MAGIC MIX

END OF YEAR REVIEW 2018

TOP 10 REISSUES/COLLECTIONS

This year's Reissue/Collection rundown is a royal rumble of musical heavyweights, with Pixies, Beta Band, Stereolab and Wire all vying for a top spot which inevitably went to Manchester's multi-limbed groove machine A Certain Ratio. Alongside these top shelf treats we have diggers' delights, utter obscurities and a lovely bit of Bagpuss!

Check out these links to see our other Best Of 2018 Charts:
Click HERE for the Piccadilly Top 100 Albums 2018
Click HERE for the Piccadilly Top 20 Compilations 2018

We're also we’re delighted to announce our very first vinyl compilation.
‘Piccadilly Records Compilation 2018’ is a hand-picked selection of tracks from our various EOY charts, featuring LUMP, Khruangbin, Tim Burgess, TVAM, Phil France, Kadhja Bonet, Rolling Blackouts Coastal Fever, Gulp, Advisory Circle, Christiane F, Prins Emanuel and Theon Cross. All for the bargain price of £9.99!
Released around the beginning of December, ‘Piccadilly Records Compilation 2018’ is available to pre-order here now.

And don't forget our super deluxe perfect bound 84 page full colour End Of Year Review Booklet is available now too, beautifully designed yet again by Mark Brown Studio, you can pick up a physical copy here, free instore or view online here.
THE PICCADILLY RECORDS REISSUE/COLLECTION OF THE YEAR 2018.

A Certain Ratio were born of the Manchester punk/post punk explosion of the late 70s, but while they took on the bleak aggression of the former and the spiky experimentation of the latter, they were rooted in another tradition. By the time their second single, the incredible opium funk dream of "Flight" was released in 1980 on Factory Records, it was obvious that the apparently unlikely union of brooding post punk with dub and funk rhythms was a marriage made in heaven - If heaven is the right word.

"Set" follows their current set list (hence the title), pulling material from across their incredibly diverse career. It's perhaps only fitting that two thirds of the collection dates from 1979-1986, while they were signed to Factory, when they arguably produced their finest and most inventive material. If "Shack Up" added a mutant snarl to the Banbarra classic and "Flight" was eerie and sublime, "Knife Slits Water" was a signpost for their future direction, moving away from the paranoia and angst of their earlier sound and introducing a lighter and more loose limbed samba, jazz dance and tropical funk groove. The brighter feel was further cemented by "Wild Party", a moody boogie blend incorporating street soul and electro which perfectly conjured it's title, and the P-funk genius of "Mickey Way” which went on, appropriately enough, to become a Hacienda favourite.

The move to A & M brought another diversion, into acid house euphoria, represented here by "Good Together"; this, and the silky, emotive pop of "Won't Stop Loving You", here remixed by Bernard Sumner, were both enhanced by the gorgeous vocal talents of Denise Johnson. There is new material here too, in the shape of "Dirty Boy" featuring Barry Adamson; but, even leaving aside the astonishing span and prolific nature of their output, what is truly amazing is that through all the extraordinary range of their sound they have always maintained a distinct and coherent identity. That takes real talent.


STAFF COMMENTS

Barry says: An essential package featuring some of the greatest ACR tunes to be committed to tape, with definitive 12" versions sitting brilliantly alongside a couple tracks exclusive to this release. An essential for any fan, and sure to make a few new fans as well!

FORMAT INFORMATION

2xColoured LP Info: Dark green and silver coloured vinyl.

2xColoured LP includes MP3 Download Code.

30th Anniversary Deluxe Edition of Pixies’ Debut EP and Album, Come On Pilgrim and Surfer Rosa, includes Bonus 1986 Radio Concert Live From The Fallout Shelter

“An unparalleled example of rule-smashing innovation in independent music.” Pitchfork

“Smack in between hardcore punk and alternative, their secret weapon was leaping from sweet to screaming, driving a spike into Eighties rock.” Rolling Stone

“Surfer Rosa quickly cemented itself as a must-have album (and) 30 years on, its aged into timelessness rather than becoming a period piece.” The Quietus

It’s been thirty years since the release of Surfer Rosa – a record made up of rage, religion, gore, incest and superheroes named Tony – a debut album so good that it’s since seen as a masterpiece. A year prior came Come On Pilgrim, an eight-track mini-album released in 1987 which contained cuts culled from their first ever studio session, where they famously recorded seventeen tracks in just three days (in full, this session makes up the band’s much bootlegged and now officially released The Purple Tape).

