VIA PRESS RELEASE | Craft Recordings announces two vinyl reissues to celebrate the 70th anniversary of Charles M. Schulz’s beloved PEANUTS comic strip, which debuted in seven newspapers across the country on October 2, 1950.

The first is a limited-edition picture disc of Peanuts Greatest Hits, featuring the faces of Snoopy and Woodstock, and available July 24th. The second release, coming August 21st, is the very first vinyl pressing of Peanuts Portraits. Both titles, which are available for pre-order starting today (6/9), feature the enduring music of the Vince Guaraldi Trio. Peanuts Portraits, meanwhile, includes several recordings from Guaraldi and pianist George Winston which have never been available on vinyl.

Limited to 2,500 individually numbered units, the collectible Peanuts Greatest Hits picture disc offers music for all seasons from the animated TV specials, including the instantly recognizable “Linus And Lucy,” the classic “Great Pumpkin Waltz,” and yuletide favorite, “Christmas Time Is Here.” Side A features a cheerful-looking Snoopy, while his avian sidekick, Woodstock—who made his first official appearance in the PEANUTS comic strip 50 years ago this June—graces Side B.

The collection also includes some of Guaraldi’s earliest PEANUTS compositions, like “Baseball Theme,” which originally appeared on his 1964 LP Jazz Impressions Of A Boy Named Charlie Brown—the soundtrack for an unreleased TV special about the comic strip’s anti-hero. Another highlight is “Little Birdie,” written for the 1973 special A Charlie Brown Thanksgiving, and featuring rare vocals from Guaraldi.

On vinyl for the very first time is Peanuts Portraits, which collects the vivid musical cues that Guaraldi wrote for the cast of PEANUTS characters. With his evocative compositions, the artist added new dimensions to beloved regulars like Peppermint Patty, Schroeder, Sally and, of course, Charlie Brown.

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VIA PRESS RELEASE | Paul McCartney proudly announces the thirteenth installment in his GRAMMY Award-winning Archive Collection: On July 31, Paul’s critically acclaimed and universally beloved tenth solo album Flaming Pie will be the latest to receive the Archive Collection treatment, being released on formats including a 5CD/2DVD/4LP Collector’s Edition, a 5CD/2DVD Deluxe Edition, plus 3LP, 2LP and 2CD editions.

​All digital pre-orders for the Archive Collection release of Flaming Pie will include YOUNG BOY. Also available as a stand-alone for digital download & streaming, the EP recreates the 1997 “Young Boy” maxi single and features the remastered Flaming Pie single “Young Boy,” a home-recorded version of the song, the original B-side “Looking For You,” and excerpts of “Oobu Joobu Part 1,” also from the original single. The two music videos for the track have been restored and will also be published on the same day. Two additional EPs will be available with “The World Tonight” arriving on June 26 and “Beautiful Night” on July 17.

Originally released May 5, 1997, Flaming Pie ended a four-year gap between McCartney studio albums. Recorded largely in the wake of Paul’s involvement in the curation and release of The Beatles Anthology series, Flaming Pie was shaped and inspired by that experience, with Paul remarking at the time “(The Beatles Anthology) reminded me of The Beatles’ standards and the standards that we reached with the songs. So in a way it was a refresher course that set the framework for this album.” Produced by Paul, Jeff Lynne and George Martin and featuring a supporting cast of family and friends including Ringo Starr, Steve Miller, Linda McCartney, and son James, Flaming Pie is equal parts a masterclass in songcraft and a sustained burst of joyful spontaneity.

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“Vinyl records are the first tactile objects that I can remember connecting with on a spiritual, cerebral, and physical level simultaneously.”

“Music reproduced from vinyl records being played at floor rumbling volumes are the most distinct memories I have of childhood. My entire family collected records and played records. My Dad was a HiFi enthusiast, and I spent many hours with him as a small boy in late ’70s in audiophile stereo demo rooms absorbing analog frequencies coming from vinyl records.

Once a week, we took a family trip to the record store and we could pick any 45 RPM we wanted, I remember my first 45, it was “I Believe In Music” by Mac Davis. I didn’t know the song, but the title was an affirmation of my deeply held belief that music was the most important thing on Earth!

My siblings were collecting Rock and Pop records, my parents were spinning Jazz, Blues, and Pop from bygone eras that held magic and mystery, and still do. By the time I was in my early teens I had an extensive record collection of ’60s and and ’70s Rock that included all the usual suspects, Doors, Stones, Beatles, Pink Floyd, Zeppelin and a few edgier records my brother turned me on to, like Velvet Underground, Neil Young, Iggy Pop and Bowie.

These records prepped me for my next phase, when in the ’80s new records became the center of my teenage universe. Punk, Post-Punk, Synth-Pop, new music, new records, and a music revolution that elevated the vinyl record back to the level of fine art. The trips to Hollywood and Westwood to the iconic records stores in Los Angeles in the ’80s and ’90s were thrilling!

