It is one of our favorite times of year again when, on April 18, 2026, Record Store Day pulls us out of bed far too early and into 5 a.m. lines in the rain with fellow vinyl obsessives and the occasional flipper already eyeing eBay and Discogs. This year, Craft Recordings makes the soggy wait worthwhile with a tightly focused lineup of nine limited edition LPs that spans jazz, soul, indie, and serious crate digging, including a mono reissue of Abbey Lincoln’s That’s Him!, a seventy fifth anniversary ten inch pressing of Miles Davis’ The New Sounds, cult favorites like Markolino Dimond’s Brujería, and two smart compilations led by Stax Killer Bs. That Stax release lands with added resonance following the late 2025 passing of Steve Cropper, whose work with Booker T. & The M.G.’s helped define the label’s sound and still echoes through every soul bin worth flipping through.
Abbey Lincoln – That’s Him! (1 LP Mono 180 gram vinyl)
Known for her expressive vocals and uncompromising artistic voice, Abbey Lincoln (1930 to 2010) was a singular force in jazz and American culture. She launched her recording and acting careers in parallel during the mid 1950s, appearing as herself in The Girl Can’t Help It before releasing her debut album. In 1957, Lincoln signed with Riverside Records, a move that marked a decisive turning point as she emerged as one of the most distinctive vocal stylists of her generation.
Where her debut placed her in a more traditional orchestral setting, That’s Him! revealed Lincoln as a commanding and deeply personal interpreter of song. She was joined by an extraordinary lineup that included Sonny Rollins on tenor saxophone, Kenny Dorham on trumpet, Wynton Kelly on piano, Paul Chambers on bass, and her then husband Max Roach on drums. Taking full creative control, Lincoln selected a set of standards and blues tinged ballads that played to her strengths, including “I Must Have That Man!” and “Don’t Explain,” both closely associated with her artistic hero Billie Holiday. Other highlights include the Oscar Brown Jr. composition “Strong Man” and a striking a cappella performance of Phil Moore’s “Tender as a Rose.” That’s Him! stands as a defining statement from an artist coming fully into her own.
Limited to 4,200 copies, this mono reissue of That’s Him! features all analog mastering by Kevin Gray at Cohearent Audio and was pressed on 180 gram vinyl at Fidelity Record Pressing. A period correct tip on jacket that faithfully reproduces the original artwork completes the package.
Miles Davis – The New Sounds (10 inch LP Mono)
Trailblazing trumpeter, bandleader, and composer Miles Davis (1926-1991) remains one of the most influential artists in jazz history, with a restless and exploratory spirit evident from his earliest recordings. In 1951, after establishing himself as a first call sideman for Charlie Parker, Dizzy Gillespie, and Coleman Hawkins, Davis signed with Prestige Records, where he released his debut solo album, The New Sounds.
The first in a series of 10 inch LPs for the label, The New Sounds took full advantage of the then new long play format, giving Davis room to stretch out and refine his musical ideas. He was joined by a remarkable lineup that included Sonny Rollins on tenor saxophone, Art Blakey on drums, Walter Bishop Jr. on piano, Tommy Potter on bass, and Jackie McLean, just 19 years old and making his recorded debut, on alto saxophone.
A confident opening chapter in an inimitable career, The New Sounds finds Davis staking his claim on a set of standards, including George Shearing’s “Conception,” Harold Arlen’s “It’s Only a Paper Moon,” and a relaxed reading of Arthur Johnston’s “My Old Flame.” The session also introduced Davis’ original composition “Dig,” a piece that would soon take on a life of its own as a jazz standard.
This 75th anniversary pressing celebrates Davis’ centennial with all analog 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 housed in a period correct tip on jacket.
Mayday Parade – Tales Told By Dead Friends (10 inch EP Translucent Orange vinyl)
Long before they were headlining stages around the world, Mayday Parade were a group of young rockers from Tallahassee, Florida, bound by a shared obsession with writing songs that hit hard and linger. Formed in 2005 when members of 2 local acts joined forces, the band quickly self released a 6 track EP, Tales Told By Dead Friends. Momentum came fast, and after winning a battle of the bands, Mayday Parade earned a coveted slot on the 2006 Vans Warped Tour.
Driven by word of mouth and relentless touring, Tales Told By Dead Friends sold more than 10,000 copies in its first year. Built on anthemic pop punk hooks like “When I Get Home You’re So Dead” and “Three Cheers for Five Years,” balanced by emotionally direct ballads such as “The Last Something That Meant Anything,” the EP caught the attention of Fearless Records, which signed the band in late 2006 and reissued the release to a much wider audience. Several tracks would later reappear on subsequent releases, including “When I Get Home You’re So Dead” on the band’s debut album, A Lesson in Romantics.
The EP marked a clear starting point for a career that would soon take off in earnest. A 10 year anniversary reissue of Tales Told By Dead Friends later reached No. 12 on Billboard’s Vinyl Albums chart, underscoring its long tail appeal with fans who grew up alongside the band.
