Trunk’s new soundtrack label kicks off with Adrian Corker’s reflective music for Tim Plester’s doc: an evocative mixture of subtle ambience with inventive modern composition, and spoken word and field recordings.

Music by Michaels Cole and Jessett for the beloved seventies finger-puppet show, with Fingermouse, Gulliver the seagull, Scampi, and Flash the tortoise.

With the inspirational Elevate Our Minds.
A Richard Evans production from 1979, between Chicago and LA, crowning Linda’s years masterminding Natalie Cole’s success.

Top soulful swamp pop via Huey P Meaux’ in Texas, including a bunch of demos for Fats and Cookie And The Cupcakes alongside JD’s complete Tear Drop sevens.

‘In these recordings without amplification I could hear the natural resonance of the instruments and the subtleties in the vocals. They also played songs not heard in the dance halls: haunting, sad songs.’

A songwriting mainstay of FAME from 1968 to 1972 — monsters like Candi’s Evidence — George was also a very fine singer, unmannered, hurt, open. The first of several volumes.

The delirious title cut is unmissable. A massive Dingwalls favourite back in the day, with stupendous, irresistible drumming, and dazzling keyboards by Jorge Dalto.

‘You could scarcely find two more contrasting bottleneck stylists… the ‘Hawaiian Guitar Wizard’ played upbeat, concerned with smooth tone. Arnold usually played solo, with strident tones, generally frenetic…’

The greatest rocksteady instrumental of them all.
Haughtily cool and deadly; a stepping razor of a tune. (Just ask the ODB.)
Back in after a long absence. Hail the rebel sound.