yarling vocals, the most recognizably human thing about the band, that convey layers of tension and intent, all the emotional content of a hellbound therapy session. Tragically, on May 7, 2024, Steve Albini suddenly passed away of a heart attack. Naturally, BigʼN were shocked and devastated. End Comes Too Soonʼs title comes from a lyric, and is unrelated to Albini; still, the album became a roundabout love letter to the man, his studio, and his legacy. Like its predecessors, the album is structured by snippets of musical interludes or Transmissions -- and there are six here, under the common code "XMSN."
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LP
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DAK 022LP
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"From their early '90s inception to the latter years of the 21st century's first decade, No Neck Blues Band appeared (to distant observers, anyway), to be something of the Platonic ideal for the 'improvisational collective,' in turn confounding ideas of authorship, recognition, and fame. A fragile symbiosis at best, the scrim of anonymity began to fray sometime around the turn of the century, and a group that looked like it might, for a second, become the ur-rock, drug-soaked United-States-of-American AMM, instead unraveled. As individual members began to emerge from behind the veil, the conceptual, compositional, and improvisational personalities behind the group's untouchable alchemy took form. Two of the group's lifers stood out -- Dave Shuford, undeniably the group's guitar powerhouse (who also revealed himself to be an ace songwriter with Rhyton, D. Charles Speer, et al), and Pat Murano, who founded his label Daksina to explore obsessions with deep electronics, metal's outer reaches, and late-night murmurings of all sorts. In addition to whatever else they were, Murano and Shuford confirmed their status as high-order improvisers, albeit with an expansive grip wielding far more power than the polite conversationalism permeating most 'non-idiomatic' improv genres. On their second duo LP Sing and Play for the Guru, Shuford and Murano dig deep into the crevices of nocturnal electric moan, the first side a meditation on the abyss that sits easily on the shelf next to Murano's blackest Decimus musings. Building at a horrifically slow pace towards a sunless molten boil of vocals and electronics, the side is a perfect soundtrack to our ongoing entropic apocalypse, a 'dark ambient' opus that manages to make Abruptum sound like Kiss. While it's a stretch to call side B 'brighter,' it moves from its opening guttural cyborg eviscerations into tranced-out elaborations on non-Western modalities (something both of these punters excel at) with synapse-cleansing grace. As a whole, the LP ups the ante yet again for Daksina, whose every release effortlessly resets the pinnacle for non-rock psychedelic entanglement. Regardless of your take on the future, it seems foolish to muse on society's collapse with anything other than this record on the deck, your ass in an armchair, and your libations of choice flowing into your gullet." --Tom Carter
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LP
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DAK 023LP
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"C & PM -- two adepts of improvisation again alight their paths with esoteric flame. The emotional tenor of their masterful double LP release Four Infernal Rivers (MIE 027LP) is maintained: frightful urgency blends with a kind of poised resolve, the auditory version of a thousand-yard stare from an aloof predator. The guitar based sonics in evidence here on Songs of Éliphas Lévi Zahed congeal into a monolithic viscous clarity. 'The Will' is marked by vibrant strings slowly coaxed into vocalese. A few minutes in, a trap door delay takes the listener instantly to the tripping basement, forced to navigate a respirant rug in near total darkness. Tunnel vision tiny dot of light then dilated to max. Blinding flashes of a green horizon. Fuzz plumes are heard staggering into the distance, slowly passing over the hill of setting sun. 'Astral Light' piles on the pastoral waves as it glides along the edges of a shimmering ray. These tracks have been dedicated to the legendary ceremonial magician, Éliphas Lévi, the one who illustrated the Goat of Mendes for all to see plainly. This man of constant sorrow cut his teeth in socialist circles in Paris but later focused on more obscure routes of societal impact. In one of his books, he arranged 22 chapters to match the major arcana of the tarot. Lévi brought cartomancy into the realm of Kabbalah and the larger magical tradition. In his system, the will becomes interlaced with astral light - allowing for influence from far remote locales. Another version of what was known in neo-platonic circles as the pneuma, the field of transmission for extenuated mind force. Near the end of his life, Lévi hid away a catalog of ethereal songs written in the major and minor keys of Solomon. 'The Imagination' is where magic stakes its claim. Within the mind's eye, where images can hold fast and bind the viewer. Splatter tones draw out a tumbling duel, infernal internals. Molten pickup sound but enhanced, like drinking direct from the tap of voltage control. Faith based magic -- even faith based on lies, can be efficacious." --Dave Shuford
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CD
