Landslide: Craft Recordings’ RSD Slate Features Fleetwood Mac Tribute, Miles Davis, Violent Femmes, More
The Record Store Day rollout continues with a slate of titles arriving from Craft Recordings. The label’s nine offerings range from jazz (Abbey Lincoln, Miles Davis) to rock (Just Tell Me That You Want Me: A Tribute to Fleetwood Mac, Violent Femmes) and soul (Stax: Killer B’s). All of these titles are due at brick-and-mortar independent stores on Saturday, April 18. Head over to RecordStoreDay.com for the complete list of participating stores in the U.S. and RecordStoreDay.co.uk if you’re in the U.K., and below you’ll find details for all of Craft’s releases! We’ve included the label’s official descriptions with select additional commentary.
Abbey Lincoln, That’s Him! (1LP, Mono, 180-gram vinyl, limited to 4,200 copies)
Known for her expressive vocals and politically charged lyricism, singer, songwriter, activist, and actress Abbey Lincoln (1930–2010) was a force in jazz music—and beyond. Simultaneously launching her acting and recording career in 1956, Lincoln appeared as herself in the musical comedy The Girl Can’t Help It and laid down tracks for her debut album. The following year, she signed to the esteemed jazz label Riverside Records, where she came into her own as a singular vocal talent.
While Lincoln’s debut featured her in a traditional orchestral setting, her sophomore effort, 1957’s That’s Him!, showcased her distinctive abilities as a powerful interpreter of song. Accompanying Lincoln were some of the genre’s biggest stars, including Sonny Rollins (tenor saxophone), Kenny Dorham (trumpet), Wynton Kelly (piano), Paul Chambers (bass), and her then-husband, esteemed drummer Max Roach. Lincoln took creative control, hand-selecting a collection of standards and bluesy ballads, including “I Must Have That Man!” (Fields/McHugh) and “Don’t Explain” (Holiday/Herzog Jr.), both closely associated with her musical hero, Billie Holiday. Other highlights include the Oscar Brown Jr.-penned “Strong Man,” as well as a stirring a cappella rendition of Phil Moore’s “Tender as a Rose.” Praised by JazzWise as “a key work in Lincoln’s discography,” That’s Him! cemented the artist as one of jazz’s most exciting and unique new voices.
Limited to 4,200 copies, this rare mono mix of That’s Him! features all-analog (AAA) mastering by Kevin Gray at Cohearent Audio and was pressed on 180-gram vinyl at Fidelity Record Pressing. A tip-on jacket, replicating the album’s original design, completes the package.
Side A
- Strong Man
- Happiness Is Just a Thing Called Joe
- My Man
- Tender as a Rose
- That’s Him
Side B:
- I Must Have That Man
- Porgy
- When a Woman Loves a Man
- Don’t Explain
Miles Davis, The New Sounds (10-inch LP, Mono, limited to 4,900 copies)
Trailblazing trumpeter, bandleader, and composer Miles Davis (1926–1991) remains one of the most influential artists of all time, with a pioneering spirit evident from his earliest recordings. In 1951, after establishing himself as a sought-after sideman for the likes of Charlie Parker, Dizzy Gillespie, and Coleman Hawkins, Davis signed with Prestige Records, where he released his debut solo album, The New Sounds.
His first in a series of 10-inch LPs for the label, The New Sounds allowed the trumpet player to take advantage of the new long-play format, giving him the freedom and space to flesh out musical ideas. Joining Davis was a supremely talented line-up of players, including a young Sonny Rollins on the tenor saxophone, drummer Art Blakey, pianist Walter Bishop, Jr., bassist Tommy Potter, and Jackie McLean—just 19 years old and making his recorded debut—on the alto sax.
A confident beginning to an inimitable career, The New Sounds finds Davis putting his mark on a series of standards—George Shearing’s “Conception,” Harold Arlen’s “It’s Only a Paper Moon,” and a languid reading of Arthur Johnston’s “My Old Flame.” The group also debuted Davis’ own “Dig,” which would soon become a jazz standard itself.
