MAGIC MIX

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Tears For Fears

Head Over Heels (Talamanca System Remix)

    THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    As per the previous PR for the Talamanca System Tribal Persuasion mix, part of the true spirit of Balearic/Ibiza has always been slightly left field pop - Prefab Sprout, It’s Immaterial, Talk Talk and of course TFF, so TFF are always held in high regard by the Balearic brigade and this song (Head over Heels) in particular. Whilst a slightly daunting prospect to remix, across the 4 remixes (two by Talamanca and two by Mark Barrott) the aim was to capture the original spirit of Ibiza across it’s different moods, from the dance floor to Sunset via the early poly-rhythms of Underworld, the dramatic majesty of Padilla’s Cafe Del Mar and the dubbed out vibe’s of Larry Heard inspired slo mo house.Whilst these are to be enjoyed by all, in many ways their natural home is on vinyl, as they capture that original spirit and re-frame it in a modern context, taking the atmosphere of the original track and intertwining it with all the aforementioned elements of Ibiza’s musical heritage. Packaging will be black in colour. 

    Television Personalities

    Closer To God

      THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      ‘Closer To God’, as with all TVP albums, is mightily personal. Dan Treacy provides the antidote to the opening of the ill-fated Disneyland Paris and the first McDonald’s in China – it’s a white knuckle ride through his innermost hopes and fears with off stage giggling, half heard dialogue and feedback that sounds like an opera is expiring in an adjoining L-shaped room. ‘Closer To God’ is a spiritual rollercoaster that sounds as poignant and pressing as ever. Remastered double LP on limited edition on marbled black and white vinyl. 1500 copies.

      The Waterfront

      Normandy ( On A Beach ) / When The Wind Blows

        THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        The Waterfront were a short lived Manchester supergroup from the early 80's. The band consisted of 3 original members of The Stone Roses. Andy Couzens ( Guitar ) Gary Mounfield ( bass ) John Squire ( Guitar ). The drummer was Chris Goodwin ( The High ) and David ' Kaiser' Carty on vocals. Although the band never played a gig they did record 2 tracks in a small studio in 1983. Only a handful of cassette tapes ever existed among friends of the band. Andy Couzens owns the original _ inch reel to reel tape and has kindly offered the recordings for a special release to raise money for The Christie in Manchester. Andy and John later formed The Stone Roses with Mani joining years later. Chris ended up in numerous bands before having success with Andy in The High. Kaiser chose a different path and went to serve for Queen and Country. The Rest is History.

        The Courteeners

        Falcon (RSD19 EDITION)

          THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

          Following on from the success of St. Jude on red vinyl for Record Store Day in 2018, The Courteeners’ second album ‘Falcon’ will be released on limited edition 180 gram white vinyl for Record Store Day 2019. Originally released in 2010, Falcon was a top-10 album in the UK and features hit single ‘You Overdid It Doll’.

          The Delines

          Colfax (RSD19 EDITION)

            THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

            Neon orange colour vinyl edition for Record Store Day2019. 1000 pressing worldwide.Long time unavailable debut album from The Delines. Special RSD 2019 edition pressed in neon orange colour vinyl."Evocative country-noir vignettes" 4**** Q "Sublime effort from alt.country supergroup" 4.5/5 Hot Press"Richmond Fontaine's Willy Vlautin is back with a new band, a new female singer and a rich collection of songs... A sublime suite of Americana heartbreak" 9/10 UNCUT Neon orange colour vinyl edition for Record Store Day2019. 1000 pressing worldwide.Long time unavailable debut album from The Delines.

            The Durutti Column

            Obey The Time

              THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

              Factory Benelux presents an expanded double vinyl edition of Obey the Time, the eighth studio album by Manchester ensemble The Durutti Column. Originally released by Factory Records in 1990, just 800 copies have been pressed in coloured vinyl (purple and yellow) for Record Store Day on 13 April 2019. (NON-RETURNABLE)Largely self-produced, Obey the Time saw DC mainman Vini Reilly further develop his interest in electronic music, and even embrace house and techno stylings. “The title came screaming off the TV screen in somebody’s version of Othello and captured exactly the feel of the work in progress,” explained Tony Wilson, Durutti manager and Factory founder. “We were in the middle of the Aceeed explosion. If you lived in Manchester, you were absolutely in the middle of it. Vini even explained why house made keyboards sound so fresh. Something to do with a chord being played with 3 or 4 notes into the sampler, but then different chords being triggered by a single key stroke. Creating mathematical harmonic relationships ‘which Schoenberg had searched for but never found.’”Indeed veteran Durutti percussionist Bruce Mitchell features on just one track, Art and Freight. Meanwhile dance exploration Contra-Indications was taped with New Order programmer (and later co-manager) Andy Robinson. Released in December 1990, Obey the Time would be the last Durutti Column album on Factory before the labelled collapsed beneath a mountain of debt.Disc 2 features extracts from a previously unreleased live performance at Manchester University Whitworth Hall on 23 June 1990 (opportunistically billed as ‘The Acid Guitar’), on which Reilly and Mitchell are joined by guests Andy Connell, Liu Sola and Rob Gray.The remastered vinyl set is housed in a striking gatefold sleeve by 8vo printed in pantone colours on white matt board. The bold primary colours are mirrored by the coloured vinyl – purple for Disc 1, and yellow for Disc 2.Disc 1 A1. Vino Della Casa Bianco A2. Hotel of the Lake 1990 A3. Fridays A4. Neon A5. HomeB1. Spanish Reggae B2. Art and Freight B3. The Warmest Rain B4. Contra-IndicationsB5. Vino Della Casa RossoDisc 2 C1. Home (live) C2. What It Means to Me (live) C3. English Landscape Tradition (live)C4. Opera II (live) D1. Finding the Sea (live) D2. Otis (live) D3. Jacqueline (live)

              The Hit Parade

              Joey's Girl / I'm Recovering From You

                THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                One of the UK's most dearly cherished indie bands THE HIT PARADE releases a new single on 7" vinyl for Record Store Day 2019.

                The Mo-dettes 

                The Story So Far

                  THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                  SEMINAL 1980 POST PUNK UK TREASURE. LIMITED 180GRM VINYL FROM THE ORIGINAL MASTERS + LYRIC SHEETS ON INNER SLEEVE + DIE-CUT A4 STICKER. INCLUDES PAINT IT BLACK, WHITE MOUSE DISCO & KRAY TWINS - Originally released in 1980 on Deram Records (a division of Decca), this is the first time this seminal UK post-punk album has been reissued on vinyl. The Mo-dettes were an all-female band, formed in 1979 by guitarist Kate Korris (The Slits), Jane Crockford (Bank of Dresden), Ramona Carlier (Kleenex) and June Miles-Kingston. They were in the heart of the late 70s London art, film & punk scene with some of the members assisting Malcolm McLaren on the set of the film, The Great Rock ‘n’ Roll Swindle, as well as living in a community squat with Joe Strummer and Sid Vicious. Their branding was eye catching too, perhaps helping to pull in a wider audience, or it could have been influenced by some of the band members’ art backgrounds too. The album features a version of The Rolling Stones’ Paint It Black, a remake of their debut single White Mice (renamed White Mice Disco), plus a cover of Edith Piaf’s Milord, along with other original penned songs.The band toured for four years and they supported two-tone ska bands such as Madness and The Specials before breaking up finally in 1982. When the members went their separate ways, many continued to work and be associated with artists such as Fun Boy Three, Everything But The Girl, and The Communards, a.o.

                  The Police

                  Message In A Bottle

                    THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                    Following on from ‘Roxanne’ – RSD 2018, we celebrate the 40th anniversary of the band’s first international no. 1 single, originally released September 1979. Brand new exclusive edition for RSD 2019, packaged in bespoke 2 x 7” special double pack gatefold sleeve. Utilising original green UK sleeve for front and incorporating blue US ‘poster’ sleeve inside the gatefold. Two colour inner bags –A&M ‘company’ bag design. Features the original single and B-side. Disc 2 features Message In A Bottle ‘Classic Rock Mix’, originally exclusive to ‘Every Breath You Take: The Classics’ collection (1995) –now deleted, and the previously unreleased instrumental version of Message In A Bottle. Remastered at Abbey Road Studios, London and pressed on coloured vinyl: Disc 1 – ‘bottle’ green vinyl, Disc 2 – blue vinyl

                    The Pooh Sticks

                    The Great White Wonder

                      THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                      exclusive coloured ltd. Ed white vinyl in gategold sleeve from indie legends, and founders of the Fierce label.

                      The Redskins

                      Bring It Down! (This Insane Thing)

                        THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                        The first Redskins release for many years, this is a 4-track celebration of their 1985 Top 40 hit, “Bring It Down! (This Insane Thing!)”. Featuring their distinctive hybrid of rock and soul complete with their signature brass section and their unmistakable ‘call to arms’ socialist sensibility. It kicks off with an exclusive 7” remix which is an alternative EQ’d mix of the original hit single found among the archived master tapes. The release also includes the original extended 12” version of “Bring It Down! (This Insane Thing)” as well as the 12” single’s B-side “You Want It? They’ve Got It!”. The final track is a previously unreleased ‘live edit’ of their track “Let’s Make It Work” recorded at the Polytechnic of Central London in December, 1985 at the height of the band’s critically acclaimed live shows. Packaging : 10" colored red vinyl in gatefold sleeve.

                        The Rolling Stones

                        High Tide Green Grass (Big Hits Vol. 1)

                          THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                          Reissue of the long out of print UK vinyl edition of the Rolling Stones’ very first ‘best of’ LP, from 1966–the collection was many people’s first foray into the world of the Stones! A top 3 chart album on both sides of the Atlantic, on release -featuring six number one singles! Includes original 14-track album on heavyweight green vinyl.Features UK edition artwork –gatefold sleeve and colour insert. Ironically, the iconic UK, ‘fish-eye’ cover shot was taken in New York by Jerry Schatzberg. Mono edition cut by Sean Magee at Abbey Road Studios, London. Includes (I Can’t Get No) Satisfaction, Paint It Black, The Last Time, 19th Nervous Breakdown & many other classic hits! “One of the most potent collections of singles that one can find” AMG

                          The Rolling Stones

                          She's A Rainbow (Live)

                            THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                            The Rolling Stones release a special, limited edition of "She's A Rainbow" (Live) at U ARENA, PARIS 25/10/17.

                            The Abbasi Brothers

                            Something Like Nostalgia

                              "Something Like Nostalgia" is a film for your ears, a cinematic glimpse into the purity of everyday life. Written over two years, these 15 scenes are like snapshots of daydreams, their soundscapes are their subtitles, and the origin is not so very foreign. Yousuf and Amman Abbasi represent a new generation of evocative and epic instrumentalists. Following in the footsteps of the late 70s output of Eno & Byrne and Rodelius, then wading through the enigma of early 80s 4AD, they arrive in the 21st century with a sound that is familiar and yet all their own. Intensely motivated by the moving image, The Abbasi Brothers have created a new lexicon of music using digital instruments, electronics, guitar, piano and found sound. Through dreamlike 'sound-scenes' that celebrate nostalgia and the gentleness of the mundane in our day-to-day living they manage to make the ordinary extraordinary. While engulfed in their take on life-as-film made super-real is so rewarding one doesn't want the simple moments to ever end. Intricate and evocative, this is music to accompany the dance of waving hands as the train leaves the platform.
                              here.

                              Mute are proud to present the 21st anniversary deluxe editions of The Afghan Whigs’ landmark album ‘Gentlemen’.

                              ‘Gentlemen At 21’ features the original album newly remastered along with bonus content consisting of rare Bsides, live performances and previously unreleased demos.

                              ‘Gentlemen At 21’ presents the original record’s 11 tracks, updated but still retaining the 1993 album’s blistering swagger. The same 11 tracks that have made a visceral connection with fans over the last 21 years - the deeply dark and confessional lyrical content, the no-frills production qualities and Greg Dulli’s soul-baring vocal performances captured on tape. In addition, the album includes all the original demos for the album, which were recorded at John Curley’s Ultrasuede studio space in Cincinnati.

                              The bonus material also includes the original ‘Debonair’ single B sides, including ‘Mr Superlove’ and a cover of the southern blue-eyed soul classic ‘Dark End Of The Street’ along with three songs recorded live for KTCL in Denver, previously issued on the ‘What Jail Is Like’ EP. The set comes packaged with a faithful reproduction of the original sleeve art and its striking front cover image, an homage to Nan Goldin’s iconic ‘Nan And Brian In Bed, New York City’.

                              The Afghan Whigs

                              Up In It - Vinyl Reissue

                                ‘Up In It’ is The Afghan Whigs’ second full length and their Sub Pop debut. The 1990 album, recorded by legendary producer Jack Endino, was critically acclaimed and garnered strong college radio airplay. It has been out of print on vinyl for over 25 years.

                                FORMAT INFORMATION

                                Coloured LP Info: Loser Edition coloured vinyl format only available to independent retailers. 180g vinyl with a digital download card.

                                The Afghan Whigs

                                Uptown Avondale - Vinyl Reissue

                                  ‘Uptown Avondale’, released shortly after ‘Congregation’, features The Afghan Whigs paying tribute to their soul music influences by performing covers of Stax and Motown classics. This LP pressing is the first time ‘Uptown Avondale’ has been fully released on vinyl (its only previous vinyl pressing was a short European run in 1992).

                                  FORMAT INFORMATION

                                  Coloured LP Info: Loser Edition coloured vinyl format only available to independent retailers. 180g vinyl with a digital download card.