These formative records showed the Pixies to be an alien breed; four oddball outsiders from Boston blending US underground thrash rock, indie surf pop and Spanish-language flamenco with the Biblical mythology of Frances’s childhood. They would go on to record another masterpiece in 1989’s Doolittle but it’s the gruesome glory of Surfer Rosa, and the ruined sexuality of its cover image (a topless flamenco dancer in a crumbling Mexican bar) that set a fresh blueprint for an indie rock dynamism that not only planted the seeds of grunge (Kurt Cobain would admit that he was trying to imitate the record while writing Nevermind) but of much of the best rock music made since.

To celebrate this milestone, Pixies are playing fi ve sold-out intimate shows at London’s Roundhouse this October and preceding them is the release of Come On Pilgrim… It’s Surfer Rosa, the thirtieth anniversary edition which contains Come On Pilgrim, Surfer Rosa and Live From The Fallout Shelter, a concert-cum-session that first aired in late-1986 on WJUL in Lowell, MA.

In addition to both a three CD and three LP edition, there’s also a super-limited and stunning deluxe clothbound hardbook three LP version, which will be a must for all fans. Like all other Pixies sleeves, Vaughan Oliver returns as designer, stunningly reinterpreting his original artwork with Simon Larbalestier’s iconic photographs remaining these record’s crowning glory.

FORMAT INFORMATION

3xColoured LP Info: Wide Spine Cover, Gold Vinyl, Download Card of Live From The Fallout Shelter Included.

3xDeluxe LP Info: Clothbound Hardbook.
Clear Vinyl.
Lyric Booklet.
Art Book & Download Card of Live From The Fallout Shelter Included.

FREE SHIPPING This item has FREE UK shipping!

3xCD Info: Hardbook Wallet Case with Lyric Booklet.

3 - The Beta Band

The Three EPs (20th Anniversary Remaster)

    Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries.

    Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. 


    FORMAT INFORMATION

    2xLtd LP Info: 2LP+CD REISSUE FOLLOWING THE DELUXE 4X12” VERSION RELEASED IN SEPTEMBER.
    Includes the ‘Champion Versions’ EP, ‘The Patty Patty Sound’ EP and ‘Los Amigos Del Beta Bandidos’ EP. CD included in clear plastic sleeve with flap.

    5 - Sandra Kerr & John Faulkner

    The Music From Bagpuss

    Bagpuss, dear Bagpuss

    Old fat furry cat-puss

    Wake up and look at this thing that I bring

    Wake up, be bright

    Be golden and light

    Bagpuss, Oh hear what I sing

    12th of February, 1974, and for an audience of small children at 1:45pm, a life irrevocably coloured by the wayward wonderings of one saggy cloth cat. Some 44 years later and Earth Recordings opens the door to Bagpuss & Co. once again, revealing for the first time the original music in all its newly-mastered splendour.

    The 32 tracks that make up the main body of the compositions are – like all good folk music – a patchwork of traditional pieces, half-remembered tunes and pure improvisation. It's testament to Sandra Kerr and John Faulkner's musicianship that the recordings work so well, not only within the context of the television episodes, but as an album in its own right. Of the recording, Oliver Postgate (in his exquisite autobiography 'Seeing Things') says: "Between them Sandra and John could play every sort of instrument from a mountain dulcimer to an Irish fiddle. They knew and could sing every tune in the world and didn't bother with written music, except as a last resort. They were exactly suited to Gabriel the Toad and Madeleine the Rag Doll and in those roles were happy to play whatever music and sing whatever songs would be needed."