Advertisement. Scroll to continue reading.
Now, Tales Told By Dead Friends returns to vinyl to mark its 20th anniversary and celebrate Mayday Parade’s enduring legacy. Limited to 2,500 copies, this collectible 10 inch edition is pressed on Translucent Orange vinyl.
Various Artists – Just Tell Me That You Want Me: A Tribute to Fleetwood Mac (2 LP Translucent Sea Blue vinyl)
In 2012, more than 20 of indie rock’s most recognizable artists came together to honor one of the most influential 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 alongside Gelya Robb, the album reimagines 19 songs from Fleetwood Mac, spanning chart defining hits and deeper catalog cuts. Contributors include HAIM, Tame Impala, St. Vincent, and MGMT, each bringing a distinct voice to the material.
The collection opens with a graceful reading of Peter Green’s “Albatross” by Lee Ranaldo Band featuring J Mascis, setting the tone for a set that traces Fleetwood Mac’s full evolution, from their early blues roots through their 1970s and 1980s peak. Standout moments include Anohni delivering an intimate “Landslide,” Lykke Li reimagining “Silver Springs,” Best Coast giving “Rhiannon” a sun soaked twist, and The Kills offering a shadowy take on “Dreams.”
The album was embraced by both critics and listeners upon release, earning praise for its thoughtful and imaginative approach to tribute albums and proving that Fleetwood Mac’s songwriting could thrive well outside its original context. Commercially, the set landed in the Billboard 200 Top 50 and peaked at No. 15 on the Top Rock Albums chart, underscoring its broad appeal beyond the indie faithful.
Now available on vinyl for the first time, Just Tell Me That You Want Me: A Tribute to Fleetwood Mac arrives as a limited edition 2 LP set pressed on Translucent Sea Blue vinyl. Limited to 3,700 copies, this long awaited pressing finally gives the collection the analog presentation it has deserved from the start.
Various Artists – Jazz Dispensary: Magia Brasileira (1 LP “Brazilian Shimmer” vinyl)
This Record Store Day, Jazz Dispensary heads south for Magia Brasileira, a vibrant excursion into mid century Brazilian grooves that blends samba, soul jazz, and funk with effortless swagger. Curated with the series’ usual crate digging precision, the collection pulls from deep catalog gems by some of Brazil’s most influential and style defining artists, delivering a set that is as danceable as it is historically rich.
Side A opens with the joyful floor ready “Shake (Ginga Gingou)” from percussionist Dom Um Romão, originally released on his 1975 album Spirit of the Times. Guitarist Bola Sete brings laid back elegance to “Soul Samba,” taken from 1966’s Bola Sete and His New Brazilian Trio, while trombonist Raul de Souza adds a funkier edge on “Dr. Honoris Causa” from his 1975 album Colors. The side closes with “Samba de Oneida,” a buoyant collaboration between vibraphonist Cal Tjader and guitarist Charlie Byrd, drawn from their 1973 LP Tambu.
Side B keeps the energy high with two piano driven standouts, beginning with João Donato and his irresistibly funky “Whistle Stop” from Donato Deodato (1973), followed by the sunny groove of “Suddenly” from Dom Salvador’s 1976 album My Family (Minha Familia). The set closes on a lush vocal note with “Carnival of Colors” by percussionist and bandleader Paulinho da Costa, featuring vocalist Deborah Thomas, and “Butterfly Dreams,” the title track from celebrated jazz singer Flora Purim’s 1973 fusion landmark.
Limited to 6,000 copies, Magia Brasileira is pressed on “Brazilian Shimmer” vinyl, a striking blend of green, yellow, and gold, and housed in a jacket featuring original artwork by São Paulo based artist Fernanda Peralta.
Markolino Dimond – Brujería (1 LP 180 gram vinyl)
Mark “Markolino” Dimond (1950-1986) was a virtuosic pianist, composer, and arranger whose influence runs deep through Latin music of the 1960s and 1970s. Raised on New York City’s Lower East Side, Dimond began performing professionally as a teenager, working alongside the legendary Latin duo of Willie Colón and Héctor Lavoe. His early impact included contributing the song “Te Están Buscando” to their 1969 album Guisando Doing a Job, signaling the arrival of a formidable new talent.
In 1971, Dimond stepped out on his own, forming Conjunto Sabor and releasing his debut album Brujería. Produced by salsa powerhouses Harvey Averne, Larry Harlow, and Johnny Pacheco, the album showcases 8 original compositions that fuse progressive jazz sensibilities with Afro Cuban rhythms. Standout tracks include “Brujería,” “Mi Irmita,” and “El Barrio,” all driven by Dimond’s explosive piano work and sharp arranging.
The session features a formidable lineup, including 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 a powerhouse percussion section with Louis Rivera on bongos and Antonio Tapia on congas. Adding further weight is a coro that includes Lavoe, Ismael Quintana, and Justo Betancourt.