                                  This legendary 1994 double-pack on Eightball has long been an object of desire for proper house heads and vinyl junkies worldwide. We should count our lucky stars then that 2014 is the year that it gets its first full reissue! Featuring deep house classics "Making A Living" (as heard on Phil Mison's awesome 'Originals' comp), "Young And Free", "All In The Same Family" alongside a host of dancefloor weapons, "The African Dream" embodies the true spirit of classic club music at a time when disco and house collided in the melting pot of NYC. An absolutely essential release from a classic era of New York dance music that captures the deepness, rawness and soulful edge of the people who made it. Timeless house sounds for the true connoisseur made available once again. It's a beautiful thing baby!


                                  The Aints!

                                  5 6 7 8 9 EP

                                    The Aints! comprise Ed Kuepper, Peter Oxley, Paul Larsen Loughhead, Alister Spence & Eamon Dilworth.

                                    Formed in 2017 The Aints! original brief was to recreate the sound and energy of The Saints, the band co-founded by Kuepper in 1973, as they celebrated 40 years since the release of that band's groundbreaking debut (I’m) Stranded in 1977. With such talent at play though, it wasn’t long before this inspired five piece created material of their own. An album The Church of Simultaneous Existence, comprised entirely of Kuepper originals written in the period 1969-1978, was was released internationally to much fanfare and was a hit with fans and critics alike.5-6-7-8-9 is the next release from The Aints!

                                    A 5-track mini-LP comprising alternate versions of album tracks Goodnight Ladies (single edit) and Country Song in G (acoustic) plus reworked versions of tracks from Kuepper’s 50 album strong catalogue including Memories Are Made Of This (The Saints, 1978) Laughing Clowns (Laughing Clowns, 1980) and Hang Jean Lee (Ed Kuepper & The Kowalski Collective, 2007).

                                    The Album Leaf

                                    Between Waves

                                    Nearly twenty years into a career that has seen Jimmy LaValle exercising his creativity across the realms of film scoring, sound collage, and electronic / rock music, via instrumental and vocal-driven compositions alike, LaValle and The Album Leaf are poised to deliver yet another sonic triumph with 2016’s Between Waves.

                                    Born out of a thorough reinvention of LaValle's creative process and approach, Between Waves is The Album Leaf's first proper full-length record in over six years and the first to be recorded and produced as a complete band, and was written with greater emphasis on the group dynamic. The album displays multifaceted, meticulous sound design, a keen ear for balancing disparate influences, and the strongest senses of dynamics, rhythm, and composition The Album Leaf has displayed to date. From the moody evolution of "Glimmering Lights" to the wistful trip-hop stylings of "New Soul" and beyond, Between Waves is a gorgeous collection of euphoric melodies and emotionally charged, multi-instrumental driven soundscapes from the longstanding innovators. This is intelligent, beautifully composed music at its most inventive, most confident, and most impressive.

                                    STAFF COMMENTS

                                    Barry says: Well this is different isn't it? Not like 'It doesn't sound like The Album Leaf' different, it definitely does, but with an urgency previously unheard. I'm a big fan of LaValle's mellow Rhodes-based compositions (the recent reissue of 'In A Safe Place' was one of my record-buying highlights of recent times). The Rhodes is still present here fortunately, but it is backed with thumping drums in places, glitchy snares and giant swells, all topped off with silky vocal refrains. Pristinely produced and exciting from beginning to end. Rich and luxurious. Like a Creme Egg, but better for you.

                                    Terry Allen

                                    Lubbock (On Everything)

                                      Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and visual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Widely acclaimed as a masterpiece, his deeply moving (and hilarious) satirical second album, a complex memory palace to his West Texas hometown Lubbock, is often cited as the urtext of alt-country. Produced in collaboration with the artist and meticulously remastered from the original analog tapes, this is the definitive edition: the first to correct the tape speed inconsistencies evident on all prior versions; the first U.S. vinyl reissue; the first CD to restore the full track listing; and the first to contextualize the record within Allen’s 50-year career. Deluxe 2LP package includes tip-on gatefold jacket with lyrics, printed inner sleeves, download code, and 28 pp. book with related artwork and photos, an oral history by Allen, and essays by David Byrne, Lloyd Maines, and PoB. 2×CD edition features replica jacket, sleeves, and tipped-in 52 pp. book. Just four years separate Terry Allen’s first and second albums and consecutive masterpieces, Juarez (1975) and Lubbock (on everything) (1979), but the two records inhabit completely different systems of worldbuilding, wildly divergent in terms of sonics, scope, and circumstance. Arguably Allen’s most widely beloved and most easily approachable album—it contains his 2 best-known and most covered songs, “Amarillo Highway (for Dave Hickey)” and “New Delhi Freight Train” (famously first recorded by Little Feat)—Lubbock (on everything) is his complex memory palace to his West Texas hometown. Compared to its sparsely produced predecessor, it represents a much more collaborative, even collective, effort with a local Lubbock studio band, complete with rhythm section, pedal steel, fiddle, and horns, and helmed by master guitarist Lloyd Maines, who became Terry’s frequent musical partner, producer, and the de facto bandleader of the Panhandle Mystery Band. Even if Allen’s music is more accurately described as art-country, Lubbock (on everything) sowed the seeds of alt-country’s emergence a decade later. 

                                      "Future Dust" is an album that retools rock’s dark past for the present day while having an absolute blast. Loose blues grooves, religious references and falsetto backing vocals abound on songs that explore issues including social media witch hunts, eating disorders and depression, but never lose sight of a singalong. The Amazons were the most hotly tipped band of 2017 and followed through with their debut album reaching #8 in the official chart.

                                      STAFF COMMENTS

                                      Mine says: Big melodies, big vocals, The Amazons are bound for big things... 'Future Dust' is stadium rock in the making.

                                      FORMAT INFORMATION

                                      Deluxe LP Info: Limited edition deluxe 180 gram vinyl with wide spine sleeve, die cut, and 8 page booklet.

                                      The Amorphous Androgynous

                                      The Cartel & Remixes

                                        THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                        Collectors Limited Edition Double Vinyl for Record Store Day 2014 * Hand Numbered 750 Units

                                        A special collector's double vinyl of 'The Cartel' by the Amorphous Androgynous exploring psychsploitation (where psychedelia meets blaxploitation) on their 'MONSTROUS BUBBLE' soundtrack series.

                                        Features original tracks from The Cartel Vols 1&2 written by the Amorphous Androgynous plus remixes by Youth, DJ Food, Black Light Cinema, Cranium Pie, Lost In Edit and by the Amorphous Androgynous themselves. Also includes 'WHERE DOES THE EVIL GO ?' featuring Alisha Sufit (Magic Carpet) on vocals and BANKSTERS which features Noel Gallagher on bass and guitar.

                                        The Anniversary - Superdrag

                                        Split CD

                                        The coming together of these two emo-pop bands signifies the first release in a Split EP series from Vagrant Records. Three strong songs from each band makes this an easy-to-assimilate treat. Superdrag showcases a handful of songs and The Anniversary contribute three new creations too.

                                        The Annuals

                                        Sweet Sister

                                        North Carolina’s The Annuals have had a whirlwind ride. They released their first album, "Be He Me", in 2006 while each of their six members were only around nineteen years old. Bloggers, critics, and fans alike fell in love with the album. Two years later, they released their second album "Such Fun". The Annuals are currently embarking on their most dynamic and creative project yet, a 2010 EP release "Sweet Sister", which has been written, recorded and produced entirely by its founder, Adam Baker, in the band’s own hometown recording studio. "Sweet Sister" encompasses the pure energy that Annuals are known for: the quirky experimentalism, the intrinsic pop sensibility, the impeccable production, and the boundless independent spirit. It is electrifyingly alive, and promises to be yet another highlight in this young band’s successful and blossoming career.

                                        Recorded throughout the spring of 2010 by frontman and first time producer Martin Colclough, "Lifeline" is the album that everybody believed The Answering Machine could make. A departure and a knowing deviation from the sound that established the band on 2009’s angular debut "Another City, Another Sorry", "Lifeline" is a unique, intelligent and diverse LP. Stylistically extensive, the album clicks between moments of post rock magnificence to glitch-driven programming; at once inhaling a varied catalogue of influences and exhaling a body of work that will top End of Year polls.

                                        After working with producers from London and New York, writing songs in Tokyo, demoing in sky scrapers and honing ideas in Brooklyn, it became obvious that ‘home’ was the perfect place to pull "Lifeline" together. The cliché goes that record producers are the so-called ‘fifth member’ of the band but Manchester’s The Answering Machine decided to keep things simple and opted for an actual member of the band to produce their second album. After several successful remix projects, frontman Martin Colclough decided to step up to the role. What followed was not an expensive studio, engineers or remote location; instead the band opted for their underground practice room in the city centre. From six feet under they emerged with their lifeline.

                                        While journalists stalked the streets murmuring buzz words and hailing the new ‘Manchester scene’ The Answering Machine were hard to find. They were in fact below the city campaigning for change, creating a record that is far removed from people’s expectations of them, peeling all the layers of what journalists and fans had deemed them to be and avoiding being caught up in any industry onslaught on their city. They stand alone and by doing so have rediscovered themselves, their identity and uncovered a new sound. Central to this regeneration has been the acquisition of a number of vintage synths passed down from the Factory Records band Repetition. These, along with pump organs and acoustic guitars, opened up a new and more collaborative way of writing for the band.

                                        There are no gimmicks, stories or press angles for The Answering Machine on their second album campaign. This is because what the band have created and achieved is truly remarkable and therefore the ONLY thing worth writing about. Musically eclectic, textural and complex, lyrically sophisticated, honest and striking "Lifeline" is a very special record; the first great record of 2011. It documents a band reborn, a band who have taken the model of Radiohead and The Beatles before them, determined to make a record that sounds nothing like their last. They have succeeded with a grace and elegance all of their own.

                                        STAFF COMMENTS

                                        Laura says: Sadly, The Answering Machine have decided to call it a day, but they bow out in style with the release of the Limited Edition vinyl version of this album.

                                        FORMAT INFORMATION

                                        LP Info: Was £13.99.

                                        "Per/son/alien" is the The Antikaroshi's way of telling stories by using only fragments or short lyrics. Having grown up in the East German Punk & Hardcore underground and raised by direct in-your-face lyrics, with subtleties not to stir up governmental attention, The Antikaroshi try to figure out where they stand now – over 20 years later. Approaching this culture and their music with the knowledge of these circumstances, The Antikaroshi admit that whatever is created will be just a trace - the bit within the byte. So the three-piece delivers an album full of struggles, inner conflict and uncompromising emotion. The sound is deeply rooted in post-rock back and the DC Punk/ Hardcore explosion in the 90s.

                                        The Apartments

                                        No Song No Spell No Madrigal

                                          Eighteen years after they released their last studio album, the return of The Apartments with No Song, No Spell No Madrigal means more than just a new record to add to their perfect mythical discography. What we fnally have is an album that could have never existed, flled with every single doubt of the tortured and brilliant Peter Milton Walsh. This album carries these numerous years of absence, a deep artistic and personal history. It is a striking comeback into the world of music, eminently intimate, dreadfully universal.

                                          "If you care about quality songwriting, from one of the most singular talents to emerge from Brisbane in Peter Milton Walsh, you really should explore those albums." The Daily Telegraph.

                                          "Played with quiet grace, the eight chamber-pop songs here are alternately harrowing and redemptive, anchored by loss." – UNCUT.


                                          The Appleseed Cast

                                          The Fleeting Light Of Impermanence

                                            Considered to be one of the titans in the original second wave of emo bands, TheAppleseed Cast rose to the spotlight in the late 90's and early to mid 2000's, with a string albums, including Low Level Owl I & II, and non-stop touring, earning them high critical praise and a loyal following. Their influence can be heard in countless contemporary bands such as Chvrches - whose lead singer is a self-proclaimed super fan, Basement, Mewithoutyou and so many more.

                                            While fanship continues to grow with each new incarnation from the band, time between albums has also grown a bit over the last 10 years. Despite lineup changes or time between, Crisci is still focused, as much as ever, on touring and continuing to produce the innovative landscape of music the band is known for.


                                            FORMAT INFORMATION

                                            Coloured LP Info: 180 gram clear vinyl.

                                            Features current and ex-members of Chain & The Gang, Pygmy Lush, and The Shirks. Moody lo-fi garage rock.

                                            Coasting into town on fumes, late and not speaking to each other because nobody would stop to ask for directions,The Ar-Kaics take their cues from the first wave of ‘60s punk — American teenagers taking cues from the British Invasion, in turn taking cues from pilfers of the hinterland originators — with the added vantage of several subsequent decades worth of wayward balladeers, no names and psychedelic rock hangovers.

                                            The Ar-Kaics have been delivering their off-brand, spot-on garage rock originals out of Richmond, VA, via a flood of small press singles and a s/t debut album - all of which have since become highly desirable in the collectors market - and several successful DIY tours across the lower 48, with shows in Canada and Europe to boot. Since, they've drifted around some, gotten and lost jobs, opened a record store and label, and started families.

                                            In the summer of 2015 the group hooked up with Wayne Gordon and Mikey Post, of Wick Records to record a couple tracks at the Daptone Records' House of Soul - resulting in 2016's critically acclaimed - Just My Life b/w It's Her Eyes 45.

                                            After the success of their debut single on Wick, plans were hashed to record their sophomore full-length, which took place over three days in the Spring of 2017, at Adrian Olsen's Montrose Studio in Richmond, VA.

