Author Archives: TVD HQ

VIA PRESS RELEASE | In the early 1970s, Dusty Springfield relocated from her native England to Los Angeles in an effort to pursue new opportunities in her career and signed with ABC/Dunhill Records. Her 1973 album Cameo showcased Springfield’s soulful pop in splendid fashion but failed to generate significant traction outside of Billboard’s Adult Contemporary listings. For her sophomore project with the label the following year, Dusty travelled to New York to team with producer Brooks Arthur, renowned for his work with Phil Spector’s 1960s coterie of girl singers.

For Longing, Arthur chose to frame Dusty in the 1970s singer-songwriter milieu, surrounding her with material from Colin Blunstone (“Exclusively for Me”), Melissa Manchester & Carole Bayer Sager (“Home to Myself”), Janis Ian (“In the Winter”), Stephen Schwartz (“Corner of the Sky”), Chi Coltrane (“Turn Me Around”), Barry Manilow (“I Am Your Child”) and others. In many cases, the songwriters themselves contributed directly by playing keyboards on their respective creations at Arthur’s famed 911 Studios. Bruce Springsteen was also known to sit in on some of the sessions in admiration.

As the sessions wound down in the summer of 1974, Dusty found herself suffering from emotional exhaustion and professional uncertainty. She subsequently chose to put the album on the shelf and part ways with the label, ultimately re-recording a pair of the tracks when she signed to United Artists Records a few years later.

In 2001, under the supervision of producer Arthur, nine of the ten tracks he recorded with Dusty were released on CD as part of a collection of her ABC/Dunhill period. A tenth track (“Corner of the Sky” from the Broadway musical Pippin) was reworked as a duet with Petula Clark and included on a pair of her anthologies. Now, all ten tracks make their vinyl debut, including the first-ever solo release of “Corner of the Sky” along with new mixes for eight of the other selections for this dual CD & LP release.

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VIA PRESS RELEASE | Today, Interscope Records, Pophouse and the Avicii Estate are proud to announce the upcoming release of Avicii Forever, a compilation featuring 19 essential tracks from Avicii’s iconic catalog, along with the brand-new single “Let’s Ride Away” featuring Elle King.

This special release honors the lasting impact and influence of Tim Bergling, better known to the world as Avicii. With beloved hits like “Wake Me Up,” “Levels,” “Heart Upon My Sleeve” (feat. Imagine Dragons), and more, Avicii Forever captures the spirit and sound that made Avicii a global phenomenon.

The compilation also introduces “Let’s Ride Away,” a long-awaited new track that showcases Avicii’s genre-defying sound, blending folk and electronic elements with powerful vocals by Elle King. Avicii Forever will be available across all major streaming platforms, in physical formats, and through exclusive content on Avicii’s official social channels on May 16 and is available now for pre-order here.

Avicii, born Tim Bergling in Stockholm, Sweden, was a visionary artist, producer, and DJ who revolutionized electronic dance music (EDM). Known for blending electronic beats with soulful melodies, Avicii’s groundbreaking style bridged genres and resonated with fans worldwide. He first rose to international fame with the 2011 hit “Levels,” which became an anthem for a generation and solidified his place as one of the most innovative figures in modern music.

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VIA PRESS RELEASE | Shocking. Hilarious. Boundary-defying. Fearless. Brilliant. In the world of comedy, few names resonate as powerfully as Richard Pryor. Regarded as one of the greatest and most influential comedians of all time, Pryor’s ability to weave incisive social and political observations into his storytelling has left an indelible mark on the genre. His comedic legacy goes beyond awards and accolades; he used humor to explore complex themes like race, addiction, and personal trauma, challenging societal norms while making audiences laugh.

In a celebration of his comedic genius, the enduring legacy of Richard Pryor is encapsulated in a newly released 7LP boxed set, I Hope I’m Funny: The Warner Albums (1974–1983), out April 18. Each album showcases Pryor’s unparalleled humor and thought-provoking social commentary, solidifying his reputation as one of the greatest comedians of all time.