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DC 387CD
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Restocked on CD. "Their time in the studio was overseen by engineer Jim Vitti, whose work with Parliament/ Funkadelic seems to have informed his decision to record Death in raw fashion with little polish, showcasing the organic power relationships within the trio. The songs recorded there make up ?For the Whole World to See, which today blasts from the speakers as a fresh and inspired early entry in the category of punk rock. Death had a single pressed, Politicians In My Eyes b/w Keep On Knocking, selling them at their shows and on the street. Things weren't really going anywhere when they heard from Columbia Records' president Clive Davis. He was interested, but he had one demand -- they'd have to change their name. David, acting as the band's leader, would have no part of it, a decision that ultimately brought an end to Death. Moving to New England, David, Bobby and Dannis reconnected with their faith, forming the Christian rock-n-roll band The 4th Movement, whose self-released early-80s album joined Death's 45 as a sought-after obscurity for the next generation. 2009 is the time that Death is finally here ...For The Whole World to See. ...For The Whole World to See is the first full-length release EVER for the band called Death -- with only one 7" single to their name, and that usually goes for about a grand per. That's $1000! For those who do have the single, the remastered sound here will break you up."
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12"
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XBITACID1
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A record dedicated to David Lynch.
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12"
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XBITGOLD 007EP
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Rico Friebe wrote three songs, Rico Puestel produced them and that ain't going wrong!
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12"
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FAUXPAS 034EP
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Fauxpas are pleased to announce a new EP from Simon Schilling, known under the pseudonym The Angel Code. The talented ambient producer, originally from Heidelberg, brings a breath of fresh air to the ambient scene with his latest work. The Angel Code is not merely an ambient music project; it is an invitation to wander inward, to inspire introspection and connection. Blending ethereal textures, subtle melodies, and atmospheric layers. A place where sound becomes emotion. Trust in the unseen. Let the code guide you.
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12"
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FAUXPAS 037EP
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Swedish producer Martinou has provided Fauxpas with these five fantastic atmospheric tracks for release. The picture of the cover was taken by the artist himself with an analogue camera. The design was done by the legendary Alex Ketzter. Look forward to what's coming.
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12"
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FRAGILE 011EP
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Originally released in 2021. Wolfgang Tillmans and Honey Dijon are both regulars of the club, arts and queer scenes of New York, Berlin and London. A walk between clubs in Brooklyn resulted in the two having a mutual interest to collaborate. Busy as both are, the wait was long, but well worth it. Honey Dijon's "Euphoria Mix" of "Can't Escape into Space" sets the tone: the desire to be together, with friends and strangers, close up on dancefloors, festivals and open airs. Honey's and Wolfgang's shared unapologetic spirit comes alive as Dijon transforms Tillmans's original song into an electrifying dance floor banger. The two musicians' call to come together again is euphoric and inescapable. The original version of the song was released in the midst of lockdown, accompanied by a video showing an empty nightclub and its mirror balls performing for the camera, filmed in 2017 by Tillmans, in pre-pandemic Fire Island.
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12"
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FRAGILE 013EP
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Originally released 2022. Following the release of his recent debut album Moon in Earthlight, Wolfgang Tillmans drops "Insanely Alive" with remixes by the legendary Pet Shop Boys alongside producer Total Freedom, in a collaboration with Sami Baha. Tillmans, a life-long fan of the Pet Shop Boys, directed the music video for their 2002 single "Home And Dry," and contributed the cover artwork for the third iteration of their remix series "Disco 3." In 2015, Tillmans met Ashland Mines aka Total Freedom for the first time at Mike Q's club night at Escuelita in New York. Earlier that year, Tillmans had researched the DJ and producer's tracks for Playback Room, his sound installation focusing on the sounds of American producers. For this remix single, Tillmans invited both the Pet Shop Boys and Total Freedom to put their hands on the catchiest song of his album, resulting in a classic PSB Maxi Mix, an additional radio edit and Total Freedom's pulsating rework of "Insanely Alive."