                                            Produced by Wayne Gordon (Black Lips, King Gizzard and the Lizard Wizard, Jon Spencer Blues Explosion), and Mikey Post (Reigning Sound, The Jay Vons) the fruits of the heady three day retreat produced the forthcoming Long Player, "In This Time"...a low-brow journey through the Teen-Beat sounds of the 1960's...and beyond! From the opening, crude thud of "Don't Go With Him", the Velvet Underground tinged swagger of "She's Obsessed with Herself", the breezy, late-period psych of "Long Way Down", to the unpretentious, sap-free balladry of "It's Her Eyes" - The Ar-Kaics flex their deft understanding of the subtle intricacies that defines bonafide Garage Rock.

                                            In spite, the band remains, taking its time with In This Time, void of professionalism or self-preservation, just an unquenchable thirst to lap it up and pass it around — the good stuff that is — before it’s all gone.


                                            Yours, Dreamily, is the debut album by The Arcs, who are Dan Auerbach, Leon Michels, Richard Swift, Homer Steinweiss, and Nick Movshon. Also featured on the album are Kenny Vaughan, and Mariachi Flor de Toloache. Yours, Dreamily, includes the singles ‘Stay In My Corner’ – about which NPR Music wrote, ‘It's got a slinky, timeless feel, propelled with alluring ease by Auerbach's falsetto and a lush instrumental backdrop befitting The Arcs' roster’ – and ‘Outta My Mind’, ‘A great of slab of loose, catchy, psych-rock blues,’ in the words of the NME. 

                                            The Arcs collaboratively wrote and recorded 13 tracks for Yours, Dreamily, with the musicians playing a large array of roles both vocally and instrumentally. Co-produced by Auerbach and Michels, the album was recorded in roughly two weeks through spontaneous, informal sessions across the country at the Sound Factory in Los Angeles, the Diamond Mine in Queens, Auerbach’s Easy Eye Sound in Nashville, and in a lounge room at Electric Lady in Manhattan. Tchad Blake mixed the album on his horse farm in Wales.

                                            Tom Armstrong

                                            The Sky Is An Empty Eye

                                            Tompkins Square's recent double-LP, Imaginational Anthem vol 8 : The Private Press shed light on forgotten, impossibly rare guitar recordings spanning several decades. Tom Armstrong's The Sky Is An Empty Eye is the first of several reissues planned by Tompkins Square of full albums by artists featured on IA8. Armstrong's self-released LP from 1987 sports blissed out acoustic numbers like the one featured on IA8, along with some electric workouts and even a deep pysch vocal tune. Tom's main mode of distribution for the album was handing the LP to drunken patrons at a bar in Pinos Altos, NM. Now Tompkins Square makes it a bit easier to acquire.

                                            In his own words, today : I was born in Elmhurst IL, lived there 29 years. Had a brief career playing open mikes and bars for tips, drinks and nominal cash payments, even gave some guitar lessons. In 1984 I was offered a half partnership in an engineering firm in Dallas, so I moved to Texas. Made a big pile of money. My wife bought me a Tascam 4 track recorder for my birthday, I went crazy with it. Recorded a bunch of melodies that had been rattling around my brain since I was 8 years old. Liked what I heard, decided to make an LP. It wasn't too hard to track down a studio to master my 4 tracks. By this time I was an old hand at graphic design for promotional material, so I designed the cover myself. Handed the albums out to business associates, as promotional material for other business interests, at a drunken open mike at a bar in Pinos Altos, NM. I continued to record for about another 10 years, blues rock, pop. Really refined my recording skills. Still play once in while, but I'm an old fart now, with all the baggage that entails.


                                            The Arm

                                            He Builds Bombs

                                            West Midlands math-rock trio The Arm return with this four track EP hot on the heels of their acclaimed debut on Speedowax. On "He Builds Bombs", The Arm have stepped up the intensity with a relentless assault of frenzied rhythms, razor-edged guitars and acid-damaged electronica.

                                            The Artwoods

                                            Art's Gallery

                                              The new release from Top Sounds Records honours one of the mid 1960’s most revered cult bands with the label’s first single artist long playing record and CD – the ARTWOODS!

                                              The ARTWOODS – Art Wood, Derek Griffiths, Malcolm Pool, Keef Hartley and future Deep Purple organist Jon Lord – recorded for Decca, Parlophone and Fontana from 1964 to 1967 and their Decca back catalogue in particular has been well documented by retrospective re-issues and compilations. The thirteen canvasses in ‘Art’s Gallery’ however are sourced completely from three live radio sessions that the ARTWOODS recorded for the BBC during 1965 and early 1966 and were not known to still exist. The British Broadcasting Corporation saved a number of tracks the group played for the Beeb and these have since appeared on the Cherry Red ‘Steady Getting It’ set, the rest of the ARTWOODS’ radiophonic output however was not kept by the BBC with the tapes being erased or junked. Thanks to diligent home taping by a particularly keen fan at the time, the ARTWOODS’ music for radio on ‘Art’s Gallery’ can again be heard in public for the first time in over fifty years. And besides welcome live takes of familiar favourites such as ‘Oh My Love’, ‘She Knows What To Do’ and ‘Don’t Cry No More’, there’s a spoil of cool numbers that the band never committed to disc. There’s the upbeat jazz of ‘That Healin’ Feelin’ and ‘Smack Dab In The Middle’, the slow burning blues of ‘How Long, How Long Blues’ and ‘Black Mountain Blues’, the soulful grooves of ‘Out Of Sight’ and ‘I Got A Woman’ and the pure mod suave of ‘Comin’ Home Baby’ (and more!).

                                              The music has been restored to the highest possible standards from the only known surviving reel to reel recordings and Top Sounds feel sure there’s a splendid time for all to be had from a visit to ‘Art’s Gallery’!

                                              A limited edition in both formats!!!!

                                              FORMAT INFORMATION

                                              Ltd CD Info: With 24 page booklet.

                                              The Assassinations

                                              Future Blasts From The Past

                                              'All you need to make an album is a girl and a gun.' Jean Luc Godard. Sex, death, rock-n-roll. The Assassinations is a band, an album and an idea. Is there any more appropriate name for a rock'n'roll band during a decade in which suicide bombs, ethnic cleansing, and kidnapping have become like muzak on the TV news. The Assassinations is rock-n-roll that revels in the signs of the times. The band also has two asses in its name. The Assassinations is latest incarnation in the career of Berlin music legend and agent provocateur Ghazi Barakat. A mainstay of the city's underground music scene since the early 90s, Barakat was the founder and singer of garage noise outfit the Golden Showers. He also performed as part of 'Give Up', a Digital Hardcore-affiliated band with Shizuo's David Hammer and Cobra Killer's Annika Trost. The nine tracks on "Future Blasts From The Past", which is the first release on Barakat's new label Hashishin Records, were recorded between 2006 and 2007 with engineer and producer Tico Zamora at his Polytrash studios in Berlin. Barakat roped in a selection of able friends and conspirators: Tim Gane of Stereolab, Fred Bigot (aka French art-techno one man band Electronicat), Taylor Savvy, Nicole Morier from Electrocute and, most extravagantly a brass ensemble from the Himalayas (Hindulam Ensemble).

                                              “My only regret is I didn't know just how good this stuff was at the time. Sure, I knew we were on to something. But really, 'After Murder Park’ ...fucking Woah!” Luke Haines, 2014

                                              After Murder Park is the third album from The Auteurs, originally released in March 1996.

                                              Recorded in under two weeks at Abbey Road Studios, it marked a new direction and needed a new sound provided by the production of Steve Albini. Luke Haines considers the recording sessions the high point of The Auteurs career.

                                              The expanded edition, compiled by Haines, features a wealth of bonus material including key B-sides, a John Peel session plus the entire unreleased recording of their Black Session recorded for Inter France radio station in March 1996.

                                              The Auteurs

                                              How I Learned To Love The Bootboys - Expanded Edition

                                              The Auteurs fourth and ultimately final album, How I Learned To Love The Bootboys was released in July 1999, a 3-year gap since their previous release, After Murder Park, a period during which Luke Haines released albums as part of Black Box Recorder and under the guise of Baader Meinhof.

                                              This expanded edition, compiled by Luke Haines, features 40 tracks including key b-sides and rarities plus 5 previously unreleased tracks. The second disc features the band’s final gig recorded at London School Of Economics in November 1999. This is the first time it’s been on CD, having been briefly available as a download previously.

                                              “On listening to '...Bootboys' again, I'm actually surprised how focussed it sounds. There's a straightforward 'pop side' and an unstraightforward 'experimental' side. My only regret is not putting more on the album – really stretching it out and making it a sprawling double, songs like 'Breaking Up' and 'Get Wrecked At Home' were far too good for B-sides.” Luke Haines 2014

                                              Originally released in May 1994, Now I’m A Cowboy was The Auteurs second album. Produced by Phil Vinall and Luke Haines, it was a more than worthy successor to the Mercury Music Prize nominated New Wave and is home to probably their best known song, Lenny Valentino.

                                              The 2CD expanded edition, compiled by Luke Haines, features a wealth of bonus material including key b-sides, 2 complete BBC radio sessions of the time plus an unreleased live recording of the band performing at Leeds Town And Country Club in December 93 where they supported The The.

                                              By day John Stirratt and Patrick Sansone sell thousands of albums and tour the world as members of indie juggernaut Wilco, while lending their writing, playing and producing abilities to dozens of high-profile recordings. But by night these renowned pros are able to sit down, relax and create something special that comes straight from the heart of why they pursued music as a career - and that's the Autumn Defense.

                                              After releasing 2007's The Autumn Defense on their own Broadmoor label, Stirratt and Sansone have teamed up with North Carolina's Yep Roc Records to release their latest full-length effort, "Once Around".

                                              For the past nine years, this pair of Southerners-turned-Chicagoans has quietly been nurturing the reverent, classic pop of the Autumn Defense. Though the outset of the band saw Stirratt handling the bulk of the songwriting while Sansone lent his talents to production, the duo has steadily evolved into a partnership in both respects. From 2000's debut effort "The Green Hour" to the critically lauded, salt-of-theearth folk rock of 2003's "Circles", the Autumn Defense developed its late afternoon kickback sound like a fine wine develops and deepens - with time.

                                              "Once Around" is a formidable tapestry of thoughtful, intricate sunshine wrapped around a core of timeless, experienced songwriting. It's the kind of record that needed to be made, for the audience but also for the artists. The result is a distinctly Autumn Defense record, full of lush melodic textures, invitingly delicate pop arrangements and frequents nods to the AM gold, soul and radio rock that dominated the group's formative years.


                                              Broken Horse present the self titled and 3rd album by Wilco offshoot The Autumn Defense (John Stirratt and Pat Sansone of Wilco). After the release of their second album in 2003, The Autumn Defense, multi-instrumentalists John Stirratt and Pat Sansone, realized that there was indeed an audience for their Simon & Garfunkel/Bread influenced soft-rock that they hadn't truly appreciated, and like most things took some time to develop. "The Autumn Defense" is the culmination and continuation of what the band has reached for in the last two records, from the Philly-soul of "Feel You Now", to the baroque "Estate Remains", the bossa "City Bells" to the classic Southern-California sound of "We Would Never Die." Playing this album next to Wilco's Sky Blue Sky which followed "The Autumn Defense" a few months later, it becomes clear how integral both Stirratt and Sansone are to the current Wilco sound in what is looking likely to be it's most successful and enduring line up.

                                              Do you remember what you were doing fifteen years ago? I do. I was a fifteen year old kid from the burbs, spending my summer playing football and recreating WWF classics in the back yard while dressed like a nerdish Eminem (bleach blonde hair and everything). Then a wacky-ass radio track packed with film snippets and horse noises worked its way into my teenage brain and changed things for good. The Avalanches were insane, inspired and in full effect; following the 'horse song' ("Frontier Psychiatrist") with a soulful and swooning summer jam ("Since I Left You") which has played in my head ever since. Family Allowance firmly in hand I took my privilaged ass off to the Market Hall, picked up a CD copy of this album and spent the whole bus journey home feasting my eyes on the liner notes and sleeve artwork. As I hit the play button on my naff home stereo, I was whisked away Dorothy-style and taken on a head spinning journey through 50 years of popular music. Leaving the monochrome mundanity of Bolton behind, I soared through technicolour stage sets of paradise islands, Brooklyn block parties and countryside BBQs, Sci-Fi spectaculars and rewired romances as 3,500 samples were sticky taped together before my very ears. The plunderphonic sound of six men who spent their adolesence rummaging through the bargain bins of Melbourne's record shops, "Since I Left You" applies hip hop's cut'n'paste mentality to the full gamut of weird and wonderful pop, from exotica to erotica, disco and funk to lounge and psych. Unlike anything I'd ever heard before, and better than any imitators I've heard since, The Avalanches are truly in a class of their own.  

                                              In a collage of fuzz guitars, tuning radios, pitched up soul samples, pitched down exotica records, and a whole lot of background chatter, The Avalanches return after an unprecedented 16 year wait. Created by the band’s core duo - Robbie Chater and Tony Di Blasi – "Wildflower" is nothing less than The Beach Boys’ "Smile" reimagined in the Daisy Age - a mind-bending cartoon road movie that’s best viewed with closed eyes and an open mind. Unmistakeably the work of Australia's sample kings, "Wildflower" is a Technicolor kaleidoscope of everything great and groovy about music, blessed with the warm and dreamlike aesthetic we first fell in love with on the sublime "Since I Left You". A throwback to those halcyon days when artists made albums, as opposed to a couple of radio singles and eight tracks of filler, The Avalanches sophomore LP drifts from one track to the next, taking us on a tripped out tour of downtown Melbourne in the summer time.

