Soft Autumn

The Autumn Stone was the only double LP in the history of Immediate Records, and it came out as the company was entering its death throes, a desperate effort to cash in – or, to use a term that's become popular in the 21st century – "monetize" their library of tapes on the Small Faces…

One of the great lost treasures of australian 70’s music. Although Autumn began as a bubblegum band in the late-60’s, the early-70’s found them, after various line-up changes, a markedly different band. With lush harmonies, Beatlesque arrangements and a great batch of songs that ranged from breezy pop to progressive rock (as well as the the seven minute orchestral extravaganza: ‘Kill My World’), Comes… Autumn showed a mature and accomplished band that belied both their age and their beginnings. Features the singles ‘Falling’, and ‘Goblin’s Gamble’ plus 5 bonus tracks: including the rare final single ‘Just Couldn’t Believe It’, a spirited cover of The Beatles’ ‘Day Tripper’ and previously unreleased demos. Deluxe reissue is packaged in a 6 panel digi-pak. It has been remastered by Gil Matthews. Liner notes featuring quotes from a recent interview with lead singer Tony Romeril and a 24 page booklet filled with rare photos, posters.

Ken Hensley is an English singer-songwriter, multi-instrumentalist and producer, best known for his work with Uriah Heep during the 1970s. He wrote or co-wrote the majority of Uriah Heep's songs during this period, including the hit singles "Lady in Black" (on which he sang lead vocals), "Easy Livin'" and "Stealin'", as well as "Look at Yourself", on which he also sang lead vocals, and "Free Me". Cold Autumn Sunday was recorded in 2005 in Spain and features a variety of tracks from across Ken's solo career as well previously unreleased tracks.

These underrated folk-rock pioneers cut a great number of unreleased outtakes/demos during their mid-'60s prime that didn't make it onto the albums they released for the tiny Autumn label during that period. Fourteen of those songs were released in the early 1980s by Rhino on the fine From the Vaults album. Autumn of Their Years reprises ten of those tunes and adds 16 previously unreleased cuts for a grand total of 26, all of which are group originals. There are a lot of fine moments here, but it's actually a bit much for all but hardcore fans. First off, the best cuts – ones like "She Sends Me," "Dream On," and "Love is Just a Game," which display their supremely haunting folk-rock melodicism and minor-key harmonies – were already available on From the Vaults.

Nine of the 11 tracks here are ballads. Their uncluttered arrangements spotlight Jacintha's smooth and sensuous voice, while her expressive phrasing draws the most from the classic Johnny Mercer lyrics. Jacintha includes the original lyrics to "Autumn Leaves," done in soft and flawless French; otherwise, her primary innovation is to deliver the tunes straight and sincerely, with minimal improvisation and maximum tenderness.

Tout Jean-Louis Murat est là, dans ce disque qui a marqué la fin d'une longue traversée du désert (ou dans son cas des volcans d'Auvergne). Après trois albums rapidement tombés dans l'oubli et un semi-succès avec le single "Suicidez- vous, le peuple est mort", Murat a disparu pendant plusieurs années pour peaufiner un grand retour. Et c'est bien de ça qu'il s'agit : un classique, l'inauguration d'un nouveau style, celui d'un chanteur de charme, à la voix chaude, qui a assimilé l'exigence littéraire de Manset, les innovations techniques de la new wave, l'élégance distante d'un Bryan Ferry, la langueur bizarre d'un Robert Wyatt et quelques influences latines.