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Leave it to lo-fi Philly rockers Honey Radar to dig up and redo one of The Monkees’ most obscure songs. The appropriately robotic “Wind-Up Man,” a self-lacerating attack at the cookie cutter pop music machine that created the Prefab Four, was first performed in the strange and equally obscure TV special 33 1/2 Revolutions Per Monkee that was also the last creative endeavor of the original quartet before they broke up.

For Honey Radar, it’s one of a slew of recordings collected for a compilation of things they did for the Atlanta-based label Chunklet Industries. Sing the Snow Away: The Chunklet Years is due in stores June 20, but The Vinyl District is proud today to debut that weird Monkees cover that works better and certainly rocks harder in the hands of Honey Radar than it did by its originators, who never did commit it to a recording.

“The Monkees were the first group I was obsessed with when I was a little kid,” says Honey Radar bandleader Jason Henn. Though he says the 1969, purposely trippy 33 1/3 Revolutions Per Monkee TV special was “almost unwatchable, worse than Magical Mystery Tour,” it had “some songs in it that I like, and ‘Wind-up Man’ always sounded to me like it would make a good straight-forward rock song.”

The band played it live a few times and put it on a 2016 split single with label owner Henry Owings where it stood out, mostly because his side was more conceptual comedy—Owings’ extended impression of the band Slint: three minutes of awkward silence, poking fun of that band’s lengthy breaks between songs at gigs.

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VIA PRESS RELEASE | Gloria Gaynor’s perennial and iconic worldwide smash “I Will Survive” has received the special modern remix treatment by dance music producer Eric Kupper. On June 12, 2020, “I Will Survive (The Eric Kupper Remixes),” featuring three new remixes, will be released as a digital EP by UMe.

Written by Freddie Perren and Dino Fekaris and originally released in October 1978, the chart-topping single was destined to be a B-Side for the song “Substitute.” But the astute Gaynor saw the powerful potential in the track and the song found its audience. “‘I Will Survive’ has become an anthem around the globe for people facing challenges and tragedies in their life,” says Gaynor. “And now more than ever, we need to help each other and provide encouragement and inspiration through music whenever possible.”

Selling more than 14 million physical copies worldwide, the song’s massive success has continued in the streaming world with, on average, six million streams per month. Its iconic video continues growing, with more than 130 million views on YouTube. And now with three new remixes – “Eric Kupper Mix Extended,” “Eric Kupper Dub Mix,” and “Eric Kupper Mix Edit,” each created using the song’s original multi-track master tapes from the UMG vault along with Kupper’s celebrated production—the song will enjoy a rebirth for dance music enthusiasts for decades to come.

Brad LeBeau, of PRO MOTION. The Brad LeBeau Company. Inc., which commissioned the remixes and is also involved in marketing the Pop/Disco classic, and was the Executive Remix Producers for the recently released Diana Ross remix album, Supertonic, stated, “With four consecutive #1* Billboard dance charting singles to his credit, Kupper was the obvious choice to remix Gloria Gaynor’s signature single.” “I’m extremely happy that UMe has enlisted the world-renowned producer and deejay Eric Kupper to remix ‘I Will Survive’ for a 2020 Summer release,” Gaynor adds.

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VIA PRESS RELEASE | Loleatta Holloway (born in Chicago,1946) was an American R&B-Disco singer known for her massive hit songs such as “Hit and Run,” “Love Sensation,” and “Relight My Fire,” all of which have been sampled extensively worldwide. Billboard magazine ranked her as one of most successful dance artists of all-time.

​Holloway first began her career singing gospel music, then in the early ’70s, she met her future producer, manager (and husband) Floyd Smith which kick-started her impressive recording career. Shortly after Holloway signed with the Atlanta-based soul music label Aware where she recorded two albums: Loleatta (1973) and Cry to Me (1975). Later, in the mid ’70s she signed with top Philadelphia arranger and producer Norman Harris’ Gold Mind/Salsoul Records, where she recorded many more top charting hit singles and launched her career as a disco act.

From then on (and until this day) Holloway’s songs (which became DJ favorites) were heavily remixed and sampled on a multitude of tracks from renowned acts such as Whitney Houston, Bobby Byrd, Raekwon, Flo Rida, Pitbull, Ice Cube…and MANY others. Loleatta Holloway passed away at the age of 64 on March 21, 2011 leading to a wave of tributes and condolences from across the globe (Holloway also had a huge following in Europe and Japan).