                                              Lead single "Frankie Sinatra" divided the critics on its initial release, making a marmite statement with its oddball calypso samples, oompah brass and unhinged lyrics from Danny Brown and MF DOOM. Here, nestled comfortably between the gorgeous summertime soul of "Because I'm Me" and the sampledelic disco of "Subways", the track makes perfect nonsense. The inner city synth pop of "If I Was A Folkstar" strolls through the sunshine like a laid back relative of Cut Copy's "Bright Like Neon Love", while the spectral "Colours", featuring some heavily treated vocals from Mercury Rev's Jonathan Donahue, is as dreamy and doped up as pop music gets. Elsewhere Ariel Pink, Father John Misty, Warren Ellis (Nick Cave & the Bad Seeds)  and Toro Y Moi’s Chaz Bundick make cameos, as does Biz Markie on the light-hearted, full stomached old school hip hop of "Noisy Eater". The dusty sixties soul of "Harmony" leaps out the grooves in the middle of a succession of dreamy sketches (in a day-glo Dilla style) before the triple threat of "The Wozard Of Iz", "Over The Turnstyles" and "Sunshine" form the apex of an outstanding LP. "Kaleidoscopic Lovers" and "Stepkids" serve up a pair of pastoral love songs before the driving haze-gaze of "Saturday Night Inside Out" leads us off into the sunset with the widest smile of our lives. Against all odds and expectations, The Avalanches have done the impossible, following up an instant classic with a second album which is even better than the first. If we have to wait another sixteen years for the next one, at least we'll be waiting in the company of two flawless records. 


                                              FORMAT INFORMATION

                                              2xDeluxe LP Info: Deluxe quadruple gatefold sleeve, double 180g vinyl, poster.

                                              The B-52's

                                              The B-52's - Vinyl Reissue

                                                Even in the weird, quirky world of new wave and post-punk in the late 70s, the B-52's' eponymous debut stood out as an original. Unabashed kitsch mavens at a time when their peers were either vulgar or stylish, the Athens, Georgia quintet celebrated all the silliest aspects of pre-Beatles pop culture - bad hairdos, sci-fi nightmares, dance crazes, pastels, and anything else that sprung into their minds - to a skewed fusion of pop, surf, avant-garde, amateurish punk, and white funk. On paper, it sounds like a cerebral exercise, but it played like a party. The jerky, angular funk was irresistibly danceable, winning over listeners dubious of Kate Pierson and Cindy Wilson's high-pitched, close harmonies and Fred Schneider's campy, flamboyant vocalizing, pitched halfway between singing and speaking. It's all great fun, but it wouldn't have resonated throughout the years if the group hadn't written such incredibly infectious, memorable tunes as "Planet Claire," "Dance This Mess Around," and, of course, their signature tune, "Rock Lobster."

                                                STAFF COMMENTS

                                                Martin says: Classic 1979 new wave album from the US quintet, who channeled rock & roll, surf, girl group pop and B-movie kitsch and transplanted the 50s / 60s into the post-punk era. 'Planet Claire', 'Dance This Mess Around', 'Rock Lobster'...

                                                FORMAT INFORMATION

                                                LP Info: 180 gram vinyl.

                                                LP includes MP3 Download Code.

                                                The Babys

                                                On The Edge

                                                Often described as a 'turntable band' (played a lot but few sales) The Babys really were on their last legs by the time they recorded this 1980 album. There is so much quality in both songwriting and performance on thaes reissues it's hard to say what went wrong--most of it has to be down to bad timing, if you like hard tight rock licks this is the stuff for you.

                                                The Balek Band

                                                Danse Primitive EP

                                                In case you haven't realised it yet, Beauty & The Beat trade only in the deepest musica. The Loft-inspired London crew have done a wonderful job of translating the acid-soul and world-influenced disco of their party to the platter on their first three releases, and numéro quatre keeps the quality refined, the sound sophisticated and the emotions...erm...totes. 
                                                For the fourth instalment, the label invite Nantes' experimental ensemble The Balek Band to work their magic and are rewarded with enchanted melodies and arcane rhythms. Opener "Tometsi" slips its worldly moorings and drifts into deep Balearic, heading for a horizon where squirming moog riffs rain on top of rippling pads and subtle percussion glitters just above the swell. Think Harvey in Moonshadows mode and you're perfectly on path with this Balearic beauty. Next up "Diconiels" delivers shuffling rhythms and square bass, delayed guitar and cosmic chug, finding their own personal island where voodoo incantations wait on the wind. On the B-side, "Bayoyo Sou" incorporates the shuffling rhythms and tropical jazz motifs of zouk into the Balek's psychedelic swirl, gently building into a gliding acid house hit for cultured club sets or fireside rituals. 

                                                STAFF COMMENTS

                                                Patrick says: I can't speak more highly of the Beauty & The Beat crew. Each release is distinct and diverse but falls within the deeply psychedelic space they've created. Here, Nantes' Balek Band join the dots between jazzy Balearic, cosmic zouk and diasporic house across three deep cuts - once again, it's a triumph.

                                                I Blame Society is the third album from New York trio The Ballet and their first for new label Fortuna POP! Unashamedly “sissy” and explicitly queer, The Ballet marry the DIY queer ethos of the Hidden Cameras with the wry poeticism of The Magnetic Fields to create literate, infectious pop gems.

                                                I Blame Society is a continuation of the lyrical themes and songwriting style found in the band’s two previous self-released albums (Mattachine! [2006] and Bear Life! [2009]), though with slightly pared down arrangements and a nuanced production, which highlights songwriter Greg Goldberg’s strengths. Inspired by Stephin Merritt’s body of work, Goldberg draws from an array of pop artists and periods, from 60’s bubblegum to 80’s synthpop and 90’s indiepop, fusing these in sophisticated and novel ways which rewards repeat listening.

                                                Avoiding autobiographical or confessional modes, Goldberg nonetheless mines his own psychological constitution and intellectual interests to craft songs whose overt musical prettiness is often contrasted by a dark and complex subtext. I Blame Society addresses a number of queer themes, offering a nuanced and refreshing perspective on contemporary queer issues, subtly balancing queer melancholy with self-deprecating humour and stubborn utopianism. While some queer musicians shy away from articulating a connection between their sexuality and musicianship, The Ballet have often contended the opposite: that they are “a bunch of queers who just happen to be in a band.”

                                                Formed in 2005 by Greg Goldberg and Craig Willse (who are both professors and met whilst at graduate school) with Marina Miranda (who they met at a party), The Ballet are still going strong after eight years of pop magic, retaining their original line-up. That’s not to say they haven’t gone through some line-up changes over the years. Acquired bandmates Ginger Brooks Takahashi and Michael O'Neill left in 2007 to join JD Sampson in MEN. Indiepop luminaries such as Linton from The Aislers Set and Ramesh from Voxtrot have also made guest appearances on previous albums, as have Kaki King and Scott Matthew.

                                                The Band In Heaven

                                                The Boys Of Summer Of Sam

                                                  Summer is gone, friends, and with the cold bleak months that lie ahead of us in the Midwest, we're excited to unleash another unsettling dose of the band in heaven, churning forth two more direct hits of skull-softening Middle-Eastern tinged space rock destined to drain the fluids from your ears, while seductively stealing your valuable organs for the black market. Since our last release with this West Palm Beach, Florida unit, they've kept true to their style, creating a sinister apparitional vibe out of an inanimate round grooved object, and devolving into a pit of repetition, begging the question, is it heaven or hell? Mastered by Spacemen 3's Sonic Boom, you can't help but feel the soiled sordid psychedelic residue sticking to the dark corners of both tracks here, pulling together even more blackness from this Florida sunshine than ever previously imagined, and settling the tone for the worst case scenario.

                                                  From the fringes of it's echoing, searing riffs to the cold and unusually cruel rhythms eclipsed only by the penetrating repetition, the band in heaven is the answer to a question you still don't understand, and another reason to look past your outdated boundaries and dive head-first into the undulating abyss. Just as with their debut 7" EP, this new single traps you in a vertigo-inducing vortex of modern psychedelic reverberation, washing you over with waves of petrochemical pleasure, as it takes root deep in the farthest recesses of your mind. - VictimofTime.com

                                                  Recommended for fans of A Place To Bury Strangers, Soft Moon, Jesus & Mary Chain, Black Tambourine, Warlocks, Teepee, The Kills, Slowdive, Black Angels, Brian Jonestown Massacre

                                                  400 copies Black vinyl.

                                                  The Band

                                                  The Band

                                                    "The Band's first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes from the union worker in "King Harvest (Has Surely Come)" and the retired sailor in "Rockin' Chair" to, most famously, the Confederate Civil War observer Virgil Cane in "The Night They Drove Old Dixie Down." The album effectively mixed the kind of mournful songs that had dominated Music from Big Pink, here including "Whispering Pines" and "When You Awake" (both co-written by Richard Manuel), with rollicking uptempo numbers like "Rag Mama Rag" and "Up on Cripple Creek" (both sung by Levon Helm and released as singles, with "Up on Cripple Creek" making the Top 40). As had been true of the first album, it was The Band's sound that stood out the most, from Helm's (and occasionally Manuel's) propulsive drumming to Robertson's distinctive guitar fills and the endlessly inventive keyboard textures of Garth Hudson, all topped by the rough, expressive singing of Manuel, Helm, and Rick Danko that mixed leads with harmonies. The arrangements were simultaneously loose and assured, giving the songs a timeless appeal, while the lyrics continued to paint portraits of 19th century rural life (especially Southern life, as references to Tennessee and Virginia made clear), its sometimes less savory aspects treated with warmth and humor." - All Music.

                                                    STAFF COMMENTS

                                                    Andy says: Just as good as the first, maybe without the same impact. Includes the world-classic "The Night They Drove Old Whiskey Down".

                                                    FORMAT INFORMATION

                                                    LP Info: Back to black vinyl edition.

                                                    LP includes MP3 Download Code.

                                                    Tomas Barfod’s first album, ‘Salton Sea’, was one of the most lauded electronic debuts, with Pitchfork, Dazed and GvsB giving it accolades. Now he releases his second album, ‘Love Me’, his debut for Secretly Canadian.

                                                    Featuring guest vocals from Luke Temple, Sleep Party People, Night Beds and a stunning collaboration on a number of songs with Swedish singer Nina K, the album is gaining plaudits internationally.

                                                    ‘Love Me’ straddles the divide between songwriting, electronic dance and out and out pop music perfectly. The soundtrack to your Summer.

                                                    "Portal Nou" is the much-anticipated third album by renowned British musician Ted Barnes and the debut release on Ted's own label Mornington Records. Written and recorded between his home on the Kent coast and time spent on the Regents Canal in London, and inspired by the recent birth of his son, the record marks a new phase in Barnes' personal and musical life. Although it still displays some of the melancholia of his previous work, "Portal Nou", which is Spanish for 'new gateway', is lighter and appropriately buoyant. Coming after the widely critically acclaimed and characteristically dark second album, "Underbelly", the new record offers a more optimistic outlook and brings with it elements of humour and a playfulness. Somewhat of a departure for Barnes, the album is also the first to include songs for which he has written lyrics ("All That's Real", "Dreams & Hopes"), alongside a body of instrumental tracks. It also features an impressive array of guest lyricists and vocalists, many with whom he is a long-term collaborator, including Beth Orton, Gavin Clark (Sunhouse / Clayhill / Unkle), Francoiz Breut (Calexico / Yan Tierson), Dan Michaelson (Absentee) and Kathryn Williams. Restrained yet incredibly powerful, Barnes treats the voice as another instrument rather than the overriding force of a song, and manages to create a hypnotic and absorbing continuity throughout the album.

                                                    The Basement

                                                    I Just Caught A Face

                                                    They've been a bit quiet for a couple of years, but now, The Basement return with the first taster from their long overdue debut album, "Illicit Hugs And Playground Thugs". "I Just Caught A Face" is a great Byrds-ish jangler, with hooks a plenty. A great return.

                                                    FORMAT INFORMATION

                                                    CDS Info: The CD single includes "Close The Door", "Say Goodbye Tonight" and the video for "I Just Caught A Face".

                                                    The Bats (US)

                                                    Popgun / Tell Me Why

                                                      “That THE BATS came from that era and didn’t suck is an amazing fact du jour. And, for the record, these Bats came and went long before the like-named New Zealand group even formed (and then fluttered into their own cave of obscurity). The Bats from New Haven, CT comprised three songwriters and this near perfect single that melded New Wave, Ventures noodling, well-meaning but misplaced prog and, best of all, catchy, beautiful pop. What's on the vinyl is well-crafted, if youthful power pop. This group is only a trio, and from their looks quite young but manages to project a full, powerful sound. Though on a small label the sound is crisp and professional. To those who wake up every morning to well worn copies of the Raspberries' "Go All the Way," this one's for you.”—Billboard October 2, 1982.

                                                      The Beach Boys

                                                      Beach Boys Party! / Stack-O-Tracks

                                                      In between all the dated crap are some amazing songs and seeing as there are 30 tracks on this you can't fail to find some brilliant moments (including 3 covers of Beatles tracks--funny that the Beatles never covered any of their songs).

                                                      The Beach Boys

                                                      Pet Sounds - 50th Anniversary Mono Edition

                                                        The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."

                                                        FORMAT INFORMATION

                                                        LP Info: Remastered 180-gram LP edition of the album in mono with faithfully replicated original artwork.