    Those songs manifested themselves as reworkings of familiar tunes ('I Saw A Ship'; 'Row Your Boat'; 'Bucket's Burning'), takes on traditional ballads ('Brian O'Lynn'; 'The Frog Princess'; 'Weaving Song'; 'The Old Woman Tossed Up in a Basket') and delicious flights of fancy ('The Bony King of Nowhere'; 'Turtle Calypso'; 'Uncle Feedle'). The counterpart to Madeleine and Gabriel's more polished ditties are the interludes from the mice; a raggle-taggle chorus that accompanies the creatures' efforts of help (with the mice once famously going on strike when they were not permitted sang as they worked). Again, Postgate muses: "Once I had worked out a few episodes I would make a very rough list of the bits where I though music would be appropriate. I would send it to [Sandra and John] to think about. Then we would borrow a fairly silent room in a remote house and, taking the various articles that we intended to celebrate with us, would spend a happy day with a tape recorder, thinking up and recording whatever songs and tunes came to mind."

    The outtakes provide an intimate – and often very humourous – insight into the trio's work ethic, if it can be called such a thing. (By all accounts they sound as though they're having a very jolly time indeed.) Highlights include alternative opening words and end music, as well as Postgate sound-checking in character as Bagpuss. This never-before heard audio provides a real treat for fans (and indeed those new to the Smallfilms stable) – affirmation again to the enduring quality of these special recordings, and the beloved programme that inspired them.

    "An accidental classic of the folk-roots underground that we never dared hope we’d hear with such clarity." -Stewart Lee.

    And so their work was done.

    FORMAT INFORMATION

    Deluxe LP Info: LP, Die Cut w/ art cards. Reverse Board and DL card. Limited ‘Shop Window’ Edition LP with lithograph prints.

    Deluxe CD Info: Book back CD edition with 24 page book.
    Liner notes from Stewart Lee, Daniel Postgate, Frances Mckee (The Vaselines) Andy Votel and Sarah Martin (Belle & Sebastian)

    6 - Wire

    Chairs Missing

      Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book – the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics.

      This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire’s official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery – in colour and black and white – is featured throughout the books. Most of the photographs have not been seen for 40 years – and many have never been published anywhere before.

      With "Pink Flag" Wire tapped happily into punk's energy and iconoclastic tendencies, "Chairs Missing" is, perhaps, a little truer to their own instincts. They didnt completely shed the past completely; the joyful "Sand In My Joints" and grinding "Mercy" have more than a hint of "Pink Flag" about them, but their 1978 offering is moodier and much more textured than its predecessor, the addition of swathes of electronic sounds moving them firmly into post punk territory, a genre they helped to spawn. There is pure pop beauty on here too, of which "Outdoor Miner"  and "French Film Blurred" being the most gorgeous examples. 

      STAFF COMMENTS

      Martin says: Their most varied L.P. and possibly their finest hour (or so). Straddling the fire of punk and the colder, darker charms of brooding electronic post punk, it also contains within its grooves moments of melodic magic. Worth buying for the outrageously amazing "Outdoor Miner" on its own.

      Wewantsounds release Hiroshi Sato's ultra rare synth masterpiece, "Orient", originally released in 1979 on Kitty Records in Japan only. Digitally remastered from the original tapes it features the cream of Japanese musicians including Shigeru Suzuki on guitar, Haruomi Hosono on bass, Pecker on percussion and Sato himself on keyboards and synthesizers. This highly sought-after album is a superb breezy mix of Japanese synth-pop with a subtle touch of mid 70s Herbie Hancock-style funk and AOR. It's what gets our resident Horse Beacher Ryan PLUS our Balearic connosair Patch really rocking (surely reason enough for you to own a copy...!)

      Recorded during a fruitful period in Japan, when Sato, Hosono and Suzuki were fresh from playing in the group Tin Pan Alley and Haruomi Hosono had just formed YMO; the album is a unique balance of various styles. It has become one of the most sought-after Japanese LPs on the global Balearic scene and is now exchanging hands for astronomical prices. The album also features on Gilles Peterson’s 'Significant Album List'. Fully remastered from the original Kitty Records tapes by Universal Japan, the album will come with its original 4-page colour insert including English translations of the original liner notes by leading Japanese journalist Yasufumi Amatatsu plus the full track-by-track musician line up. The album includes such cult tracks as “Son Go Kuw” and “Do-Jo” - hugely popular on the international DJ scene.