Advertisement. Scroll to continue reading.
A defining statement of salsa dura, Brujería was tragically one of only 2 albums Dimond released during his lifetime, as chronic struggles with addiction curtailed a brilliant career. He followed with the 1975 cult favorite Beethoven’s V and appeared on recordings by Quintana and Lavoe, including Lavoe’s landmark debut La Voz, before withdrawing from the industry altogether.
Now, Dimond’s legacy is reaffirmed as Brujería, long out of print and highly sought after, 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 mastering.
Violent Femmes – The Blind Leading the Naked (1 LP “Candlelight Swirl” vinyl)
Born out of the Milwaukee underground, Violent Femmes formed in the early 1980s when Gordon Gano on vocals and guitar, Brian Ritchie on bass, and Victor DeLorenzo joined forces. Blending nervous folk rock with punk energy and emotional tension, the trio built a fiercely loyal following on the strength of songs like “Blister in the Sun” and “Please Do Not Go,” both drawn from their self titled 1983 debut, now widely regarded as one of the most influential alternative albums of the decade. After pushing into darker and more roots driven territory on Hallowed Ground in 1984, the band pivoted sharply with The Blind Leading the Naked.
Released in 1986, The Blind Leading the Naked finds the Violent Femmes leaning into a brighter, more pop oriented sound without abandoning their sharp lyrical edge. Produced by Jerry Harrison of Talking Heads, the album expands the band’s sonic palette with richer arrangements and a more polished studio approach. Tracks like “Children of the Revolution,” “Love Love Love Love Love,” and “Old Mother Reagan” balance catchy hooks with pointed social commentary, while the addition of horns, keyboards, and layered textures gives the record a distinctly different feel from its predecessors.
Notably, the album features saxophone contributions from Steve Mackay, adding a raw, muscular edge that complements the band’s evolving sound. While initially divisive among longtime fans, The Blind Leading the Naked has since earned recognition as a bold and transitional chapter in the Violent Femmes catalog, capturing a band willing to take risks at the height of its influence.
Now reissued on vinyl, The Blind Leading the Naked returns as a limited edition pressing on “Candlelight Swirl” vinyl, offering a fresh look at one of the band’s most adventurous and underrated releases.
The Tears – Here Come the Tears (1 LP Ultra Clear vinyl)
Formed by former Suede collaborators Brett Anderson and Bernard Butler, The Tears released Here Come the Tearsin 2005 to widespread acclaim. Reuniting a creative partnership last heard on Dog Man Star, the album blends sweeping arrangements with sharply observed lyricism, pairing politically charged songs like “Refugees” with enduring fan favorites such as “Lovers,” which reached the UK Top 25, and “Apollo 13.”
The album peaked at No. 15 on the UK Albums Chart and resonated far beyond the Suede faithful, earning strong praise across the British music press. Its emotional directness and cinematic scope marked it as a fully realized statement rather than a side project, capturing Anderson and Butler at a moment of renewed artistic focus. Despite the positive reception, Here Come the Tears would ultimately stand as the band’s only album.
This edition marks the first ever vinyl reissue of Here Come the Tears. Pressed on ultra clear vinyl and limited to 5,500 copies worldwide, it finally brings a modern classic of post Britpop songwriting back to the format it always deserved.
Various Artists – Stax: Killer B’s (1 LP Red Smoke vinyl)
Stax Records built its reputation on legendary A sides, placing more than 167 singles on the Billboard Hot 100 and an astonishing 243 tracks in the R and B Top 10. But as anyone who has spent time digging through original Stax 45s knows, the B sides often carried just as much grit, groove, and soul. Stax: Killer B’s shines a long overdue spotlight on that overlooked side of the label’s history.
This newly curated compilation brings together 14 rare and underappreciated B sides that reveal the depth of Stax’s roster beyond the hits. The set opens with The Bar Kays and the hard hitting instrumental “A.J. the House Fly,” originally released in 1969 as the flip side to their cover of “Midnight Cowboy.” Another standout comes from Booker T. & The M.G.’s with the laid back groove “Soul Clap 69,” first issued opposite their version of Simon and Garfunkel’s “Mrs. Robinson.” Johnnie Taylor appears with the silky “Love in the Streets (Ain’t Good as the Love at Home),” which originally backed his 1971 single “Hijackin’ Love.”
The collection continues with powerful and deeply felt performances, including The Soul Children on “Poem on the School House Door,” Eddie Floyd’s emotionally charged 1969 ballad “Consider Me,” and Inez Foxx delivering the infectious “One Woman Man.” Together, these tracks underline how much soul, experimentation, and feeling often lived on the flip side of Stax’s biggest releases.
Advertisement. Scroll to continue reading.
Making its vinyl debut for Record Store Day, Stax: Killer B’s is pressed on Red Smoke vinyl and limited to 3,700 copies worldwide, offering a fresh way to hear the deeper cuts that helped define the Stax sound.