The set includes six albums: That N*****’s Crazy, …Is It Something I Said?, Bicentennial N*****, Wanted/Richard Pryor Live in Concert (double-LP), Live On The Sunset Strip, and Here and Now.

Scott Saul, a Professor of English at the University of California, Berkeley, and the author of Becoming Richard Pryor (Harper Perennial), details Pryor’s essential recorded output between 1974 and 1983 in the set’s enlightening liner notes. Saul takes a deep dive into Pryor’s vast and immeasurable influence on the world of comedy, quoting comedian Paul Rodriguez, who once said that “there are two periods in comedy in America: before Richard Pryor and after Richard Pryor.”

“The Age of Pryor has never ended,” Saul writes. “Across the six albums collected here, Pryor blew open what a comedian could do onstage, and it’s the rare comedian who is not somehow in his debt.”

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VIA PRESS RELEASE | For more than half a century, Norman Greenbaum’s 1969 anthem “Spirit in the Sky” has captivated listeners of all generations with its euphoric energy and bold, genre-bending sound. Now, Craft Recordings celebrates the song’s era-defying legacy with two special releases: a brand-new Dolby Atmos® mix of the single available to stream/download now, and a vinyl reissue of Greenbaum’s kaleidoscopic debut album, Spirit in the Sky, arriving June 13.

Long out-of-print, Greenbaum’s 1969 debut returns to vinyl in a replica tip-on jacket with lacquers cut from the original tapes (AAA) by Kevin Gray at Cohearent Audio. Anchored by its beloved, iconic title track, “Spirit in the Sky,” the album fuses rock, gospel, and psychedelia, featuring hidden gems like “Marcy,” “Tars Of India,” and “Skyline” that highlight Greenbaum’s distinctive songwriting style. Meanwhile, the Dolby Atmos single gives fans an opportunity to experience “Spirit in the Sky” in transcendent spatial audio.

Fueled by one of the most unforgettable guitar hooks in music history, the single “Spirit in the Sky” premiered in December 1969 and soon reached the No. 1 spot on charts across the globe, including the US, Australia, Canada, Ireland, the UK, and Germany. Eventually selling over two million copies worldwide, the gold-certified track marked a major commercial and creative breakthrough for Greenbaum, fusing elements of rock & roll, gospel, pop, and psychedelia with a daring originality way ahead of its time.

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VIA PRESS RELEASE | Wewantsounds is delighted to continue its Algerian music reissue program with the release of Les Abranis’ coveted 1983 LP, Album No. 1. Originally recorded in Paris and privately pressed by the group, the album is now being reissued for the first time.

Curated by Cheb Gero, who recently compiled the Sweet Rebels Rai set for Wewantsounds, Album No. 1 is a masterful blend of Kabyle grooves, funk, and hints of reggae. Also known as Id Ed Was, the album is reissued with its original artwork, remastered audio by Colorsound Studio in Paris, and a two-page insert with new liner notes (in French and English) by journalist Rabah Mezouane. The Kabyle group Les Abranis from Algeria has become one of the most sought-after bands on the global beat scene over the years.

Founded in France in the late 1960s by two young Algerian Kabyle workers, Shamy El Vaz and Karim Abdenour, Les Abranis rose to prominence in the 1970s with their innovative sound, blending traditional Kabyle music with funk, rock, and psychedelic influences. Their lyrics, often sung in Kabyle, celebrate Amazigh identity and culture, making them a major influence on the North African music scene and beyond.

In 1973, they returned to Algeria to participate in the Festival de la Chanson Algérienne (Festival of Algerian Song). Despite facing opposition from the country’s authorities—who viewed them as a societal threat due to their use of the Kabyle language instead of Arabic—their popularity continued to grow.

