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Singles, \"Mood Ring\", \"Dog Days\", \"Alien\", and \"Light On\" are each, in their own right, the most exciting Dehd songs to date.\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53357066617175,"sku":"P-140749-","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Dehd-Poetry-CD-DIGIPAK-140749-1-1705575124.jpg?v=1778224901"},{"product_id":"spiritualized-amazing-grace-lp-gatefold","title":"Spiritualized - Amazing Grace - LP Gatefold","description":"\u003cp\u003eCelebrating 20 years this year. Spiritualized and Fat Possum Records announce the reissue of Amazing Grace on January 19, 2024 as part of the second volume of The Spaceman Reissue Program: Curated by J Spaceman. Remastered for vinyl in London by engineer Matt Colton, the 180 gram album features lacquer cuts by Metropolis Mastering, presented in a gatefold jacket designed by Mark Farrow. In addition to the reissue, Spiritualized will headline a US East Coast tour throughout November, ahead of December shows supporting Queens of the Stone Age.\u003c\/p\u003e\u003cp\u003eSide A :\u003cbr\u003eThis Little Life of Mine \/ She Kissed Me (It Felt Like A Hit) \/ Hold On \/ Oh Baby \/ Never Goin' Back\u003c\/p\u003e\u003cp\u003eSide B :\u003cbr\u003eThe Power And The Glory \/ Lord Let It Rain On Me \/ The Ballad Of Richie Lee \/ Cheapster \/ Rated X \/ Lay It Down Slow\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53357067010391,"sku":"P-138410-","price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Spiritualized-Amazing-Grace-LP-Gatefold-138410-1-1698046264.jpg?v=1778217665"},{"product_id":"cedell-davis-feel-like-doin-something-wrong-lp","title":"CeDell Davis - Feel Like Doin' Something Wrong - LP","description":"\u003cp\u003eFeel Like Doin' Something Wrong captures the haunted, otherworldly blues of CeDell Davis. Using a knife for a guitar slide, Davis creates strange, unpredictable sounds and matches them with his gnarled voice.\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53361257972055,"sku":"P-170065-","price":20.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/CeDell-Davis-Feel-Like-Doin-Something-Wrong-LP-170065-1-1753176044.jpg?v=1776763354"},{"product_id":"the-jim-carroll-band-dry-dreams-lp","title":"The Jim Carroll Band - Dry Dreams - LP","description":"\u003cp\u003eSide A :\u003cbr\u003e1. Work Not Play \/ 2. Dry Dreams \/ 3. Them \/ 4. Jealous Twin \/ 5. Lorraine\u003c\/p\u003e\u003cp\u003eSide B :\u003cbr\u003e6. Jody \/ 7. Barricades \/ 8. Evangeline \/ 9. Rooms \/ 10. Still Life\u003c\/p\u003e\u003cdiv class=\"hidden\"\u003eThis item is available for pre-order. It will be available on 07\/24\/2026. \u003cbr\u003eNotice: orders cannot be split into several shipments. Your order will be dispatched when all items are available.\u003c\/div\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53385300640087,"sku":"P-178355-","price":24.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/The-Jim-Carroll-Band-Dry-Dreams-LP-178355-1-1776839691.jpg?v=1779971191"},{"product_id":"spiritualized-pure-phase-double-lp-gatefold","title":"Spiritualized - Pure Phase - DOUBLE LP GATEFOLD","description":"\u003cp\u003ePure Phase is the second album by Spiritualized, released on 28 March 1995. The album was recorded in the Moles Studio in Bath, England and features contributions from The Balanescu Quartet. At the time of release, Pierce had renamed the band as \"Spiritualized Electric Mainline\", the name that appears on the album cover, before reverting to the Spiritualized name shortly afterwards.\u003c\/p\u003e\u003cp\u003eSide A : Medication \/ The Slide Song \/ Electric Phase \/ All of My Tears\u003cbr\u003eSide B : These Blues \/ Let It Flow \/ Take Good Care of It\u003cbr\u003eSide C : Born, Never Asked \/ Electric Mainline \/ Lay Back in the Sun \/ Good Times\u003cbr\u003eSide D : Pure Phase \/ Spread Your Wings \/ Feel Like Goin' Home\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53393023598935,"sku":"P-109305-","price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Spiritualized-Pure-Phase-DOUBLE-LP-GATEFOLD-109305-1-1619088016.jpg?v=1778086486"},{"product_id":"the-districts-you-know-i-m-not-going-anywhere-cd-digipak","title":"The Districts - You Know I’m Not Going Anywhere - CD DIGIPAK","description":"","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53416311554391,"sku":"P-89656-","price":11.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/The-Districts-You-Know-I_92m-Not-Going-Anywhere-CD-DIGIPAK-89656-1-1574868480.jpg?v=1778059826"},{"product_id":"don-bryant-you-make-me-feel-cd-digipak","title":"Don Bryant - You Make Me Feel - CD DIGIPAK","description":"\u003cp\u003eIn the category of soul, few artists match the intensity and fervor that performer Don Bryant does, both when behind the mic and when putting pen to paper. An auteur of love, pain, regret and exuberance, Bryant’s career as a songwriter and an electrifying personality onstage has one thread: deep, sincere feeling. “There might be some sad stories, there might be some happy stories, might be some things you might not want to remember, but it'll bring to mind some situations,” Bryant says of his songwriting. “And, that's what I've been always trying to push and reach somebody that's been through what I had.” The interim between Don Bryant’s debut LP “Precious Soul” in 1969 and his proper follow-up “Don’t Give Up on Love” in 2017 might seem unusually long to most music fans. But that doesn’t mean the 79-year-old singer wasn’t at work for the nearly 45 years on the sidelines of the soul scene. “I couldn’t stop writing,” Bryant says. “Because that was my joy. It was the thing I loved to do.” Penning songs for others, he garnered success with hundreds of compositions performed by contemporaries such as Buddy Ace, Otis Clay and his wife Ann Peebles. And when producer Scott Bomar sent former Hi Rhythm Section drummer Howard Grimes to ask\u003cbr\u003eBryant if he’d be interested in returning to life as a recording artist, Bryant had folders stacked high at home of unused original material.