This special 75th anniversary pressing celebrates Davis’ centennial with all-analog (AAA) mastering from the original mono tapes by Jeff Powell at Take Out Vinyl. Limited to 4,900 copies, The New Sounds is pressed on 10-inch vinyl and is housed in a Tip-on jacket.
Side A
- Conception
- My Old Flame
Side B
- Dig?
- It’s Only a Paper Moon
Mayday Parade, Tales Told By Dead Friends (10-inch EP, Translucent Orange Vinyl, limited to 2,500 copies)
Long before they were headlining stages across the world, Mayday Parade was simply a group of young, Tallahassee-based rockers who shared a passion for their craft. Formed in 2005 when members of two local acts joined forces, the band quickly self-released a six-track EP, Tales Told by Dead Friends. After winning a battle of the bands, they earned a coveted spot at the 2006 Vans Warped Tour.
Thanks to grassroots momentum, Tales Told by Dead Friends sold over 10,000 copies that year. Fueled by anthemic pop-punk hooks (“When I Get Home, You’re So Dead,” “Three Cheers for Five Years”) and heartfelt balladry (“The Last Something That Meant Anything”), the EP caught the attention of Fearless Records, which signed the band in late 2006 and re-released Tales Told by Dead Friends to an even broader audience. Several tracks would later appear on subsequent releases, including “When I Get Home, You’re So Dead” on the band’s debut album, A Lesson in Romantics.
PopMatters praised the EP for its “earnest melodies,” while Exclaim! lauded its “catchy fun sound,” adding, “This…is the start of something big, without a doubt.” Indeed, Mayday Parade would go on to enjoy enormous success in the years that followed, while a 10-year anniversary reissue of Tales Told by Dead Friends reached No.12 on Billboard’s Vinyl Albums chart.
Now, Tales Told by Dead Friends returns to vinyl once again to commemorate its 20th anniversary and celebrate the band’s enduring legacy. Limited to 2,500 copies, this collectable 10-inch edition is pressed on Translucent Orange vinyl.
Side A
- Just Say You’re Not Into It
- When I Get Home, You’re So Dead
- One Man Drinking Games
Side B
- Your Song
- Three Cheers for Five Years
- The Last Something That Meant Anything
Various Artists, Just Tell Me That You Want Me: A Tribute to Fleetwood Mac (2LP, Translucent Sea Blue Vinyl, limited to 3,700 copie)
In 2012, over 20 of indie rock’s biggest—including HAIM, Tame Impala, St. Vincent, and MGMT—paid homage to one of the most beloved bands of all-time with Just Tell Me That You Want Me: A Tribute to Fleetwood Mac. Produced by GRAMMY® Award-winning music supervisor Randall Poster and Gelya Robb, the broadly acclaimed album reimagines 19 Fleetwood Mac songs—from the band’s biggest hits to deeper album cuts.
Opening with a sublime rendition of the Peter Green-penned “Albatross” by Lee Renaldo Band featuring J Mascis, Just Tell Me That You Want Me spans the arc of Fleetwood Mac’s storied career—from their earliest days as a blues outfit to the heights of their ‘70s and ‘80s success. Highlights include Anohni’s starkly intimate performance of “Landslide,” Lykke Li’s dream-pop take on “Silver Springs,” Best Coast’s jauntily retro “Rhiannon,” and The Kills’ haunting interpretation of “Dreams.”
Just Tell Me That You Want Me was embraced by critics for its inspired covers, garnering raves from the likes of The New York Times, NPR, Rolling Stone, and AllMusic, which praised its “imagination and depth,” calling it, “an unusually satisfying tribute album.” Paste added, “Every so often, [tribute albums] get done right, and this happens to be one of those times…. [It] offer[s] original takes on a great band’s songs, while reminding listeners what made that band great in the first place.”
Fans agreed, as the bestselling release landed in the Billboard 200’s Top 50 and peaked at No. 15 on the Top Rock Albums chart. Now available for the very first time on vinyl, this special 2LP set is limited to 3,700 copies and pressed on a dreamy Translucent Sea Blue vinyl.