​Her second album (Cry to Me from 1975), which we are presenting you today, is a total classic…both the album (and the title track) peaked in the R&B and Billboard Hot Soul Singles charts. Cry To Me was produced by Floyd Smith and it features tracks penned by some of the most talented songwriters of the time…Sam Dees (Gladys Knight, Bo Diddley, Aretha Franklin) wrote five of the tracks on the album and his arrangements provide the perfect backdrop for Loleatta’s emotive, dramatic and powerful vocals. Curtis Mayfield also contributes the magnificent “Just Be True” track and Jo Armstead (Ray Charles, Syl Johnson, Tina Turner) wrote the beautiful “Casanova” song.

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How one year in bed got me listening to 70 years of music.

“A few years ago I had an accident that changed my life and propelled me into music. I spent a year in bed recovering from a broken back and in that time I learned to play the guitar, read a lot of great books, watched a lot of good films and did physio every day to teach me how to walk again.

Eight months in, I’d built up enough strength to go into our local town for my physio. A new record shop had opened around the same time and I’d also just come across my mum’s old collection of vinyl. I had the player all set up at home and began listening to full-length albums, rediscovering my love for Fleetwood Mac, Neil Young, Nick Drake, The Band, The Allman Brothers, Chet Atkins & Jerry Reed, Allen Toussaint, and Curtis Mayfield. I listened to everything from the smooth jazz piano of Oscar Peterson to the high-energy punk rock of the Ramones—and I loved it all.

Vince (the owner of the shop in town) and I became very friendly as I’d be going in at least once a week and walking out with something new, often several records. I spent hours leafing through the old cover art of the Blue Note jazz stuff like Miles Davis, Thelonious Monk, Herbie Hancock, and John Coltrane, or the old blues guys like BB King, Big Bill Broonzy, Professor Longhair, and Muddy Waters.

The cover art alone produced powerful emotions and then listening to the music made me feel like I was back there hearing it all for the first time. When I’d stop browsing, Vince would look up at me and know it was time to show me something new. He’d play me Lightin’ Hopkins or Elmore James all the way through to The Clash.

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Following the disastrous Smile sessions and amidst the continuing psychic disintegration of band auteur Brian Wilson, the Beach Boys took a daring step; they dispensed with Brian’s meticulously brilliant studio wizardry—not that they had any choice, given his poor mental condition—and their choir boy image at the same time, and put out an album, 1967’s Wild Honey, that shocked the world by demonstrating that the Beach Boys, those sexless avatars of surf rock in matching striped shirts—had actual huevos.

Instead of paeans to hanging ten, little deuce coupes, or teenage symphonies to God, the band settled into Brian Wilson’s living room and recorded a swear-to-God soul and R&B LP, one that downplayed the band’s group vocals and actually rocked. It’s to their credit that the Beach Boys, faced with the drug-induced abdication of Brian Wilson as the band’s sole creative force, didn’t retreat back to their roots as a harmony-oriented surf band. Instead they recorded an album that was, for them, every bit as groundbreaking as Pet Sounds. It’s been described as “California soul,” and the title fits; they even cover a Stevie Wonder song, and make it work. The pity is Brian Wilson had already basically given up; he told one interviewer, “I think rock n’ roll–the pop scene–is happening. It’s great. But I think basically, the Beach Boys are squares. We’re not happening.”

There was no denying that the Beach Boys were stuck with an un-hip image, but Wild Honey proves they were still “happening.” It sounds downright lo-fi in comparison to the Beach Boys’ previous LPs, and that’s one of its chief charms. Another is the vocals of Carl Wilson, which are loud and soulful and pure rock’n’roll. He’s especially great on the title cut, on which he practically screams. Throw in some great backing vocals, a rollicking melody, and one strange organ solo, and what you’ve got is a killer tune. Carl even shouts, “Sock it to me!” likes he’s a cast member of Rowan & Martin’s Laugh-In. “Aren’t You Glad” is pure pop, and a happy-go-lucky tune featuring horns, hand claps, and the vocals of Mike Love and Carl and Brian Wilson. It sounds as fresh today as the day it was recorded, as does the band’s take on Stevie Wonder’s “I Was Made to Love Her,” on which Carl Wilson shows off his chops as a soul shouter to the accompaniment of some great backing vocals.

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VIA PRESS RELEASE | Nashville’s ever-involved, ever-expansive Acme Radio Live is at it again—this time with Keep The Music Playing, a star-studded live stream fundraiser sponsored by Jack Daniel’s benefiting Music Health Alliance airing June 17th.

Utilizing live and pre-recorded performances from a smattering of famous and infamous Nashville locations—The Ryman Auditorium, Bluebird Cafe, Acme Feed and Seed, and Dino’s, to name a few—Keep The Music Playing continues Nashville’s long-seeded history of stepping up to help in times of need. Through the Spotify COVID-19 Music Relief Project, Spotify will match all donations to Music Health Alliance, dollar for dollar, up to a collective total of $10 million. Keep The Music Playing will air on acmeradiolive.com as well as Facebook and Youtube channels at 5 pm Central on June 17th and donations can be made here starting today.