\u003cbr\u003e“That was the beginning of getting back off deep into it, you know. And now that I got that feeling back, this is where I want to be,” Bryant says. “I'm thankful to be back here, man. This is a part of me. This is the biggest part of me.” Born in South Memphis, Tennessee, Bryant grew up in a house filled with music. All nine of his siblings sang, but Bryant looked to his father, a lead singer in traveling gospel group, as his example onstage. While other children played outside, Don set his sights on local talent shows at fairs and leveraged an opportunity to begin singing on radio promotions as a part of local teen sensations The Four Canes. Soon bandleader Willie Mitchell came calling, and Bryant rebilled his Four Canes as The Four Kings, as the band began fulfilling gigs as the vocal arm of Mitchell’s orchestra. Under Mitchell’s leadership the group became one of the marquee acts in Memphis’ burgeoning rhythm and blues scene, and a young Bryant began brushing shoulders with other soon-tobe soul stalwarts like William Bell, Al Jackson, Jr., and Booker T. Jones in Memphis’ nightclubs. Bryant quickly became known as a master showman, eager to imitate whichever singers rose to the top of the pop charts. When he wasn’t singing, Don was earning the nickname “Mr. Rhythm”, dancing across ballroom floors in a routine that would put Mitchell’s red-hot band on the map in Memphis. But it was a car accident while on tour with Mitchell’s group that led the producer to focus the band’s efforts to the studio. The shakeup would also, in turn, force Bryant, the lead singer who could mimic many voices to find his own. Following the recording of his solo debut on Hi Records “Precious Soul,” Don ascended to the label’s master songwriter, committing his real-life experiences to paper. Soon, his colleagues were using their voices to amplify his vision. His greatest muse would come in the form of a small-statured woman with a powerful voice named Ann Peebles. Her frame became the basis for Peebles’ dynamite 1971 single “99 lbs,” which done scribed as an anthem for the soul star. “Back in the days, when we were all gathered together in the rooms writing songs, I would always try to pick something that I see in my mind and then, try to develop it. And, she was known for being 99 pounds,” Bryant says. “And she heard it. She liked it because it was talking about ... She was talking about herself.” Evolving as a songwriter, Bryant’s words would find their way to the public through the voices of other artists. Going on to marry Ann shortly after the release of their biggest hit together “I Can’t Stand the Rain,” Bryant spent much of the 1970s supporting her craft, taking\u003cbr\u003ea step back as a leading performer on the Hi label. He’d shift his focus to gospel in the 1980s, before eventually fading into a relative musical\u003cbr\u003eobscurity. However, Don continued to write, awaiting the chance to return, no matter how long the music industry would take to come back around to him. He says he was always hopeful that there were fans who missed the classic R\u0026amp;B sound he had been known for. Now on his second release since returning to solo soul stardom, Bryant is capitalizing off the success of his 2017 release “Don’t Give Up on Love.” On his newest album “You Make Me Feel,” he’s also reaching back into his own catalog, with a fresh take on songs he wrote long ago. From reprises of his own songs such as “Don’t Turn Your Back on Me” and “I’ll Go Crazy,” Bryant finds new emotions within himself to share, alongside a cover of Little Junior Parker’s “Cracked Up Over You,” which Don admits he forgot he wrote after so many years of contributing to other artists’ catalogs. Most touching, however, is a new version of “99 Lbs.,” in which Don sings about his loving wife, as she no longer sings about herself.\u003cbr\u003e“I'm experiencing all these things, now, that I wrote for other people, but never really had the opportunity to do it on stage myself. But now I'm getting that opportunity and it makes me feel good because all these different artists accepted that song as a song that they wanted to record,” Bryant says. “To be able to come up and do those song myself, it brings back a lot of memories. Most of them did it the way I demoed it, but on my own, they gave me the opportunity to do it like I heard and presented like I heard it.” In addition to giving new life to his classic material, Bryant’s latest collection includes new, never released songs, such as the heart wrenching ode “Is It Over” and the soul stirring dance tune “Your Love is to Blame.” Though he took several decades before returning to his love for soul music, Bryant says this album is a part of perfect timing for his heart, spirit and craft. “It's just being built on what started then. Just conditionally being built, little by little,” Bryant says. “I never really gave completely up on the music thing. I had to have music. It's a part of my life. 