                                                        The Beach Boys

                                                        Pet Sounds - 50th Anniversary Stereo Edition

                                                          The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."

                                                          FORMAT INFORMATION

                                                          LP Info: Remastered 180-gram LP edition of the album in stereo with faithfully replicated original artwork.

                                                          The Beach Boys

                                                          Smiley Smile / Wild Honey

                                                          This is probably the best Beach Boys title to put alongside "Surf's Up" and "Pet Sounds" in your collection. Great remastered sound and all time classic tracks like "Good Vibrations" and "Darlin'".

                                                          The Beach Boys

                                                          Hits Of The Beach Boys

                                                          Ten hits for £5.99 from the surf-bums best mates the Beach Boys. Songs of sun, surf, Californian girls and fun, fun, fun.

                                                          Double LP gold here, The Beastie Boys finest fifteen tracks throughout their incredible career. This record features some of the best tunes such as ‘Fight For Your Right’ and ‘An Open Letter to NYC’ but is filled to the brim with all the best of beasties. The Beasties consistent 'triple trouble' MC style is the thread that runs through each track here, creating cohesion to this whole LP, which presents us with a great overview of their career so far.

                                                          The Beasts

                                                          Still Here

                                                            After an extremely emotional final performance with the Beasts of Bourbon, Tex Perkins hit upon the idea of getting all of the band's members, past and present into a recording studio with no particular agenda other than to do just that. It was more of a celebratory thing he had in mind than anything. Sadly, bassist Brian Hooper didn't make it along as he passed away a week after the Beasts last show. Assembled in Soundpark Studio a couple of weeks later were Charlie Owen, Boris Sujdovic, Tony Pola, Spencer Jones, Kim Salmon and Tex Perkins. Deeply sad is that Spencer was only around long enough to make it onto one track. Absolutely wonderful is that he did make it onto the recording. And with such a funny and typically Jones style piece of observation as At The Hospital. With respect, this isn't the Beasts of Bourbon. It would need to have Jonesy on every track to be that! But loudly and proudly this is: The Beasts Still Here. 

                                                            The Beat Broker

                                                            Extended Away

                                                            The Beat Broker has been a crucial character of the Sentrall story since its inception. As one of the most consistent producers on the label, his voice in Sentrall’s sound is unmistakable: flittering stacks of echoing synths and that undeniable low-and-slow chug. The Beat Broker returns with a pair of super slow burners that conjure up images of endless summer rooftop parties in the haze of the sweltering heat. The 85bpm title track is an archetypal pacifica slow-burner - the soundtrack to your life in slow motion, when everything is right with the world, the smiles are eternal and you feel like you’re in a movie montage. On the flip, get lifted with the balmy 101bpm head-nodder "New Aged". The warmth of the melody envelops you as you bounce along with the kick, Pacific waves lapping against our ankles as we play joyfully in the ocean.

                                                            The Beat Escape

                                                            Life Is Short The Answer's Long

                                                              Long before they were a band, Montreal duo The Beat Escape took a small first step towards a longer journey at a university video class. “We made a short oddball work; a video piece that followed two characters through a psychedelic waking dream,” say Beat Escapists Addy Weitzman and Patrick A Boivin of their founding collaboration. Many other projects and outside collaborations later, the duo have crafted a debut album their younger selves would be proud of: Released through Bella Union, the sublimely immersive ‘Life Is Short The Answer’s Long’ plays like a waking dream of near-psychedelic electronic pop, moving to its own beat in the push-pull of forward motion and submerged reflection.

                                                              That sense of propulsion ushers opener ‘Sign Of Age’ into rising view, its sparse drums, hypnotic sequence and melancholic chords resembling house music as reimagined by Angelo Badalamenti. The enveloping mood holds as ‘Moon In Aquarius’ unfurls like a nighttime road ahead, ghosted by narcotic harmonies. ‘Limestone Alps’ lingers meditatively, hymnal vocals reverberating. ‘Where Water Ends’ and ‘More Dreams’, meanwhile, navigate the porous boundary lines between Krautrock, Factory Records and obscure minimal wave records of the 80s.

                                                              STAFF COMMENTS

                                                              Barry says: Superb throbbing pseudo-synthery from The Beat Escape, Bella Union's answer to Pye corner Audio mix swooning pads and soaring vocal abstractions around a dynamic core of weighted percussion, flickering arpeggios and spine-tingling euphoric leads.

                                                              FORMAT INFORMATION

                                                              LP includes MP3 Download Code.

                                                              The Beatles

                                                              1962-1966

                                                                The Beatles 'Red Album' is a compilation of songs from 1962-1966, including all the A-sides of the singles from that period. Re-mastered at Abbey Road and pressed on 180g heavyweight vinyl.

                                                                The Beatles

                                                                A Hard Days Night - Enhanced Edition

                                                                  The biggest band in rock history sees their original catalogue digitally remastered for the first time with improved packaging, including extra rare photographs, expanded and new essays and all enhanced with a video mini-documentary on the making of each album in the Beatles own words.


                                                                  1. A Hard Day's Night
                                                                  2. I Should Have Known Better
                                                                  3. If I Fell
                                                                  4. I'm Happy Just To Dance With You
                                                                  5. And I Love Her
                                                                  6. Tell Me Why
                                                                  7. Can't Buy Me Love
                                                                  8. Any Time At All
                                                                  9. I'll Cry Instead
                                                                  10. Things We Said Today
                                                                  11. When I Get Home
                                                                  12. You Can't Do That
                                                                  13. I'll Be Back
                                                                  14. A Hard Day's Night Documentary

                                                                  The Beatles

                                                                  Abbey Road - 50th Anniversary Box Set Editions

                                                                    London – August 8, 2019 – It was 50 years ago today, on August 8, 1969, that the world’s most famous band stepped out from London’s EMI Recording Studios to stride, single-file, across the black and white stripes of Abbey Road’s nearby zebra crossing. With photographer Iain Macmillan balanced on a stepladder and one policeman stopping the street’s light traffic, The Beatles crossed back and forth three times, led by John Lennon, followed by Ringo Starr, Paul McCartney, and George Harrison. Just six photos were taken, with the fifth selected as the cover shot for The Beatles’ penultimate studio album, Abbey Road, named after the tree-lined street in which the studios are located. Released September 26, 1969, Abbey Road was not The Beatles’ final album, as Let It Be followed in 1970, but it was the last one John, Paul, George, and Ringo recorded together as a band. The Beatles will celebrate Abbey Road’s anniversary with a suite of beautifully presented packages to be released worldwide on September 27 by Apple Corps Ltd./Capitol/UMe. Now available for preorder, the album’s 17 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo, high res stereo, 5.1 surround, and Dolby Atmos, accompanied by 23 session recordings and demos, most of which are previously unreleased.

                                                                    “The Beatles recording journey had gone through many twists and turns, learning curves and thrilling rides. Here we were – still wondering at the magic of it all,” McCartney recalls in his written foreword for Abbey Road’s anniversary edition packages.

                                                                    This is the first time Abbey Road has been remixed and presented with additional session recordings and demos. The album’s sweeping new edition follows the universally acclaimed remixed and expanded anniversary editions of Sgt. Pepper’s Lonely Hearts Club Band and The BEATLES (‘White Album’) released in 2017 and 2018, respectively. To create Abbey Road’s new stereo, 5.1 surround, and Dolby Atmos mixes, Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios. All the new Abbey Road releases feature the new stereo album mix, sourced directly from the original eight-track session tapes. To produce the mix, Giles was guided by the album’s original stereo mix supervised by his father, George Martin.

                                                                    “The magic comes from the hands playing the instruments, the blend of The Beatles’ voices, the beauty of the arrangements,” Giles Martin explains in his written introduction for the new edition. “Our quest is simply to ensure everything sounds as fresh and hits you as hard as it would have on the day it was recorded.”

                                                                    Abbey Road’s Super Deluxe box set presents 40 tracks – including “The Long One” Trial Edit & Mix for the album’s epic Side 2 medley – on three CDs (stereo) and one Blu-ray disc (Dolby Atmos, 96kHz/24 bit high resolution stereo, and 96 kHz/24 bit DTS-HD Master Audio 5.1). The four discs are housed in a slip-sleeved 12” by 12” 100-page hardbound book with McCartney’s foreword; Martin’s introduction; insightful, in-depth chapters written by Beatles historian, author, and radio producer Kevin Howlett covering the months preceding The Beatles’ Abbey Road sessions, track-by-track details and session notes, the cover art and photo shoot, and the album’s reception upon its release; plus an essay by music journalist and author David Hepworth looking at the album’s influence through 50 years. The gorgeous book is illustrated with rare and previously unpublished photographs, including many taken by Linda McCartney; never before published images of handwritten lyrics, sketches, and a George Martin score; Beatles correspondence, recording sheets, and tape boxes; and reproduced original print ads. The Super Deluxe digital audio collection presents all 40 tracks for download purchase and streaming in standard and MFiT formats, as well as in high resolution audio (96kHz/24 bit) for download.

                                                                    Abbey Road’s limited edition Deluxe vinyl box set features all 40 tracks from the Super Deluxe collection on three 180-gram vinyl LPs. The album’s new stereo mix LP is packaged in a faithfully replicated sleeve, with the two Sessions LPs paired in their own jacket, presented with a four-page insert in a lift-top box. 

                                                                    Abbey Road’s Super Deluxe and Deluxe vinyl box sets’ 23 session and demo recordings are presented in chronological order of their first recording dates. “I Want You (She’s So Heavy)” leads the charge:

                                                                    For an overnight session on February 22, 1969, The Beatles were joined at London’s Trident Studios by producer George Martin and engineer Glyn Johns to record “I Want You (She’s So Heavy).” Abbey Road’s new edition combines a take from that session with the concluding part of the Trident master’s eight-track reduction mix made later at the EMI studios, revealing for the first time Billy Preston’s thrilling overdubbed organ solo. With their amps turned up high, The Beatles received a noise complaint from one of the studio’s neighbors in the Soho area of the city. The take starts with Lennon exclaiming, “My boys are ready to go!,” before the band is told about the complaint. Lennon replies, “What are they doing here at this time of night?,” then lays it down: “Well, we’ll try it once more very loud. And then if we don’t get it, we’ll try it quiet, like it might do it the other way. OK. The loud one, last go. Last chance to be loud!”

                                                                    In the same month that the raucous Trident session took place, McCartney recorded a home demo of “Goodbye” for the Apple-signed singer Mary Hopkin and Harrison recorded a solo demo of “Something” at EMI Recording Studios. Both demos are featured on Abbey Road’s new edition. “Goodbye” makes its release debut. Although previously released on Anthology 3 in a version featuring guitar and vocal, the new anniversary mix of George’s “Something” demo features for the first time vocal, guitar and piano.

                                                                    The Beatles reconvened at EMI’s studios and Olympic Sound Studios for sessions spanning mid-April to early May. On April 14, Lennon and McCartney recorded the single “The Ballad Of John And Yoko” in EMI’s Studio Three, with Geoff Emerick as the balance engineer. Two days later, the single’s B-side, “Old Brown Shoe” was recorded. Session recordings for these tracks, as well as three more songs started during this period, “Oh! Darling,” “Octopus’s Garden,” and “You Never Give Me Your Money,” are featured in Abbey Road’s anniversary edition.

                                                                    The remainder of Abbey Road’s sessions took place in July and in August with George Martin producing, and with principal engineers Geoff Emerick and Phil McDonald taking turns at EMI’s groundbreaking new mixing console, the TG12345. On July 2, 3, and 4, McCartney, Harrison, and Starr recorded “Golden Slumbers”/“Carry That Weight” as a medley (Lennon was hospitalized in Scotland, recuperating after a car accident). A sequence of Takes 1-3 from the first day’s session is featured in the anniversary edition. Take 9 from McCartney, Harrison, and Starr’s backing track session for “Here Comes The Sun” on Starr’s July 7 birthday is also included.

                                                                    On July 21, 22, and 23, The Beatles were in-studio to record “Come Together,” followed by additional sessions on July 25, 29, and 30. The anniversary edition features Take 5. On July 23, The Beatles began recording “The End,” which, along with McCartney’s timeless couplet – “And in the end, the love you take / Is equal to the love you make” – features Starr’s only drum solo on a Beatles recording. Take 3 is included in Abbey Road’s new edition. The next day, just before the band’s 34-take session for “Sun King” and “Mean Mr Mustard,” McCartney cut a quick studio demo for “Come And Get It” – later a hit for the Apple-signed band Badfinger. The demo’s original 1969 stereo mix, made with McCartney and Lennon present in the control room, is released for the first time in the new edition, as is Take 20 from The Beatles’ “Sun King” and “Mean Mr Mustard” session. On July 25, two more songs, “Polythene Pam” and “She Came In Through The Bathroom Window,” were recorded as one for inclusion in the album’s epic medley. Take 27 from that session is featured on the new edition.

                                                                    After Harrison had transported his rare and cumbersome Moog synthesizer to the studios, four songs received Beatle-played synthesizer parts: “I Want You (She’s So Heavy)” (Lennon), “Maxwell’s Silver Hammer” (McCartney), and “Here Comes The Sun” and “Because” (Harrison). This was a very early use of the newly-invented instrument on a pop record. George Martin wrote arrangements for several tracks that were recorded in Studio One toward the end of the sessions in August 1969. The original overdubbed recordings of Martin’s scores for “Something” and “Golden Slumbers”/“Carry That Weight” are included in Abbey Road’s anniversary edition.