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FM 12063LP
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Iron Curtis and Johannes Albert return to orbit with their highly anticipated Moon IV, the next chapter in their acclaimed lunar album series. Building on over a decade of collaboration and the cosmic groundwork in Moon I, II, and III, this fourth instalment is a testament to their ever-evolving artistry and expansive vision. Released on their beloved Frank Music imprint, Moon IV sees the duo starring an 11-track journey that once again defies genres, challenges conventions, and charts a vivid course through the electronic cosmos. From the warm opener "Void Gathering" and wistful melodies of "Silverclub" to the driving rhythms of "Sounds (The Feels)," which echoes the relentless pulse of NYC Post-Disco, Moon IV encapsulates the duo's signature blend of moods and eras. "Club L'Avenir" and "Daso" serve up euphoric moments with a nod to the French Touch, while the ambient vignette "Into Somethin' (Interlude)" calms you down again. Electro cuts like "Pipeline" are reminiscent of earlier works in the Moon album series, and new paths are forged when the two are exploring Balearic Pop Music (BPM) territory in "Ohne Dich." Returning from space with the elegant deepness of "Bliss (The Short Finale)", the duo gets you home safe and sound. Their unique studio alchemy shines brighter on this moonlit, flaring long-player than ever.
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GB 169CD
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Kuunatic's hotly anticipated second album Wheels of Ömon takes another adventuresome deep dive into their self-made fantasy mythology, proposing whole new worlds of psychedelic drama and ritual. In addition to their core sonic palette of tribal drums, pulsing bass, atmospheric keyboards and grouped female vocals, the acclaimed Japanese psych-rock trio played an array of Japanese traditional instruments on Wheels of Ömon. The result is a thrilling, kaleidoscopic album that brushes against tradition as it whirls into an other-worldly future. Kuunatic are the trio of Fumi Kikuchi on keyboards, Shoko Yoshida on bass and Yuko Araki on drums. All three of them also sing. They formed in 2016 and released an EP and 7" single before, in 2021, dropping their debut album, Gate of Klüna (GB 117CD, 2021), on an unsuspecting public. Wheels of Ömon builds on the story of Gate of Klüna with more tales of prophecy, mysterious powers and magical healing lakes. Kuunatic's imaginative flights of visionary fancy achieve the same kind of epic, science-fiction world-building as legendary French jazz-prog heroes, Magma. But their inspirations come from further afield. "The three of us listen to completely different types of music so our ideas and influences come from all different places," they say. "We create fantasy stories," they say, "but it's deeply influenced by historical events that happened on Earth. So, when we stayed in Switzerland, looking at the Alps and Vallée du Rhône, they made us imagine vast histories of a grand Earth and times of several hundred million years ago. Perhaps it's this majestic natural setting that has imparted to the new album a deep connection to folk traditions, to human stories, to the very roots of storytelling. It's a mood that manifests most powerfully in the album's varied use of Japanese traditional instruments. Throughout the album, Kuunatic play chappa (hand-sized cymbals used at temple rituals or festivals), sasara (a percussion instrument of 108 wooden plates strung with a cotton cord), ryuteki (a flute used in gagaku), kagurabue (a flute used for Japanese traditional shrine music) ougidaiko (a fan-shaped hand drum), kokiriko (small bamboo stick instruments), and wadaiko (a huge traditional drum that has been used for rituals or festivals since ancient times)."
"Grumbling psych played on a whirring blender of guitars, synths and traditional Japanese temple instruments" -- The Wire
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GME 974LP
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In the early '90s, Jérôme Soligny met Mike Garson, the extraordinary pianist who transformed David Bowie's music on Aladdin Sane. Soligny invited him to make an album of piano covers of Bowie's songs, and in 2011 he released The Bowie Variations For Piano. To accompany his book Rainbow+, Soligny launched The Rainbow Variations. The album features nine Bowie covers, including "Space Oddity" and "Wild Is The Wind," and one original. Mike Garson displays the full extent of his talent one last time on this project, which brings their collaboration to a close. Available on vinyl for the first time.
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GME 975CD
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David Bowie first became familiar with the songs of Jacques Brel through the voice of Scott Walker. But David first recognized their potential when he saw the musical Jacques Brel Is Alive And Well And Living In Paris in London in 1968. In the show and on this record, which he is said to have kept for the rest of his life, Brel's songs are performed by Elly Stone, Shawn Elliott, Alice Whitheld, and Mort Shuman.
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viewing 1 To 25 of 95 items
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