Side A
- Lee Ranaldo Band featuring J Mascis – Albatross
- Antony – Landslide
- Trixie Whitley – Before The Beginning
- Billy Gibbons & Co. – Oh Well
- Best Coast – Rhiannon
Side B
- The New Pornographers – Think About Me
- Marianne Faithfull – Angel
- Lykke Li – Silver Springs
- Karen Elson – Gold Dust Woman
- Matt Sweeney and Bonnie ‘Prince’ Billy – Storms
Side C
- Washed Out – Straight Back
- Tame Impala – That’s All for Everyone
- Craig Wedren with St. Vincent – Sisters of the Moon
- The Kills – Dreams
- Gardens & Villa – Gypsy
Side D
- The Crystal Ark – Tusk
- MGMT – Future Games
- HAIM – Hold Me
- The Entrance Band – The Green Manalishi
Various Artists, Jazz Dispensary: Magia Brasileira (1-LP, “Brazilian Shimmer” Vinyl, limited to 6,000 copies)
Pack your bags, pour a caipirinha, and get ready to dançar! This Record Store Day, The Jazz Dispensary heads south for a little Magia Brasileira. The latest release from the highly sought-after series finds our groove alchemists tunneling deep into the vaults to curate a rousing array of mid-century samba sizzlers and funk-drenched jams, courtesy of some of Brazil’s greatest artists.
Kicking off the festa is the spirited “Shake (Ginga Gingou)”—a joyful, dancefloor-ready number from percussionist Dom Um Romão’s 1975 album, Spirit of the Times. Two effortlessly cool musicians—guitarist Bola Sete and trombonist Raul de Souza—show off their stylings on “Soul Samba” (off 1966’s Bola Sete and His New Brazilian Trio) and “Dr. Honoris Causa” (from 1975’s Colors), respectively. Side A closes with “Samba de Oneida,” a buoyant selection from vibraphonist Cal Tjader and guitarist Charlie Byrd’s collaborative 1973 LP, Tambu.
The festivities continue on Side B with choice cuts from two legendary pianists: João Donato’s delightfully funky “Whistle Stop” (Donato/Deodato, 1973), followed by “Suddenly,” an equally sunny jam from Dom Salvador (My Family (Minha Familia), 1976). Closing out Magia Brasileira is a pair of intoxicating vocal-jazz dreamscapes: the disco-tinged “Carnival of Colors,” courtesy of percussionist and bandleader Paulinho da Costa and featuring vocalist Deborah Thomas (Happy People, 1979), and the ethereal “Butterfly Dreams,” the title track from celebrated jazz singer Flora Purim’s 1973 fusion masterpiece.
Limited to 6,000 copies, Magia Brasileira is pressed on “Brazilian Shimmer” vinyl—an eye-catching blend of green, yellow, and gold—and housed in a jacket featuring original designs by São Paulo-based artist Fernanda Peralta.
Side A
- Dom Um Romão – Shake (Ginga Gingou)
- Bola Sete and His New Brazilian Trio – Soul Samba
- Raul de Souza – Dr. Honoris Causa
- Cal Tjader and Charlie Byrd – Samba De Oneida
Side B
- João Donato – Whistle Stop
- Dom Salvador – Suddenly
- Paulinho da Costa – Carnival of Colors
- Flora Purim – Butterfly Dreams
Markolino Dimond, Brujería (1-LP, 180-Gram Vinyl, limited to 1,500 copies)
Mark “Markolino” Dimond (1950–1986) was a virtuosic talent, whose work as a pianist, composer, and arranger can be heard across some of Latin music’s biggest hits of the ’60s and ’70s. Raised in New York’s Lower East Side, Markolino began his career as a teenager, performing alongside the legendary Latin duo of Willie Colón and Héctor Lavoe, and even contributing a song (“Te Están Buscando”) to their popular 1969 LP, Guisando: Doing a Job.