                                                                    August 20, 1969 was the last time The Beatles were together as a band at the EMI studios, for an evening session to compile Abbey Road’s master tapes. The album’s sides were sequenced, with “Come Together” opening Side 1, and with the medley of “You Never Give Me Your Money,” “Sun King,” “Mean Mr Mustard,” “Polythene Pam,” “She Came In Through The Bathroom Window,” “Golden Slumbers,” “Carry That Weight,” and “The End” placed on Side 2. “The Long One,” a different trial edit and mix of the medley, including “Her Majesty” (ultimately placed 14 seconds after “The End” as an unlisted, hidden track) is included in Abbey Road’s new edition.

                                                                    A few weeks before Abbey Road’s release on September 26, 1969, Apple’s press officer Derek Taylor revealed that the album was “recorded at nice, workmanlike sessions which usually began at 2pm and continued until the end of the evening.” Millions of Abbey Road LPs were pressed at manufacturing plants around the world. The album was another blockbuster release for The Beatles, holding the No. 1 spot on the U.K. albums chart for a total of 17 weeks and topping Billboard’s U.S. albums chart for 11 weeks. For their work on Abbey Road, Geoff Emerick and Phil McDonald won the year’s GRAMMY Award® for Best Engineered Recording, Non-Classical. In 1995, Abbey Road was inducted into the Recording Academy’s GRAMMY Hall of Fame, recognizing “recordings of lasting qualitative or historical significance.” The Beatles’ best-selling studio album, Abbey Road’s universal popularity and influence have continued to grow since its debut.

                                                                    Since Abbey Road’s release, the street’s zebra crossing has been one of the most celebrated and photographed sites in the world, protected as an historic landmark and visited by thousands of Beatles fans each year. Due to the success of The Beatles’ album, EMI Recording Studios was renamed Abbey Road Studios. Owned and operated by Universal Music Group, Abbey Road Studios is the most famous recording studio in the world and a global music icon.


                                                                    FORMAT INFORMATION

                                                                    Ltd Box Set Info: Super deluxe 3CD+1Blu-ray set; digital audio collection.

                                                                    3xLP Box Set Info: Triple deluxe vinyl box set.

                                                                    The Beatles

                                                                    Abbey Road - 50th Anniversary Edition

                                                                      London – August 8, 2019 – It was 50 years ago today, on August 8, 1969, that the world’s most famous band stepped out from London’s EMI Recording Studios to stride, single-file, across the black and white stripes of Abbey Road’s nearby zebra crossing. With photographer Iain Macmillan balanced on a stepladder and one policeman stopping the street’s light traffic, The Beatles crossed back and forth three times, led by John Lennon, followed by Ringo Starr, Paul McCartney, and George Harrison. Just six photos were taken, with the fifth selected as the cover shot for The Beatles’ penultimate studio album, Abbey Road, named after the tree-lined street in which the studios are located. Released September 26, 1969, Abbey Road was not The Beatles’ final album, as Let It Be followed in 1970, but it was the last one John, Paul, George, and Ringo recorded together as a band. The Beatles will celebrate Abbey Road’s anniversary with a suite of beautifully presented packages to be released worldwide on September 27 by Apple Corps Ltd./Capitol/UMe.

                                                                      This is the first time Abbey Road has been remixed and presented with additional session recordings and demos. The album’s sweeping new edition follows the universally acclaimed remixed and expanded anniversary editions of Sgt. Pepper’s Lonely Hearts Club Band and The BEATLES (‘White Album’) released in 2017 and 2018, respectively. To create Abbey Road’s new stereo, 5.1 surround, and Dolby Atmos mixes, Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios. All the new Abbey Road releases feature the new stereo album mix, sourced directly from the original eight-track session tapes. To produce the mix, Giles was guided by the album’s original stereo mix supervised by his father, George Martin.

                                                                      “The magic comes from the hands playing the instruments, the blend of The Beatles’ voices, the beauty of the arrangements,” Giles Martin explains in his written introduction for the new edition. “Our quest is simply to ensure everything sounds as fresh and hits you as hard as it would have on the day it was recorded.”


                                                                      FORMAT INFORMATION

                                                                      Picture Disc Info: Ultra limited picture disc edition.

                                                                      2xDeluxe CD Info: The Deluxe 2CD set pairs the new stereo mix with versions taken from the session takes and demo recordings of its 17 songs, sequenced to match the album’s running order. The two discs are presented in a digipak with a 40-page booklet abridged from the Super Deluxe book.

                                                                      The Beatles

                                                                      Beatles For Sale - Enhanced Edition

                                                                        The biggest band in rock history sees their original catalogue digitally remastered for the first time with improved packaging, including extra rare photographs, expanded and new essays and all enhanced with a video mini-documentary on the making of each album in the Beatles own words.

                                                                        Tracklisting
                                                                        1. No Reply
                                                                        2. I'm A Loser
                                                                        3. Baby's In Black
                                                                        4. Rock And Roll Music
                                                                        5. I'll Follow The Sun
                                                                        6. Mr Moonlight
                                                                        7. Kansas City/Hey-Hey-Hey-Hey
                                                                        8. Eight Days A Week
                                                                        9. Words Of Love
                                                                        10. Honey Don't
                                                                        11. Every Little Thing
                                                                        12. I Don't Want To Spoil The Party
                                                                        13. What You're Doing
                                                                        14. Everybody's Trying To Be My Baby
                                                                        15. Beatles For Sale Documentary

                                                                        The last of The Beatles be-suited, writing-to-order, perfect pop albums, this was a brilliant collection of songs from the film Help!, and other newies, that includes the superb "Ticket To Ride", "Yesterday" and of course, the title track itself. Albums in this era, up until about 1965, were simply collections of songs that could have been singles; there was no real concept of 'the album as a statement', as a piece of art in its own right. This was just pop music: short, simple, catchy, and in the case of The Beatles, brilliant!

                                                                        The Beatles

                                                                        Help! - Enhanced Edition

                                                                          The last of The Beatles be-suited, writing-to-order, perfect pop albums, this was a brilliant collection of songs from the film Help!, and other newies, that includes the superb "Ticket To Ride", "Yesterday" and of course, the title track itself. Albums in this era, up until about 1965, were simply collections of songs that could have been singles; there was no real concept of 'the album as a statement', as a piece of art in its own right. This was just pop music: short, simple, catchy, and in the case of The Beatles, brilliant!

                                                                          Tracklisting
                                                                          1. Help!
                                                                          2. The Night Before
                                                                          3. You've Got To Hide Your Love Away
                                                                          4. I Need You
                                                                          5. Another Girl
                                                                          6. You're Going To Lose That Girl
                                                                          7. Ticket To Ride
                                                                          8. Act Naturally
                                                                          9. It's Only Love
                                                                          10. You Like Me Too Much
                                                                          11. Tell Me What You See
                                                                          12. I've Just Seen A Face
                                                                          13. Yesterday
                                                                          14. Dizzy Miss Lizzy
                                                                          15. Help! Documentary

                                                                          FORMAT INFORMATION

                                                                          CD Info: The biggest band in rock history sees their original catalogue digitally remastered for the first time with improved packaging, including extra rare photographs, expanded and new essays and all enhanced with a video mini-documentary on the making of each album in the Beatles own words.

                                                                          The Beatles

                                                                          Help! - Vinyl Edition

                                                                            Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

                                                                            The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

                                                                            Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

                                                                            In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

                                                                            For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

                                                                            There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

                                                                            The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

                                                                            A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

                                                                            The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

                                                                            Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

                                                                            The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

                                                                            An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

                                                                            Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

                                                                            The Beatles

                                                                            Let It Be - Vinyl Edition

                                                                              Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

                                                                              The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

                                                                              Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

                                                                              In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

                                                                              For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

                                                                              There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

                                                                              The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

                                                                              A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

                                                                              The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

                                                                              Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

                                                                              The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

                                                                              An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

                                                                              Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

                                                                              The Beatles

                                                                              Love

                                                                                LOVE, is a fascinating reworking of numerous classic Beatles recordings by the band's original producer, Sir George Martin and his son Giles. LOVE, is also the title of the highly successful Cirque du Soleil show, a co-production with Apple Corps, featuring the music of The Beatles, currently wowing audiences in Las Vegas. In creating the music for the show and for the album, George and Giles have created a continuous "soundscape" - a series of well-known Beatles songs augmented by additional instrumentation and vocals taken from their vast bank of original multi-track tapes.

                                                                                Re-mastered at Abbey Road and pressed on 180g heavyweight vinyl.

                                                                                The Beatles

                                                                                Magical Mystery Tour - Vinyl Edition

                                                                                  Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

                                                                                  The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

                                                                                  Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

                                                                                  In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

                                                                                  For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

                                                                                  There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

                                                                                  The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

                                                                                  A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

                                                                                  The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

                                                                                  Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

                                                                                  The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

                                                                                  An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

                                                                                  Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

                                                                                  The Beatles

                                                                                  Past Masters (Volumes 1 & 2) - Vinyl Edition

                                                                                    Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

                                                                                    The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

                                                                                    Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

                                                                                    In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

                                                                                    For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

                                                                                    There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

                                                                                    The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

                                                                                    A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

                                                                                    The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

                                                                                    Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

                                                                                    The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

                                                                                    An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

                                                                                    Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

                                                                                    The Beatles

                                                                                    Please Please Me - Enhanced Edition

                                                                                      The biggest band in rock history sees their original catalogue digitally remastered for the first time with improved packaging, including extra rare photographs, expanded and new essays and all enhanced with a video mini-documentary on the making of each album in the Beatles own words.

                                                                                      Tracklisting
                                                                                      1. I Saw Her Standing There
                                                                                      2. Misery
                                                                                      3. Anna (Go To Him)
                                                                                      4. Chains
                                                                                      5. Boys
                                                                                      6. Ask Me Why
                                                                                      7. Please Please Me
                                                                                      8. Love Me Do
                                                                                      9. P.S. I Love You
                                                                                      10. Baby It's You
                                                                                      11. Do You Want To Know A Secret
                                                                                      12. A Taste Of Honey
                                                                                      13. There's A Place
                                                                                      14. Twist And Shout
                                                                                      15. Please Please Me Documentary

                                                                                      The Beatles

                                                                                      Please Please Me - Vinyl Edition

                                                                                        Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

                                                                                        The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

                                                                                        Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

                                                                                        In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

                                                                                        For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

                                                                                        There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

                                                                                        The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

                                                                                        A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

                                                                                        The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

                                                                                        Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

                                                                                        The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

                                                                                        An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

                                                                                        Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

                                                                                        The Beatles

                                                                                        Revolver - Vinyl Edition

                                                                                          Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

                                                                                          The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

                                                                                          Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

                                                                                          In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

                                                                                          For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

                                                                                          There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

                                                                                          The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

                                                                                          A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

                                                                                          The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

                                                                                          Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

                                                                                          The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

                                                                                          An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

                                                                                          Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

                                                                                          STAFF COMMENTS

                                                                                          Andy says: Revolver was the album where The Beatles completed their transition from teeny-bop heart-throbs to proper counter-cultural artists, but if you think that sounds pompous, fear not! This record does feature the psychedelic mind warp of Tomorrow Never Knows but it also has Here There and Everywhere, Eleanor Rigby, Taxman, Got to get You into My Life and on and on and on. In short it's still a pop record, full of amazing tunes. John Lennon's I'm Only Sleeping is one of his most beautiful and bizarrely overlooked songs and that's on here too!

                                                                                          The suits had gone, the hair was longer, more pot had been smoked, and Bob Dylan been taken note of. This was The Beatles first album as a whole entity, ish!, it's no "Sgt. Pepper's" or "Abbey Road". It's weightier, maybe slightly slower, there's more bottom end and it's certainly more thoughtful. As ever, The Beatles had the best tunes and "Norwegian Wood", "Drive My Car", "Michelle", "Nowhere Man" and "In My Life" (often described as one of their greatest moments) are testament to that.

                                                                                          The Beatles

                                                                                          Rubber Soul - Enhanced Edition

                                                                                            The suits had gone, the hair was longer, more pot had been smoked, and Bob Dylan been taken note of. This was The Beatles first album as a whole entity, ish!, it's no "Sgt. Pepper's" or "Abbey Road". It's weightier, maybe slightly slower, there's more bottom end and it's certainly more thoughtful. As ever, The Beatles had the best tunes and "Norwegian Wood", "Drive My Car", "Michelle", "Nowhere Man" and "In My Life" (often described as one of their greatest moments) are testament to that.

                                                                                            Tracklisting
                                                                                            1. Drive My Car
                                                                                            2. Norwegian Wood (This Bird Has Flown)
                                                                                            3. You Won't See Me
                                                                                            4. Nowhere Man
                                                                                            5. Think For Yourself
                                                                                            6. The Word
                                                                                            7. Michelle
                                                                                            8. What Goes On
                                                                                            9. Girl
                                                                                            10. I'm Looking Through You
                                                                                            11. In My Life
                                                                                            12. Wait
                                                                                            13. If I Needed Someone
                                                                                            14. Run For Your Life
                                                                                            15. Rubber Soul Documentary

                                                                                            FORMAT INFORMATION

                                                                                            CD Info: The biggest band in rock history sees their original catalogue digitally remastered for the first time with improved packaging, including extra rare photographs, expanded and new essays and all enhanced with a video mini-documentary on the making of each album in the Beatles own words.