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It lingers over slow grooves, jazzy chord modulations, dusty soul samples, and layered harmonies that take from fellow L.A. bass virtuoso Thundercat. After an all-instrumental SoundCloud project, Prelude, released in 2016, Paige finally steps behind the mic and proves himself to be a competent and self-aware, if still developing, rapper and singer.”- Pitchfork\u003c\/p\u003e\u003cp\u003e“While he released a short instrumental record in December 2015, his official debut album, Letters of Irrelevance, showcases his well-rounded skill set and his ability to turn personal tragedy and struggle into confessional, cathartic music.” - Complex\u003c\/p\u003e\u003cp\u003e“With that, his official debut album, Letters of Irrelevance, is the product of two years of acute reflection and refinement, with Paige withholding no emotion as he steps to the forefront. 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It was also the place where he made some of his earliest albums, before he became known for his uncanny ability to write songs that sneered at the world while evoking pathos, sympathy, and a deep understanding of how sometimes we’re our own worst enemies, and that can be okay. Williams’ return to his childhood home was not just a symbolic attempt at jumpstarting creativity. It came as a result of a series of major life changes. A decade ago, Williams released King of the Beach on the maverick indie label Fat Possum. The album was a cocky collection of pop punk gems that catapulted him into the public consciousness, eventually prompting a jump from Fat Possum into the major label system, where he released two albums before becoming disillusioned by the lack of creative agency available to him. In 2017, Williams self-released You’re Welcome on his label, Ghost Ramp. Now, Williams has returned to Fat Possum with a  barbed collection of anxious anthems that grapple with the looming sense of doom and despair that comes with getting older in an increasingly chaotic world. “He’ll always skew toward the Bart Simpson [character],” says Matthew Johnson, founder of Fat Possum. “But that does not mean that he doesn’t have some commentary, and once in awhile, it’s totally spot on.” Across its brief but impactful nine tracks, Hideaway is about what happens when you get old enough to take stock of the world around you and realize that no one is going to save you but yourself, and even that might be a tall order. The album features Williams’ most universal and urgent songs yet. “Honeycomb” lopes along sunnily, as Williams sings affecting lines like “I feel like I’m dying, it’s cool, it’s great, just pretend I’m okay.” His directness is shocking, and proof that Williams is the kind of songwriter who can capture pain and uncertainty with resonant brutal force. “It’s real peaks and valleys with me,” Williams says. “I can be super optimistic and I can feel really good, and then I can hit a skid and it’s like an earthquake hits my life, and everything just falls apart. Some of it is my own doing, of course.” It’s this self awareness that permeates each of Hideaway’s songs, marking them each as mature reckonings with who he is. After realizing the material he’d been working on in the hideaway was starting to take shape, Williams, along with bandmates Stephen Pope and Alex Gates workshopped the songs in a series of now-abandoned studio sessions, before linking up with musician and producer Dave Sitek of TV on the Radio to help fully realize their new songs. Williams and Sitek bonded while geeking out over music for hours every day. Sitek would pull up Johnny Cash deep cuts and honky tonk obscurities—songs that sonically don’t have much in common with the music Williams makes, but plumb the same emotional depths of the soul. It was a clarifying moment for Williams, who wasn’t quite sure what direction he wanted to take the songs he’d been working on. “We’d listen to old music and not get much done, but it was really important in the end,” he says. You can hear the result of these sessions on career high points like “The Blame,” which takes its cues from the Replacements’ best moments, but doubles down on a sort of yearning sadness. It’s full of hard earned wisdom and melancholy, and it sounds like nothing else Williams has ever done. Meanwhile, on the album’s title track, Williams incisively cuts through the pitfalls of empty self-affirmations, his voice straining against lyrics like “I’ll do my best to hideaway, from all of the bullshit chasing me, I don’t care if time’s erasing me, it’s been torture existing this long” In the hands of a less direct performer, it’d be easy to hear this as self-pity, but Williams’ embrace of that hopelessness shines through and becomes something else entirely: an embrace of the comfort that is right in front of him, of making his world small because he need to. Of changing—or not changing—what’s around him because it’s what he has the power to do. “I don’t have it in me to say that things are so much better,” Williams says. “It’s just not my story. It’s good if it’s someone else’s story, but I’ve also learned to realize there just isn’t redemption.” Ultimately, though, Hideaway is not an album about wallowing in depression. 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