22 February 2026

Frankie Miller - 1974 - High Life

Frankie Miller - 1974 - High Life (Flac)

IN THE EARLY seventies Glaswegian born singer/songwriter Frankie Miller was cementing a solid reputation as a talent to be reckoned with. His gritty whiskey-soaked voice was immediately compared to the true giants of the era such as Paul Rodgers and Rod Stewart. Signed to Chrysalis records, Frankie’s debut caused a stir amongst the cognoscenti but failed to connect commercially. For his follow-up album the label packed him off to America and into the arms of renowned and respected producer/songwriter Allen Toussaint in an effort to further reveal his abilities as a songwriter and vocalist. ‘High Life’ was yet another album of discovery for not only Frankie but also for his growing fan following. Toussaint was almost a deity in the New Orleans soul and funk-rock genres, having produced a litany of acts; including bayou king Dr. John, funk meisters the Meters and Labelle, and developing a recording career as a solo artist. Recruiting a pedigree team of session players, including Atlanta Rhythm Section guitarist Barry Bailey, the record was cut in Atlanta and engages a more refined musical direction yet still propels his gritty, blues-fuelled voice to the fore. Tight, funky and raw the tracks explode with a masterful force, giving the impression that Miller was onto not only to something big but also authentic. If you‘re looking for the perfect combination of Otis Redding and Paul Rodgers then look no further. Songs such as ‘Play Something Sweet (Brickyard Blues)’, ‘The Devil Gun’ and ‘I’m Falling In Love Again’ ooze class and sophistication yet also capture a rawness that unmistakably identifies him as one of the most soulful white singers on the scene. (Horizon's Music)

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The Primates – We Are The Primates (2024 Vinyl reissue) 320

* This was the only album released by this fine LA Garage band, the back cover is from the 1986 original release on discogs, I don't keep any art work for albums or CD's , my only interest is the music!! *

* This 1986 album by The Primates remain as the only recording ever released by these four 60s r&b and garage fans.

Combining great originals (‘I Ain’t Like You’, ‘Bad Luck’, ‘Born Loser’) and versions (check their great take on Q65’s ‘I Got Nightmares’ or Neil Sedaka’s ‘I Go Ape’), “We Are The Primates” remains as a wild, raw, party album that every fan of garage music should own.

Originally published on Greg Shaw’s very own Voxx (Bomp! sublabel focused on revival garage/psychedelia) and produced by Shaw himself, this valuable musical document portraits the essence of the L.A. 80s garage scene. *

* The band were Brett Miller and Ted Edlefsen, sporting Vox guitars, and Erik Bluhm on vocals, with Brian Corrigan on the drums. *

* Enjoy, Reb 😎 Link 👇 *

Willie Colon

Y Vuelve Otra Vez! [One More Time]

(1995)

In memoriam

1950-2026

320

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Various Artists

Skiffle, As Good As It Gets

[2cds]

(2000)

320

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Various Artists

Rock 'n' Skiffle, Brit Beat Beginnings

[4cds]

(2007)

320

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Various Artists

Skiffle Showcase

(2009)

320

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21 February 2026

Frankie Miller - 1972 - Once in a Blue Moon

Frankie Miller - 1972 - Once in a Blue Moon (2011 Remaster) (Flac)

MENTION THE NAME Frankie Miller to any musician of a certain era and their face will immediately light up regarding his singing ability and subsequent influence on a generation of British vocalists. The owner of one of the finest blues voices of the era, Frankie’s shadow loomed long and hard across a multitude of styles, with enough true grit and authority to carve out a top tier reputation. Compared in the same exalted breath as Rod Stewart, Paul Rodgers, Terry Reid and Joe Cocker, Frankie quickly established a reputation second to none. Originating from Glasgow, Frankie’s first brush with fame came via Jude, a supergroup, including guitarist Robin Trower, which inexplicably failed to connect with the public. It was, however, enough of a career boost to secure him a solo recording contract with Chrysalis records and the release in 1973 of this, his debut album, ‘Once In A Blue Moon’.