      This is the first Now-Again issue in a series of reissues centered around Axelrod’s Capitol Trilogy – "Song of Innocence", "Songs of Experience" and "Earth Rot" – which will see release through 2018. This audiophile reissue was transferred directly from Axelrod’s original EQ’ed master tapes at Capitol Records by Ron McMaster. Axelrod’s debut, and a ‘60s masterpiece.

      Celebrated as psychedelic, the birth of jazz-fusion, the harbinger of hip-hop, "Song of Innocence" is a hybrid that no one, not even Axelrod himself, could describe. Grounded by Wrecking Crew vets Earl Palmer and Carol Kaye’s funk, torn between the juxtaposition of musical elements, put at ease, Axelrod’s sweeping arrangements, which utilize brass and strings in a way that no one of his era did. It’s both violent and sublime. LP/CD Contains 28 page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos and an interview with Axelrod by Eothen Alapatt and Wax Poetics’ Brian Digenti. 

      9 - David Sylvian & Holger Czukay

      Plight & Premonition Flux & Mutability

      "Plight & Premonition, Flux & Mutability", both titles are predicated on instability. Meanings are equally mutable, perhaps the beginning of a spiritual journey, a climate of uncertainty, the experience of improvisation, a door opening (that may quickly close again). That first nocturnal session in the Can studio began unconsciously, or at least without initial awareness that music was being made, Sylvian enjoying the opportunity to play a pump organ, then growing aware of a slippage in the room as Czukay played orchestral samples through the fold back system: “I fell into a trance.” Ethereal sounds looped through the space. He moved to the piano, searching for something concrete. After ten or fifteen minutes he found it, only to hear Czukay tell him to move on: “He’d only wanted the process, the uncertainty, the ambiguity of the searching out of ideas.” The night wore on; as soon as fixity or some compositional motif crept in, so the machines would be taken out of record, as if establishing an equilibrium between the transience of making and the indelibility of recording. 

      STAFF COMMENTS

      Patrick says: Two superbly esoteric electronic recordings from the very late eighties get their first ever vinyl reissue thanks to those fine folks at Gronland. The work of musical auteurs David Sylvian and Holger Czukay, these four pieces offer a purity of sound, progressive approach to audio and immersive arrangement. Far out!

      10 - Oneness Of Juju

      African Rhythms (2018 Reissue)

      Strut present a brand-new edition of Oneness of Juju’s Afro-jazz classic ‘African Rhythms’, originally released on Black Fire in 1975 and first reissued on Strut in 2002.

      For bandleader James “Plunky” Branch, ‘African Rhythms’ marked a significant return to his home town of Richmond, Virginia after a politically charged five years based on the East and West coasts. His personal journey had taken him from activism at Columbia University to San Francisco where Zulu musician Ndikho Xaba used theatre to “resurrect” Afro-Americans with a new African identity. The first incarnation of Plunky’s band, Juju, drew attention to the struggle in South Africa under apartheid, layering heavy Afro rhythms under uncompromising avant garde jazz.

      Back in Richmond, Plunky tapped into the mid-Atlantic preference for Southern R&B and gospel: “Juju had always been blues-based and it was a natural progression to add R&B and dance rhythms. It didn’t change our message.” Produced by Jimmy Gray of Black Fire Records, the new sessions included the title track (“We wanted a song to dance to with a message – ‘you are dancing to African rhythms’”), the positive message of ‘Don’t Give Up’ and political commentary on ‘Liberation Dues’.

      Originally just a regional hit on the East coast and in Washington DC specifically, the album gradually spread, influencing the nascent DC go-go scene. The UK revived the album during the rare groove era of the late ‘80s and the title track has since become a soul-jazz favourite worldwide.

      Remastered from the original sessions and featuring rare photos and extensive liner notes, this new repress also features Part 1 and Part 2 of the original 45 version of ‘African Rhythms’ and the previously unheard ‘Afrobeat’, recently unearthed from the original tapes.


      STAFF COMMENTS

      Patrick says: Jeepers! Oneness of Juju's Afrocentric jazz-funk great "African Rhythms" gets a nicely remastered, repackaged reissue from the fine folks at Strut. Quality stuff...


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