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VIA PRESS RELEASE | Craft Latino continues the year-long centennial celebration of Celia Cruz with a reissue for Celia y Willie, her timeless collaboration with legendary bandleader Willie Colón. Featuring such favorites as “Dos jueyes,” “Latinos en Estados Unidos,” and “Cucurucucú paloma,” the 1981 release marked the second of three albums from the superstar pair.

Arriving on June 6th, and available for pre-order today, Celia y Willie has been remastered from its original master tapes by Clint Holley and Dave Polster at Well Made Music and pressed on 180-gram vinyl. A limited-edition “Oro Suave” (soft gold) color vinyl variant (limited to 300 copies), with an exclusive bundle option that includes a collectible Vaya Records logo T-shirt, is available at Fania.com.

Throughout 2025, Craft Latino is honoring Celia Cruz and her incredible contributions to the musical landscape with a series of vinyl and digital reissues, playlists, video content, and more. Visit the Celia Cruz Centennial page for more details about the celebration. As one of the most influential Latin artists of all time, Cruz was an internationally beloved star who sold over 10 million records during her five-decade-long career.

A ten-time GRAMMY® nominee, Cruz was honored throughout her life and beyond with numerous awards, exhibits, commemorative stamps, samples by major artists, and tributes, including a National Medal of the Arts, a Smithsonian Lifetime Achievement Award, a star on the Hollywood Walk of Fame, and a posthumous GRAMMY® Lifetime Achievement Award. Cruz was also inducted into the Billboard Latin Music Hall of Fame and the International Latin Music Hall of Fame, among others, while in 2024, she became the first Afro-Latina to appear on U.S. currency through the American Women’s Quarter Program.

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VIA PRESS RELEASE | In the mid ’70s, Trigger earned a reputation along the Jersey Shore for their electrifying live shows, airtight harmonies, and arena-ready riffs, earning them a deal with Casablanca Records thanks to support from labelmates KISS. They are the reason Triumph didn’t name themselves Trigger, as first planned. Upon finishing their second album, Casablanca abruptly shuttered, their album shelved. Now, decades later, Second Round will finally be heard, offering a time capsule to a band at peak creativity—undeniably powerful, unapologetically melodic, and long overdue for the recognition.

Second Round finally brings to life the lost chapter of Trigger’s story. Their 1978 self-titled debut showcased dynamic songwriting and relentless energy, leading them to tour with Cheap Trick and The Godz. They quickly begin work on a second album. Recorded at the legendary Record Plant and Electric Lady Studios, Second Round would be the next step, but it was never released. Thanks to a record-collecting friend of guitarist Richie House, Ba Da Bing was made aware of this offense and devised plans to right things.

First up is “Sore Loser,” a powerhouse single that embodies the unfiltered energy and melodic punch of a ’70s hard rock who were the reason Triumph didn’t call themselves Trigger, as first planned. With scorching guitar solos, airtight harmonies, and a driving rhythm section, the track channels the band’s signature sound—equal parts grit and polish. “Sore Loser” is a testament to Trigger’s knack for crafting anthemic, high-voltage rock that feels both timeless and urgent. Now, 46 years later, the song finally gets its moment, proving that true rock and roll never fades—it just lays in wait for the right time to strike.

In early 1979, Trigger walked out of Electric Lady Studios with a completed second album. Mere months had passed since their self-titled debut came out on Casablanca Records, home to KISS and Parliament. The band had toured with Cheap Trick and The Godz, met Bruce Springsteen and Joni Mitchell, and things were looking bright.

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VIA PRESS RELEASE | How many albums virtually upend a genre? And how many erstwhile bluegrass bands top a contemporary jazz chart?!

The answer to these questions, is, one, very few, and two, only Béla Fleck & the Flecktones! Their second album, 1991’s fancifully entitled Flight of the Cosmic Hippo, did indeed top Billboard’s contemporary jazz albums chart and scored a couple of Grammy noms.