The record was lauded by critics and supporters, yet inexplicably failed to sell at the time. As a mixture of hardnosed blues and gritty R&B it established Miller as a real force in British rock, with most supporters predicting a bright future. The album was record at the famed Rockfield studio in Wales, backed by pub rock stalwarts the Brinsley Schwarz group and produced by their manager Dave Robinson, a man who would later go on to form Stiff Records. With tight arrangements and gritty instrumental support, the album focussed on an earthy blues rock, allowing Miller’s voice to take centre stage. It also highlighted his compositional skills, setting up a reputation for writing material that would find many varied and successful outlets over the years. (Horizon Music)

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The Delmonas – Dangerous Charms (2000 Expanded reissue) 320

* Yeah I posted the original album at the start of the week, I did have a copy of this, but must have been one of the albums I lost with a HD failure and few years ago, I was very surprised when I didn't find this expanded copy in The Delmonas folder. Well I was sent a copy of this expanded reissue via email from a kind soul and checked with him and he was happy with me to share it on the site, but would like to remain anonymous. *

* Tracks 1 to 16 were the original album and is expanded with 6 bonus tracks 17 to 22 *

* Tracks 2, 8, 9, 11, and 13 are from a 1985 BBC session. First transmission date: 18th February 1985.
Tracks 17 to 22 are from a 1988 BBC session. First transmission date: 25th April 1988. *

* Enjoy, Reb 😎 Link 👇 *

The Delmonas – Do The Uncle Willy (1989) (2003 CD reissue) 320

* Enjoy, Reb 😎 Link 👇 *

Lonnie Donegan

King Of Skiffle

(1994)

320

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The Quarry Men

Open For Engagements

(1995)

320

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The Vipers Skiffle Group

The Very Best Of The Vipers

(2003)

320

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The Skiffle Players

Skiff

(2018)

320

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20 February 2026

DubXanne / Rob Smith aka RSD – Police In Dub - Re-Synchronised By Rob Smith aka RSD (2014) 320

* Enjoy, Reb 😎 Link 👇 *

1972 - Milton Nascimento & Lô Borges – Clube Da Esquina

1972 - Milton Nascimento & Lô Borges – Clube Da Esquina (Flac)

The cover of 1972’s Clube Da Esquina perfectly encapsulates the music and the context that surrounds it. In the photograph, two young boys perch by the side of a dusty Brazilian road, both staring into the camera with differing expressions. Above this image of rustic innocence, a barbed wire ominously hangs. The picture perfectly complements the record’s playfulness, its quiet sensitivity, and the horrendous circumstances under which it came to be. Indeed, by 1972, Brazil was eight years into an aggressive US-backed military junta, unable to mount any meaningful opposition, and left stranded by most international powers. Though the key architects of Clube Da Esquina – Milton Nascimento and Lô Borges – were not as overtly rebellious as their contemporaries in the Tropicalismo movement, the artists remained under the watchful eye of right-wing authorities, often facing extensive censorship.

Clube Da Esquina is MPB (Música Popular Brasileira) that both subtly reflects this context and exists well beyond its shadow. The record begins with “Tudo Que Você Podia Ser,” a buoyant introduction to the album’s shapeshifting. The following “Cais” is a perfect example. It starts as a beautifully sparse track, allowing space for Nascimento’s delicate vocals. Its abrupt segue into a simple piano melody makes for one of the understated highlights of the record. Similarly, the Spanish bolero “Dos Cruces” is initially stripped back and mournful, but soon explodes into grand progressions.

Nascimento’s voice is a highlight throughout, especially on the gently affecting “San Vincente,” which features both a stunning performance and subtly unpredictable phrasing. The song makes plain that this album is built on compatible opposites. It is at once accessible but experimental, warm but haunting, ebullient but melancholic, gentle but deeply resonant, fragile but righteous. Often this duality is held just within Nascimento’s voice.

One of the most impressive things about Clube Da Esquina is its sheer ambition and range of influences. Given Nascimento and Borges’ upbringing in the state of Minas Gerais, there is a rural folk influence, a trace of the local church music, and a love of the popular bossa nova that had dominated Brazil’s charts. But this is far from adequate in explaining the intricacies of Clube Da Esquina’s unique sound. Throughout the record, you can also hear traces of the adventurous pop of The Beatles, as well as an incorporation of the many regional variants of toada (a style of Amazonian folk music); there is orchestral psychedelia, an understated compositional complexity, and experiments that were uncommon in much MPB. Through it all, Nascimento’s voice brings a vital cohesion. Though the compositions and arrangements by Lô Borges, Márcio Borges, Eumir Deodato, and Wagner Tiso are remarkable on their own terms, it’s Nascimento’s affecting navigation of the tracks that elevates the record to its current status as one of the most important Brazilian records of the 20th century.(Discover Music)

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