                                                                                            The Beatles

                                                                                            Rubber Soul - Vinyl Edition

                                                                                              Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

                                                                                              The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

                                                                                              Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

                                                                                              In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

                                                                                              For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

                                                                                              There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

                                                                                              The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

                                                                                              A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

                                                                                              The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

                                                                                              Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

                                                                                              The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

                                                                                              An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

                                                                                              Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

                                                                                              The Beatles

                                                                                              Sgt Pepper's Lonely Hearts Club Band - Enhanced Edition

                                                                                                After playing their last ever live concert in Candlestick Park, August 1966, The Beatles spent the next year in the studio (unheard of for a pop group), and came out with "Sgt Pepper's Lonely Hearts Club Band". What can you say about "Sgt. Pepper's" that hasn't already been said? It was the first ever sit down and listen CONCEPT ALBUM! A song-suite that beautifully flows. The first album where songwriters were to be considered alongside classical composers? 1967; and something most definitely was in the air. Everything went multicoloured and psychedelicized! And The Beatles made a gorgeous pop record that you could still play to your gran! It's easy to forget now, after 40 odd years of 'Best Album Ever' gongs and endless platitudes, just how groundbreaking this set was at the time - it's become a bit '"Sgt Pepper's" blah blah blah, yeah, know all about that'. But coming back to the album afresh, it still sounds amazing, especially final track "A Day In The Life", which is still totally astonishing. It's the perfect blend of John and Paul.

                                                                                                Tracklisting
                                                                                                1. Sgt Pepper's Lonely Hearts Club Band
                                                                                                2. With A Little Help From My Friends
                                                                                                3. Lucy In The Sky With Diamonds
                                                                                                4. Getting Better
                                                                                                5. Fixing A Hole
                                                                                                6. She's Leaving Home
                                                                                                7. Being For The Benefit Of Mr Kite!
                                                                                                8. Within You Without You
                                                                                                9. When I'm Sixty Four
                                                                                                10. Lovely Rita
                                                                                                11. Good Morning Good Morning
                                                                                                12. Sgt Pepper's Lonely Hearts Club Band (Reprise)
                                                                                                13. A Day In The Life
                                                                                                14. Sgt. Pepper's Lonely Hearts Club Band Documentary

                                                                                                FORMAT INFORMATION

                                                                                                CD Info: The biggest band in rock history sees their original catalogue digitally remastered for the first time with improved packaging, including extra rare photographs, expanded and new essays and all enhanced with a video mini-documentary on the making of each album in the Beatles own words.

                                                                                                The Beatles

                                                                                                Sgt. Pepper's Lonely Hearts Club Band - 2017 Stereo Mix

                                                                                                  Produced by Giles Martin for this year’s universally heralded ‘Sgt. Pepper’ Anniversary Edition releases, the album’s new stereo mix was sourced directly from the original four-track session tapes and guided by the original, Beatles-preferred mono mix produced by Giles’ father, George Martin. Praised by fans and music critics around the world, The Beatles’ ‘Sgt. Pepper’ Anniversary Edition is 2017’s most celebrated historical music release and an ideal gift for Beatle People here, there, and everywhere.

                                                                                                  FORMAT INFORMATION

                                                                                                  LP Info: 180 gram black vinyl edition.

                                                                                                  London – April 5, 2017 – It was 50 years ago this June 1st when The Beatles’ John Lennon, Paul McCartney, George Harrison, and Ringo Starr astonished and delighted the world, ushering in the Summer of Love with Sgt. Pepper’s Lonely Hearts Club Band, a groundbreaking masterwork that became popular music’s most universally acclaimed album. To salute the occasion, The Beatles release a suite of lavishly presented ‘Sgt. Pepper’ Anniversary Edition packages. The album is newly mixed by Giles Martin and Sam Okell in stereo and 5.1 surround audio and expanded with early takes from the studio sessions, including no fewer than 34 previously unreleased recordings.

                                                                                                  “It’s crazy to think that 50 years later we are looking back on this project with such fondness and a little bit of amazement at how four guys, a great producer and his engineers could make such a lasting piece of art,” says Paul McCartney in his newly-penned introduction for the ‘Sgt. Pepper’ Anniversary Edition.

                                                                                                  “‘Sgt. Pepper’ seemed to capture the mood of that year, and it also allowed a lot of other people to kick off from there and to really go for it,” Ringo Starr recalls in the Anniversary Edition’s book.

                                                                                                  This is the first time Sgt. Pepper’s Lonely Hearts Club Band has been remixed and presented with additional session recordings, and it is the first Beatles album to be remixed and expanded since the 2003 release of Let It Be… Naked. To create the new stereo and 5.1 surround audio mixes for ‘Sgt. Pepper,’ producer Giles Martin and mix engineer Sam Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. All of the Anniversary Edition releases include Martin’s new stereo mix of the album, which was sourced directly from the original four-track session tapes and guided by the original, Beatles-preferred mono mix produced by his father, George Martin.


                                                                                                  FORMAT INFORMATION

                                                                                                  2xDeluxe CD Info: Expanded 2CD and digital package features the new stereo album mix on the first CD and adds a second CD of 18 tracks, including previously unreleased complete takes of the album’s 13 songs, newly mixed in stereo and sequenced in the same order as the album. The second CD also includes a new stereo mix and a previously unreleased instrumental take of “Penny Lane” and the 2015 stereo mix and two previously unreleased complete takes of “Strawberry Fields Forever.”

                                                                                                  CD Info: Standard CD featuring the new ‘Sgt. Pepper’ stereo mix, complete with the original U.K. album’s “Edit for LP End” run-out groove.

                                                                                                  The Beatles

                                                                                                  The Singles Collection

                                                                                                    From 1962 to 1970, The Beatles released 22 UK singles; of those 44 A and B-side tracks, 29 were not included on the group’s British albums at that time. These singles, plus an exclusive new double A-side single for the mid-1990s-issued tracks “Free As A Bird” and “Real Love,” are newly cut for vinyl from their original mono and stereo master tapes by Sean Magee at Abbey Road Studios for a new limited edition boxed set. The Beatles: The Singles Collection presents 46 tracks on 23 180-gram seven-inch vinyl singles in faithfully reproduced international picture sleeves, accompanied by a 40-page booklet with photos, ephemera, and detailed essays by Beatles historian Kevin Howlett. The collectible set will be released worldwide on November 22 by Apple Corps Ltd./Capitol/UMe.

                                                                                                    The Singles Collection offers a fascinating view of the creative trajectory of The Beatles’ John Lennon, Paul McCartney, George Harrison, and Ringo Starr across their relatively brief recording tenure together. Just three and a half years divide 1963’s “She Loves You” and 1967’s “Strawberry Fields Forever,” a remarkable, illustrative example of the band’s rapid, groundbreaking evolution. From the band’s star-making 1962 debut single, “Love Me Do” with its B-side “P.S. I Love You,” to their 1970 finale of “Let It Be” / “You Know My Name (Look Up The Number),” the new collection underscores The Beatles’ breathtaking creative arc.

                                                                                                    Because it was rare in the 1960s for UK singles to be released in picture sleeves, the collection’s seven-inches are presented in reproduced picture sleeves from their original releases in several countries around the world, including Argentina, Australia, Austria, Belgium, Chile, Denmark, France, Greece, Holland, Israel, Italy, Japan, Mexico, Norway, Portugal, South Africa, Spain, Sweden, Turkey, UK, USA, and West Germany.

                                                                                                    The Singles Collection follows the September 27 release of The Beatles’ Abbey Road album in a suite of Anniversary Edition packages. The acclaimed new edition’s Super Deluxe set features new stereo, 5.1 surround, and Dolby Atmos mixes by producer Giles Martin and mix engineer Sam Okell, plus 23 session and demo recordings, most of which were previously unreleased. Abbey Road’s Anniversary Edition releases returned the iconic album to the top of charts around the world. In the UK, Abbey Road reclaimed the No. 1 position on the official albums chart after 49 years and 252 days, breaking The Beatles’ own Guinness World Record previously held by Sgt. Pepper’s Lonely Hearts Club Band, which revisited the chart’s No. 1 spot in June 2017 with its celebrated Anniversary Edition after 49 years and 125 days.


                                                                                                    FORMAT INFORMATION

                                                                                                    7" Box Set Info: 23 180-gram vinyl singles in faithfully reproduced international picture sleeves, exclusive new double A-side single for “Free As A Bird” and “Real Love,” plus 39-page book.

                                                                                                    FREE SHIPPING This item has FREE UK shipping!

                                                                                                    The Beatles

                                                                                                    White Album (Stereo 50th Anniversary Reissue)

                                                                                                    In November 1968, millions of double LPs were shipped to record stores worldwide ahead of that tumultuous year’s most anticipated music event: the November 22nd release of The BEATLES (soon to be better known as ‘The White Album’). With their ninth studio album, The Beatles took the world on a whole new trip, side one blasting off with the exhilarating rush of a screaming jet escorting Paul McCartney’s punchy, exuberant vocals on “Back In The U.S.S.R.” “Dear Prudence” came next, John Lennon warmly beckoning his friend and all of us to “look around.” George Harrison imparted timeless wisdom in “While My Guitar Gently Weeps,” singing, “With every mistake we must surely be learning.” Ringo Starr’s “Don’t Pass Me By” marked his first solo songwriting credit on a Beatles album. For 50 years, ‘The White Album’ has invited its listeners to venture forth and explore the breadth and ambition of its music, delighting and inspiring each new generation in turn.

                                                                                                    For it’s 50th anniversary, The Beatles release a suite of lavishly presented ‘White Album’ packages. The album’s 30 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo and 5.1 surround audio, joined by 27 early acoustic demos and 50 session takes, most of which are previously unreleased in any form.

                                                                                                    “We had left Sgt. Pepper’s band to play in his sunny Elysian Fields and were now striding out in new directions without a map,” says Paul McCartney in his written introduction for the new ‘White Album’ releases.

                                                                                                    This is the first time The BEATLES (‘White Album’) has been remixed and presented with additional demos and session recordings. The album’s sweeping new edition follows 2017’s universally acclaimed Sgt. Pepper’s Lonely Hearts Club Band Anniversary Edition releases. To create the new stereo and 5.1 surround audio mixes for ‘The White Album,’ Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. All the new ‘White Album’ releases include Martin’s new stereo album mix, sourced directly from the original four-track and eight-track session tapes. Martin’s new mix is guided by the album’s original stereo mix produced by his father, George Martin.

                                                                                                    “In remixing ‘The White Album,’ we’ve tried to bring you as close as possible to The Beatles in the studio,” explains Giles Martin in his written introduction for the new edition. “We’ve peeled back the layers of the ‘Glass Onion’ with the hope of immersing old and new listeners into one of the most diverse and inspiring albums ever made.”

                                                                                                    The minimalist artwork for ‘The White Album’ was created by artist Richard Hamilton, one of Britain’s leading figures in the creation and rise of pop art. The top-loading gatefold sleeve’s stark white exterior had ‘The BEATLES’ embossed on the front and printed on the spine with the album’s catalogue number. Early copies of ‘The White Album’ were also individually numbered on the front, which has also been done for the new edition’s Super Deluxe package. The set’s six CDs and Blu-ray disc are housed in a slipsleeved 164-page hardbound book, with pull-out reproductions of the original album’s four glossy color portrait photographs of John, Paul, George, and Ringo, as well as the album’s large fold-out poster with a photo collage on one side and lyrics on the other. The beautiful book is illustrated with rare photographs, reproductions of handwritten and notated lyrics, previously unpublished photos of recording sheets and tape boxes, and reproduced original ‘White Album’ print ads. The book’s comprehensive written pieces include new introductions by Paul McCartney and Giles Martin, and in-depth chapters covering track-by-track details and session notes reflecting The Beatles’ year between the release of ‘Sgt. Pepper’ and recording sessions for ‘The White Album,’ the band’s July 28 1968 “Mad Day Out” photo shoot in locations around London, the album artwork, the lead-up and execution of the album’s blockbuster release, and its far-ranging influence, written by Beatles historian, author and radio producer Kevin Howlett; journalist and author John Harris; and Tate Britain’s Senior Curator of Modern and Contemporary Art Andrew Wilson.

                                                                                                    The Deluxe 3CD is presented in an embossed digipak with the fold-out poster and portrait photos, plus a 24-page booklet abridged from the Super Deluxe book. Presented in a lift-top box with a four-page booklet, the limited edition Deluxe 4LP vinyl set presents the 2LP album in a faithful, embossed reproduction of its original gatefold sleeve with the fold-out poster and portrait photos, paired with the 2LP Esher Demos in an embossed gatefold sleeve.

                                                                                                    Much of the initial songwriting for ‘The White Album’ was done in Rishikesh, India between February and April 1968, when John Lennon, Paul McCartney, George Harrison, and Ringo Starr joined a course at the Maharishi’s Academy of Transcendental Meditation. In a postcard to Ringo, who had returned to England before the others, John wrote, “we’ve got about two L.P.s worth of songs now so get your drums out.”

                                                                                                    During the last week of May, The Beatles gathered at George’s house in Esher, Surrey, where they recorded acoustic demos for 27 songs. Known as the Esher Demos, all 27 recordings are included in the new edition’s Deluxe and Super Deluxe packages, sourced from the original four-track tapes. Twenty-one of the demoed songs were recorded during the subsequent studio sessions, and 19 were ultimately finished and included on ‘The White Album.’