But more importantly, this record really made explicit the Flecktones’ bebop leanings, as they devised the term “Blu-Bop” to describe their unique fusion of bluegrass and jazz. Stylistic whiplash has never felt so good or sounded so sweet; check out their warm, instrumental wizardry on chestnuts like “Michelle” and “The Star Spangled Banner” and don’t miss Béla’s banjo power chords on “Turtle Rock!”

We had Mike Milchner at Sonic Vision remaster this classic for vinyl for maximum fidelity, and gave it a repress in cobalt blue vinyl limited to just 900 copies. Essential!

VIA PRESS RELEASE | Much-loved London “sprechgesangers” Art Brut are delighted to announce a new box set titled Sorry, That It Doesn’t Sound Like It’s Planned! Battling Satan, 2009–2020 that is due for release on April 25th via Edsel Records. The band will also play a special UK release show on April 25th at the Fighting Cocks, Kingston, with tickets on sale now.

Commenting on the release, front man Eddie Argos said: “I can’t wait for you all to hear these songs. Some of my absolute favourite Art Brut moments nestled in amongst our most recent three albums. Intimate home demos, unreleased songs, lots of alternate versions and B-sides and I’m especially glad ‘Richard Where is my Record Deal’ sung by Mike, Ian, and Jasper finally gets it day in the sun, as well as Mike’s synth heavy experiments for some of Art Brut vs Satan.

Lots of treasures we’ve hoarded for years that you now get to hear for the first time! What I’m saying is, this is a box of fantastic music, with a long essay about that fantastic music by me, and you’d be an idiot not to grab a copy immediately.”

The second and final box set in the two part Art Brut compilation series rounds off Edsel Records’ retrospective on South East London based art rockers Art Brut, with a carefully curated collection of recorded works spanning from 2009–2020. Featuring 5 CDs worth of material—from rare and unreleased home demos to full length studio albums with bonus takes—this package is a must-have for collectors and fans alike.

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VIA PRESS RELEASE | Verve Records announces a new and never-before-released live concert album from the First Lady Of Song, Ella Fitzgerald. The Moment of Truth: Ella At The Coliseum, full album release on all formats and the title track “The Moment of Truth” is out now. The recordings were mixed and mastered in stunning clarity from the original analog multitrack tapes, resulting in pristine high-fidelity audio typically unheard of for a live concert recording of that era.

The Moment Of Truth: Ella At The Coliseum was recorded at the Oakland Coliseum on June 30, 1967, and was recently unearthed in the private tape collection of Verve Records founder Norman Granz. The album spans nine tracks, most never heard before, and features Fitzgerald accompanied by members of The Duke Ellington Orchestra at its prime. The resulting recordings underscore Fitzgerald’s reputation as a renowned live performer (“utter perfection, personified” —The New York Times). There was never a moment when Ella didn’t deliver; every night was her Moment of Truth.

This live album marks a particularly interesting time in Fitzgerald’s career. In the summer of 1967, she was in the middle of an especially rewarding three-year tour run and recording collaboration with Duke Ellington, and was incorporating hit pop songs of the late-’60s into her concert repertoire—two of which are presented here for the first time on record; “Alfie” and “Music To Watch Girls By” are both standouts on The Moment of Truth: Ella At The Coliseum. Encouraged by members of The Duke Ellington Orchestra on stage with her, Fitzgerald is both playful and powerful—she cracks jokes with the audience before stunning them with her unrivaled voice.

Fitzgerald’s band includes the rarely heard but hard-swinging trio of Jimmy Jones, Bob Cranshaw, and Sam Woodyard, while the Ellington band captured here at its peak, featured Cat Anderson, Cootie Williams, Harry Carney, Paul Gonsalves, Jimmy Hamilton, Johnny Hodges and Russell Procope. The First Lady Of Song meets The Duke’s Men—and it’s something to behold.