Hosted by Nashville’s favorite radio personality, Justin Hammel, and Emmy Award-winning television host Kathie Lee Gifford, Keep The Music Playing will feature performances from tenured Nashville artists and songwriters and legends in the making; all from beloved Nashville landmarks and institutions. Jason Isbell & Amanda Shires, Keb Mo, Rosanne Cash, John Oates, John “JoJo” Hermann (Widespread Panic), Katie Pruitt, Devon Gilfillian, and many more are slated to perform. A full lineup can be found below.

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VIA PRESS RELEASE | The illustrious legacy of country music’s leading lady, Lynn Anderson sparks an impression on a whole new generation while captivating long time dedicated fans as the Rose Garden Deluxe Collector’s Edition is available on vinyl.

This exclusive anniversary release contains never before seen notes written to Anderson from country music star Reba McEntire and legendary producer Clive Davis while sporting a unique translucent pink color. The Lynn Anderson Rose Garden Deluxe Collectors Edition Vinyl will be released on June 13, just in time for Lynn Anderson Day on June 15 when a few other surprises will also be revealed. There are only 1,000 vinyl records available so be sure to get yours and join the celebration! “This has been such an exciting year for all things Lynn Anderson,” says daughter Lisa Sutton. “Mom’s career left a lasting mark on country music and this has truly been the year for her to shine. With the re-release of four albums, the 2020 Lynn Anderson Rose, the Iconic Women of Country PBS special and the 50th Anniversary release of Rose Garden.

Lynn Anderson is featured in a special program on PBS, Iconic Women of Country, which premiered May 31st. The program is co-produced by Transform Films and TH Entertainment, LLC and depicts a detailed look at the legendary female artists that shaped an era of country music and their stories and songs that have weathered decades of storms. Original interviews and classic recordings dive into the sweet southern sense of Lynn Anderson and pay tribute to other icons of country music including Loretta Lynn, Dolly Parton, Tammy Wynette, Patsy Cline, Brenda Lee and more.

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VIA PRESS RELEASE | 2018’s GRAMMY®-nominated The Girl From Chickasaw County box set reacquainted the world with the beguiling work of enigmatic singer-songwriter, Bobbie Gentry. Universally acclaimed, the box set housed all seven of the studio albums she recorded for Capitol, including the one which has over the years become recognised as her brilliant conceptual masterpiece: The Delta Sweete.

On July 31, Capitol/UMe will release an expanded edition of The Delta Sweete on 2CD and deluxe 2LP vinyl. The expanded CD edition features a new stereo mix of the album (sourced directly from the original four-track and eight-track tapes) by Andrew Batt, the GRAMMY®-nominated producer/compiler behind The Girl From Chickasaw County, alongside the original mono mix making its debut on CD. There are a total of 10 bonus tracks to treasure, including a previously unreleased original demo, “The Way I Do,” and a special instrumental version of “Okolona River Bottom Band” featuring the great Shorty Rogers on bass trumpet. The deluxe vinyl is the first official repress of the LP since 1972 and features the new stereo mix on LP1 and the 10 bonus tracks on LP2. Listen to “The Way I Do.”

Released in February 1968, barely six months after Gentry’s debut LP, The Delta Sweete may not have contained anything as career-defining as the song “Ode to Billie Joe,” but it represented a definite step forward in its musical ambition: A multi-faceted, quasi-concept album, where each track blurred, dreamlike, into the next, the songs evoked the melancholy adolescent world of Gentry’s childhood in Chickasaw County while further deepening her fascination with loss, illusion and the often comic absurdity of the conventions of everyday life.

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“I was a late bloomer when it came to vinyl.”

“My parents had a fairly large vinyl collection, but their medium of choice was CD so that ended up being the most accessible music in the house growing up. I didn’t realize how different vinyl was until I’d moved out. In fact, I had already been making music for some time when I finally had my first taste of acetate.

The first record I really sunk my teeth into was a newer Paul Simon release—my girlfriend at the time and I had come into owning her family’s old record player, amp and speakers. A band mate had given me So Beautiful or So What for my birthday and it was my first foray into listening to music, one side at a time. I instantly loved that it was the activity, it wasn’t something that you just put on in the background. For 20 minutes at a time you were captive to this warm sound and spinning record. No fast forward, no skipping songs.

From there it was Springsteen, Bob Segar, Tom Petty and then in 2016 I had to opportunity to press my music on vinyl for the first time. I loved that experience too, listening to the master, the test pressings and then having this amazing physical copy of the record—felt like an accomplishment. We pressed 500 numbered and signed copies on that first run. Will be pressing my upcoming release Love Valley in the same way, and I’m looking forward to my first listen of that in October.

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