                                                                                                    The Beatles’ studio sessions for The BEATLES (‘White Album’) began on May 30, 1968 at Abbey Road Studios. In the 20 weeks that followed, The Beatles devoted most of their time to sessions there for the new album, with some recording also done at Trident Studios. The final session for the album took place at Abbey Road on October 16, a 24-hour marathon with producer George Martin to sequence the double album’s four sides and to complete edits and cross-fades between its songs. The Beatles’ approach to recording for ‘The White Album’ was quite different from what they had done for ‘Sgt. Pepper.’ Rather than layering individually overdubbed parts on a multi-track tape, many of the ‘White Album’ session takes were recorded to four-track and eight-track tape as group performances with a live lead vocal. The Beatles often recorded take after take for a song, as evidenced by the Super Deluxe set’s Take 102 for “Not Guilty,” a song that was not included on the album. This live-take recording style resulted in a less intricately structured, more unbridled album that would shift the course of rock music and cut a path for punk and indie rock.

                                                                                                    The Beatles’ newly adopted method of recording all through the night was time consuming and exhausting for their producer, George Martin. Martin had other duties, including his management of AIR (Associated Independent Recording), and he had also composed the orchestral score for The Beatles’ animated feature film, Yellow Submarine, released in July 1968. After the first three months of ‘White Album’ sessions, Martin took a three-week holiday from the studio, entrusting the control room to his young assistant Chris Thomas and balance engineer Ken Scott. Scott had taken the place of engineer Geoff Emerick, who left the sessions in mid-July. On August 22, Ringo Starr also left the sessions, returning 11 days later to find his drum kit adorned with flowers from his bandmates. While the sessions’ four and a half months of long hours and many takes did spark occasional friction in the studio, the session recordings reveal the closeness, camaraderie, and collaborative strengths within the band, as well as with George Martin.

                                                                                                    The BEATLES (‘White Album’) was the first Beatles album to be released on the group’s own Apple Records label. Issued in both stereo and mono for the U.K. and in stereo for the U.S., the double album was an immediate bestseller, entering the British chart at number one and remaining there for eight of the 22 weeks it was listed. ‘The White Album’ also debuted at number one on the U.S. chart, holding the top spot for nine weeks of its initial 65-week chart run. In his glowing ‘White Album’ review for Rolling Stone, the magazine’s co-founder Jann Wenner declared: “It is the best album they have ever released, and only The Beatles are capable of making a better one.” In the U.S., ‘The White Album’ is 19-times platinum-certified by the RIAA and in 2000, it was inducted into the Recording Academy’s GRAMMY® Hall of Fame, recognizing “recordings of lasting qualitative or historical significance.”


                                                                                                    FORMAT INFORMATION

                                                                                                    2xLP Info: 2018 stereo mix.
                                                                                                    180-gram 2LP vinyl in gatefold sleeve with faithfully replicated original artwork.

                                                                                                    3xDeluxe CD Info: 2018 stereo album mix + Esher Demos
                                                                                                    The 3CD pairs the 2018 stereo album mix with the 27 Esher Demos.

                                                                                                    Box set Info: Super Deluxe: The comprehensive, individually numbered 7-disc and digital audio collections feature:
                                                                                                    CDs 1 & 2: The BEATLES (‘White Album’) 2018 stereo album mix
                                                                                                    CD3: Esher Demos
                                                                                                    - Esher Demo tracks 1 through 19 sequenced in order of the finished song’s placement on ‘The White Album.’ Tracks 20-27 were not included on the album.
                                                                                                    CDs 4, 5 & 6: Sessions
                                                                                                    - 50 additional recordings, most previously unreleased, from ‘White Album’ studio sessions; all newly mixed from the four-track

                                                                                                    FREE SHIPPING This item has FREE UK shipping!

                                                                                                    The Beatles

                                                                                                    Yellow Submarine - Enhanced Edition

                                                                                                      The biggest band in rock history sees their original catalogue digitally remastered for the first time with improved packaging, including extra rare photographs, expanded and new essays and all enhanced with a video mini-documentary on the making of each album in the Beatles own words.

                                                                                                      Tracklisting
                                                                                                      1. Yellow Submarine
                                                                                                      2. Only A Northern Song
                                                                                                      3. All Together Now
                                                                                                      4. Hey Bulldog
                                                                                                      5. It's All Too Much
                                                                                                      6. All You Need Is Love
                                                                                                      7. Pepperland
                                                                                                      8. Sea Of Time
                                                                                                      9. Sea Of Holes
                                                                                                      10. Sea Of Monsters
                                                                                                      11. March Of The Meanies
                                                                                                      12. Pepperland Laid Waste
                                                                                                      13. Yellow Submarine In Pepperland
                                                                                                      14. Yellow Submarine Documentary

                                                                                                      The Beatles

                                                                                                      Yellow Submarine - Vinyl Edition

                                                                                                        Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

                                                                                                        The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

                                                                                                        Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

                                                                                                        In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

                                                                                                        For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

                                                                                                        There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

                                                                                                        The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

                                                                                                        A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

                                                                                                        The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

                                                                                                        Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

                                                                                                        The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

                                                                                                        An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

                                                                                                        Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

                                                                                                        The Beat

                                                                                                        Wha'ppen - Deluxe 2CD + DVD Edition

                                                                                                        Edsel Records is proud to announce its reissue programme of all three of The Beat’s albums, each in Deluxe 2 CD + DVD digipaks, featuring the original albums along with all the non-album A- and B-sides, the many 12” mixes and live tracks, as well as the best of their BBC radio sessions. The DVDs feature the singles promo videos, Top Of The Pops performances and bonus appearances from ITV shows and documentaries.

                                                                                                        Second album “Wha’ppen” (1980, # 3) features the hits “Too Nice To Talk To”, “Doors Of Your Heart”, “All Out To Get You”, “Drowning”, and “Hit It” as well as 14 bonus tracks, including four previously unreleased BBC radio sessions. The DVD features five promo videos, four TOTP appearances, and live performances and interviews from the “World In Action” documentary “A Statistic, A Reminder”.

                                                                                                        The booklet features an individual note especially written by Rhoda Dakar of The Bodysnatchers, along with the lyrics and photos, memorabilia and ephemera from the band’s own collection.

                                                                                                        After the success of the Abbey Road recorded "Free The Bees", our favourite furry Isle Of Wighters retreated to their seaside hive to record the bands third album, "Octopus". With Paul Butler taking the music reigns and Aaron Fletcher resuming lyrical control, the band have recorded 10 stunning tracks that combine all the best disparate elements of their first two albums (garage, psychedelic, folk, reggae, soundtracks etc) and wraps them in a warm blanket of straight up seaside soul. Some of these tunes are so good you'll be forgiven for thinking they're long lost classics, and checking to see who the original was by. Well it's 100% crazy Bees music: trippy, good-time, groovy, soulful, magic.

                                                                                                        The Belairs

                                                                                                        Mr Moto

                                                                                                          The story of The Belairs started in 1959 in Southern California, more precisely in South Bay, Los Angeles. The first line-up consisted of Eddie Bertrand (guitar), Paul Johnson (guitar), Chas Stuart (saxophone), Richard Delvy (drums) and Jim Roberts (piano). They were descendant of the Bohemian tradition of the Beatnik culture, which was, musically speaking, more attuned with the cool jazz than the nascent rock & roll.

                                                                                                          At the time, surf music (or surf culture in general) was on its first steps: surf boards, flirting with the girls, dancing in the ballrooms, the love of cars, cruising the boulevards... Instrumental music fusing early rock & roll with Middle Eastern, Mexican and Hawaiian rootsy touches was the order of the day. Playing melodic fast scales and dealing closely with the use of reverb, it was a truly innovative sound. Artists such as Dick Dale, The Ventures and Duane Eddy hit the venues and airwaves.

                                                                                                          In this context, in the first months of 1960, the two school kids Eddie Bertrand and Paul Johnson were giving birth to their trademark dual guitar sound and propelling each other’s instruments in rhythm and dialogue. Creating a unique sound to make their strings “reverberate”, the duo composed their first songs.

                                                                                                          The band signed with a label called Arvee, which put out the superb single ‘Mr Moto’ in 1961, an instrumental surf rock song with a flamenco-inspired intro backed by ‘Little Brown Jug’, a jazzy-rock & roller-swing marked by reverbing guitars on the flip side. Their sound didn’t have – at least during their first phase – a bass player. For one reason or another, the bass-less structure worked very well in their favour, giving a special character to all the guitar nuances. They also considered using vocals, but it never happened properly.

                                                                                                          Their short and successful career (not exactly in terms of ground-breaking sales but in opening all doors for other surf sound groups and packing up venues up to their roof) was destined to produce only one more official single, however with a different line up. Their second 45, ‘Volcanic Action’ / ‘Runaway’ (included here), was not even officially released – apart from a number of promotional copies. Then, the band had some line-up changes, including – for the first time – a bass player named Steve Lotto, and new members like the drummer Dickie Dodd and the guitarist Art Fisher.

                                                                                                          The LP includes four tracks from a recording session at Gold Star studios in Hollywood which took place while The Belairs were without a record label. Songs like the propulsive ‘Chiflado’ (featuring the services of bass player Steve Lotto and lovely sax flourishes by Chaz Stuart), the very danceable rock & roll ‘Duck Waddle’, the swinging jazzy ‘The Shimmy’ and the hypnotic ‘Squad Car’ (with fantastic “siren” counterpoints made by Chaz blowing his saxophone mouthpiece) prove the quality of the band’s repertoire.

                                                                                                          Then, late in ‘63, the instrumental fever gave its way to the explosion of the vocal surf music and the glories and success of the Beach Boys, Jan & Dean, The Trashmen, The Rivieras, The Challengers (who featured Paul Johnson plus Richard Delvy and Art Fisher, two other Belairs) and even more popsters such as Annette Funicello, Frankie Avalon and Fabian mixing the surf aura in a more pop and commercial approach.

                                                                                                          Curiously, Johnson was invited to be part of The Beach Boys, but he declined the offer. He stayed firm with his convictions and unique sound surf waves. In a short reflection he concludes: “It is very gratifying to be remembered for my tunes and performances, etc. I am also very happy to see that the genre carries on with so many excellent new bands, and that the music is continuing to evolve”.

                                                                                                          FORMAT INFORMATION

                                                                                                          Vinyl comes with CD version of the album enclosed.

                                                                                                          The first full length LP for this collaborative project between Jon Brooks (The Advisory Circle) and Jim Jupp (Belbury Poly). John Foxx features on vocals and synth on two tracks, Trees and Forgotten Towns, reprising his appearance on The Belbury Circle’s debut EP, Empty Avenues in 2013.

                                                                                                          Brooks and Jupp go back to their musical roots with this release, but there’s no weird children’s TV or haunted soundtracks here. It’s a joyfully re-imagined soundworld that draws heavily on late 70s and early 80s synth pop and library music. An exciting transitional era that first saw the pair taking up synths as kids. With interlocking analogue sequencers, driving rhythms, soaring lead lines, primitive sampling, and its themes of travel and return, the album evokes the eve of the digital era, when “Tomorrow’s World” was still an exciting possibility.

                                                                                                          STAFF COMMENTS

                                                                                                          Barry says: An incredible meeting of musical 'Dream Team' minds here. With all-round lovely chap and prodigal production wiz Jon Brooks teaming up with Ghost-Box co-owner and Belbury Poly mastermind Jim Jupp. It's as good as it sounds, with both artists being bolstered by the other and creating a retro-futuristic synth monolith. This is my rest-of-year listening sorted!

                                                                                                          The Bell Peppers

                                                                                                          Saved By The Bell Peppers

                                                                                                            The Bell Peppers are a UK Surf n' Roll 2 piece who have toured with Allah Las, Hooded Fang and Y Niwl. This Cassette release, the first for Manchester label, Captured Cats, features the 4 songs that make up the latest EP, Saved by the Bell Peppers and the 4 that made up the first EP, Cooking with Bell Peppers.

                                                                                                            These recordings were made at home, using a four track, looping samples of themselves performing the percussion, and then layering lush melodic surf guitar and peppered vocal interjections on top of it. the results are sweet, raw and satisfying, each song exploring a different microgenre of the 50's and early 60s. From Haunted Diner Do-Wop to Hoedown Rockabilly and Scuzzy RnB.

                                                                                                            The Belles are from the same Kansas emo scene that produced the Get Up Kids and features a guest appearance from 'Kids Ed Rose, who also produced and mixed the album. The Belles lean more towards Elliot Smith, Neil Young and Wilco style songs. Drummer Jake Cardwell has previously lent his skills to The New Amsterdams (Get Up Kids side project). Mainman Christopher Tolle toured with Ultimate Fakebook, Superdrag and The Strokes.

                                                                                                            The Beltones

                                                                                                            Cheap Trinkets

                                                                                                            Another strong TKO release. This is the Beltones second album and these Florida punk boys are great at combining typical high speed US punk with a gritty mixture of 50s rockabilly and 60s mod. Well worth checking out.

                                                                                                            Tony Benton was the driving force behind the Seattle sound during the late 70s & 80s and formed his group Teleclere, who went on to release their first single in 1982, Fantasy Love / Ultra Groove. Through the success of their independant release, Teleclere followed up a year later with their Affection/Defection album. The group disbanded shortly after and now, 36 years later we have the pleasure to announce the Tony Benton & Teleclere - Fantasy Love EP.

                                                                                                            The tracks have been sitting on DAT tapes until early 2018 and this release is the first step to reviving their iconic sound via an initial 5 track steppers EP. 4 tracks are previously unreleased and haven't been heard since they were recorded back in the early 80s.



                                                                                                            STAFF COMMENTS

                                                                                                            Patrick says: A casual glance at the sleeve should leave you in no doubt that Tony Benton is a GEE and the A-grade boogie which reveals itself once you slap the platter on the player only goes to confirm it. MEGA!


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