In 1971, Dimond embarked on a solo career, forming his band Conjunto Sabor and releasing his debut album, Brujería. Produced by salsa heavyweights Harvey Averne, Larry Harlow, and Johnny Pacheco, the album showcases Markolino’s extraordinary talents through eight lively originals, including “Brujería,” “Mi Irmita,” and “El Barrio.” Blending progressive jazz with Afro-Cuban rhythms, the expressive pianist is complemented by an excellent line-up of musicians, including legendary vocalist Angel Canales (making his recorded debut), trombonists Juan Torres and Richie Montanez, trumpeter Danny Reyes, bassists Andy Gonzalez and Eddie “Gua Gua” Rivera, and an ensemble of percussionists featuring Louis Rivera (bongos) and Antonio Tapia (congas). Adding to the star power is a coro that includes Lavoe, Ismael Quintana, and Justo Betancourt.
A salsa dura masterpiece, Brujeria was sadly one of only two albums that Markolino released during his short lifetime, amid chronic struggles with addiction. He followed with the 1975 cult favorite Beethoven’s V and appeared on titles by Quintana and Lavoe (notably the latter singer’s bestselling debut, La Voz), before withdrawing from the industry soon after.
Now, Markolino’s legacy continues as Brujería—a long-out-of-print rarity—returns to vinyl for the first time in more than 50 years. Limited to 1,500 copies, this edition is pressed on 180-gram vinyl and features all-analog (AAA) mastering.
Side A:
- Brujeria
- Mi Irmita
- Aguardiente
- Tiene Sabor
Side B:
- Mariquita
- Yo No Tengo Pena
- El Barrio
Violent Femmes, The Blind Leading the Naked (1-LP, “Candlelight Swirl” Vinyl, limited to 3,200 copies)
Born out of the Milwaukee underground, the Violent Femmes formed in the early ’80s when Gordon Gano (vocals, guitar), Brian Ritchie (bass), and Victor DeLorenzo (percussion) joined forces. Blending jittery folk-rock and punk sensibilities with a heavy dose of angst, the band built a fervent fanbase thanks to enduring anthems like “Blister in the Sun” and “Please Do Not Go,” both from their self-titled 1983 debut, which went on to become one of the most influential alternative albums of the decade. Three years later, following the release of their Americana-inspired Hallowed Ground (1984), the Violent Femmes returned with The Blind Leading the Naked.
Released in 1986, the album found the trio leaning into a more pop-forward sensibility. Produced by Talking Heads’ Jerry Harrison, it incorporated a broader palette of instrumentation, including a horn section featuring the Stooges’ Steve Mackay on saxophone, legendary guitarist Leo Kottke on the acoustic 10-string, and acclaimed experimental artist Fred Frith performing an array of homemade instruments.
Opening with “Old Mother Reagan,” a scorching, 32-second commentary on the era’s administration, the album takes listeners on a genre-bending journey—from the retro surf-rock vibes of “Breakin’ Hearts” and the bluesy honky-tonk of “Faith,” to the Springsteen-esque “I Held Her in My Arms.” The trio also puts its stamp on T Rex’s “Children of the Revolution,” blending synth-forward industrial textures with gospel flair.
Both a critical success and a commercial breakthrough, The Blind Leading the Naked became Violent Femmes’ first album to enter the Billboard 200 (peaking at No.84), and their only album to chart in the UK. Among other accolades, Spin declared, “This is a great album, one that may finally earn the Violent Femmes the attention they deserve.”
Limited to 3,200 copies, this 40th anniversary edition is pressed exclusively on “Candlelight Swirl” vinyl for Record Store Day.
Side A
- Old Mother Reagan
- No Killing
- Faith
- Breakin’ Hearts
- Special
- Love & Me Make Three
- Candlelight Song
Side B
- I Held Her in My Arms
- Children of the Revolution
- Good Friend
- Heartache
- Cold Canyon
- Two People
The Tears, Here Come the Tears (1-LP, Ultra Clear Vinyl, limited to 5,500 copies)
In 2004, after a publicly contentious decade apart, former Suede bandmates Brett Anderson (vocals) and Bernard Butler (guitar) reunited for a new project called The Tears. Named after a line from a Philip Larkin poem, the band—which also featured Britpop veterans Nathan Fisher (bass) and Will Foster (keyboards), along with seasoned drummer Makoto “Mako” Sakamoto—marked a thrilling moment for fans of the influential ’90s rockers.
Released in 2005, the highly anticipated Here Come the Tears found Anderson and Butler building upon their work on 1994’s Dog Man Star (the final Suede album to feature both musicians) with lush arrangements, sweeping melodies, and vibrant lyricism. Opening with their politically charged lead single “Refugees” (a UK Top 10 hit), the album also includes such highlights as the introspective “Autograph,” the jubilant “Lovers” (UK Top 25), and the emotive “Apollo 13.”
The album, which peaked at No.15 in the UK, was not only embraced by fans of Suede, but also by numerous outlets, including The Independent, Pitchfork, and the NME, which declared, “It is raw, emotionally stirring, and the best album you’ll hear this year, by a mile.” AllMusic raved, “It’s so good and assured that it confirms the suspicion that Anderson and Butler were destined to be collaborators.” Despite its warm reception, however, Here Come the Tears would remain the group’s sole album.
Limited to 5,500 copies, this release marks the first-ever vinyl reissue of Here Comes the Tears, arriving on an Ultra Clear pressing.
Side A
- Refugees
- Autograph
- Co-Star
- Imperfection
- The Ghost of You
- Two Creatures
Side B
- Lovers
- Fallen Idol
- Brave New Country
- Beautiful Pain
- The Asylum
- Apollo 13
- A Love as Strong as Death
Various Artists, Stax: Killer B’s (1LP, Red Smoke Vinyl, limited to 3,700 copies)
One of the most important soul labels of all time, Stax Records was synonymous with its gritty, Southern “Memphis Sound.” Founded in 1957, the label quickly grew into a powerhouse, boasting a roster that included such influential names as Otis Redding, Sam & Dave, Carla Thomas, the Staple Singers, and Isaac Hayes. In less than two decades, Stax released more than 800 singles, placing over 167 hits on Billboard’s Hot 100 and an astonishing 243 tracks on the R&B Top 100. Yet, while many of these A-sides have become iconic in the soul canon, some of the label’s finest B-sides have been lost to history—until now.
Stax: Killer B’s, a brand-new compilation, allows fans to experience a different side of Stax through 14 rare B-sides that deserve their moment in the sun. The collection opens with The Bar Kays’ supremely funky “A.J. the House Fly,” originally paired with their 1969 cover of “Midnight Cowboy.” Another standout instrumental is Booker T. & The M.G.’s’ chilled-out “Soul Clap ’69,” originally the flip side of their cover of Simon & Garfunkel’s “Mrs. Robinson.” Johnnie Taylor’s smooth-as-silk “Love in the Streets (Ain’t Good as the Love at Home)” complemented his 1971 A-Side, “Hijackin’ Love.”
Additional highlights include The Soul Children’s powerful “Poem on the School House Door” (off 1973’s “Love Is a Hurtin’ Thing”), Eddie Floyd’s emotive 1969 ballad, “Consider Me,” (“Don’t Tell Your Mama (Where You’ve Been),” and Inez Foxx’s deliciously infectious “One Woman Man” (1973’s “This Time”).
Side A
- The Bar-Kays – A.J. the House Fly
- Booker T. & The M.G.’s – Soul Clap ’69
- Johnnie Taylor (The Soul Philosopher) – Love in the Streets (Ain’t Good as the Love at Home)
- Mel and Tim – It Hurts to Want It So Bad
- Little Sonny – They Want Money
- Darrell Banks – I’m the One Who Loves You
- The Soul Children – Poem on the School House Door
Side B
- The Newcomers – Mannish Boy
- Jones and Blumenberg – The Right Track
- Margie Joseph – Punish Me
- Eddie Floyd – Consider Me
- Jimmy Hughes – I’m Not Ashamed to Beg or Plead
- Inez Foxx – One Woman’s Man
- Stefan – Long as I Can See the Light
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Great selection of diverse titles listed here! Will be interesting to see how many of these end up North of the border in Canada as quite a few of the titles are very limited pressings. No doubt will be searching for some of these online post RSD 2026.