MAGIC MIX

#RSDFillTheGap

AT PICCADILLY RECORDS

Most bands have an album that defines them, but many have also produced other classic albums that often seem to slip through the net and don't get the recognition that they deserve.

As part of the Record Store Day initiative we've collected together 30 fabulous albums in order for you to "Fill The Gap" in your record collection.

This is the first in a series of #RSDFillTheGap mailouts that we'll be doing, so please keep an eye on your inbox over the next week or so.

The Stone Roses

The Second Coming - Back To Black Vinyl Edition

    The title is a joking reference to the messianic anticipation that built up in the years between the Manchester, England rock band's 1989 debut - which Britain's New Musical Express magazine ranked as the greatest album of the 80s - and this 1995 follow-up. It's also a description of the Stone Roses' sound, a sort of second coming of 60s and 70s blues-rock, re-born with a funk beat. Back in '89 it sounded like a revolution, and it was: crossing Led Zeppelin and Bob Dylan with club music, it helped set the template for all British alternative rock to follow, from Blur to the revamped U2.

    "Second Coming" consolidates that sound with a see-sawing mix of hard-rock driving songs, with chunky electric guitar riffs and big beats, and acoustic anthems that immediately sound like they've been on the radio for a dozen years or more. The latter group includes "Ten Storey Love Song", a devotional ballad with a Dylan-esque melody, and "Your Star Will Shine", a psychedelic folk ditty that would have fit on an early Bee Gees album. "Good Times" is one of the big-beat numbers, and although it starts out sounding like a very blue Eric Burdon, it builds into a classic shouted-out blues-rock chorus, the kind on which FM radio thrived in the 1970s. "Tears" follows a Zeppelin-esque arc from acoustic to electric folk. Which, no doubt, is the exact route a lot of hard-rock devotees think any second coming should follow.

    FORMAT INFORMATION

    2xLP Info: 180g heavyweight vinyl.

    2xLP includes MP3 Download Code.

    The much anticipated follow up to Arctic Monkeys' record-breaking debut. Haunting melodies and worst favourite dream characters are trademarks of the comeback album. All the tracks on the album were produced by duo James Ford (The Klaxons, Mystery Jets) and Mike Crossey (Echo & The Bunnymen, The Coral) and also mainly mixed by Alan Moulder (My Bloody Valentine, Smashing Pumpkins, Yeah Yeah Yeahs) and what they bring is a newfound muscularity, a bassier, punchier sound. This is as much in the playing as the knob-twiddling, actually: the rhythm section rules here. One minute lithe and funky, next all staccato post-punky; the songs are packed with all sorts of nifty diversions so it's not just lyrically that Arctic Monkeys show their intelligence. This is a busy, confident, nicely varied, exciting record, that's definitely a step on from their debut.

    FORMAT INFORMATION

    LP Info: Heavyweight vinyl comes in a gatefold sleeve.

    Radiohead

    Kid A

      "Kid A is like getting a massive eraser out and starting again," Thom Yorke said in October 2000, the week this album became the British band's first Number One record in America. "I find it difficult to think of the path we've chosen as 'rock music'."

      "In texture and structure, Kid A, Radiohead's fourth album, renounced everything in rock that, to Yorke in particular, reeked of the tired and overfamiliar: clanging arena-force guitars, verse-chorus-bridge song tricks.

      With producer Nigel Godrich, Yorke, guitarist Ed O'Brien, drummer Phil Selway, bassist Colin Greenwood and guitarist Jonny Greenwood created an enigma of slippery electronics and elliptical angst, sung by Yorke in an often indecipherable croon. The closest thing to riffing on Kid A was the fuzz-bass lick in "The National Anthem"; the guitars in "Morning Bell" sounded more like seabirds.

      The result was the weirdest hit album of that year, by a band poised to be the modern-rock Beatles, following the breakthrough of OK Computer. In fact, only 10 months into the century, Radiohead had made the decade's best album — by rebuilding rock itself, with a new set of basics and a bleak but potent humanity. Yorke's loathing of celebrity inspired the contrary beauty of "How to Disappear Completely," with its watery orchestration and his voice flickering in and out of earshot. His electronically squished pleading in "Kid A" sounded like a baby kicking inside a hard drive.

      Ironically, Radiohead, by the end of this decade, had fulfilled much of that modern-Beatles promise by following rock's first commandment: Go your own way.

      "Music as a lifelong commitment — if that's what someone means by rock, great," Yorke said in that 2000 interview. By that measure, with Kid A, Radiohead made the first true rock of the future." - Rolling Stone.

      The National's 2005 album "Alligator" saw them fulfil the promise shown on their previous two albums, and set the bar impossibly high for their follow up.

      However, with "Boxer" they've created something quite stunning, in fact the opening three tracks, "Fake Empire", "Mistaken For Strangers" and "Brainy" are possibly their best songs ever. A taut rhythm section is present throughout, and complements the languid vocals and lush string arrangements perfectly. Although the strings and Matt Berninger's distinctive drawl create a solemn mood, there are plenty of upbeat moments here too, creating a rich anthemic album with just the right amount of melancholy.

      FORMAT INFORMATION

      LP Info: One of a series of vinyl re-presses from Beggars Banquet. Yellow vinyl.

      Nirvana

      Bleach - Deluxe Edition

        This deluxe edition of this classic is available again!

        Marking the 20th anniversary of its release, Nirvana's "Bleach" gets a deluxe reissue: remastered and including a never-before-released live performance.
        Originally recorded over three sessions with producer Jack Endino at Seattle's Reciprocal Recording Studios in December 1988 and January 1989, Bleach was released in June89 and remains unequivocally/unsurprisingly Sub Pop's very favourite Nirvana full-length. This 20th Anniversary Edition has been re-mastered from the original tapes at Sterling Sound in a session overseen by producer Jack Endino.

        This edition will include an unreleased live recording of a complete February 9th, 1990 show at the Pine Street Theatre in Portland, Oregon. The show features performances of "Love Buzz," "About a Girl" and a cover of The Vaselines' song "Molly's Lips" and has been re-mixed from the original tapes by Endino.

        FORMAT INFORMATION

        2xLtd LP Info: 180g vinyl in a gatelfold sleeve, with a 16-page LP booklet which includes candid photos of the band not previously released to the public.

        2xCD Info: The CD version also includes a 48 page booklet which includes candid photos of the band not previously released to the public.

        When Justin Vernon emerged from the wilds of Wisconsin in 2008 with his Bon Iver project, and the startling debut album 'For Emma, Forever Ago', perhaps none of us quite realised the magnitude of this unique talent. Not only did he capture hearts across the globe, but 'For Emma' also attained beyond gold sales in the UK, and the follow up EP ‘Blood Bank’ debuted at #14 on the Billboard Top 200 and the Top 40 UK in 2009. In the intervening months and years, Vernon has collaborated non-stop on entirely new projects in varying genres with Gayngs’ sassy innovation on the Relayted album, and Volcano Choir, a freeform adventure with fellow Wisconsin musicians Collections of Colonies of Bees on the album Unmap. He also duetted with St Vincent, appearing on the Twilight: New Moon soundtrack, while Peter Gabriel recorded a cover of Bon Iver’s ‘Flume’ and Bon Iver reciprocated with ‘Come Talk To Me’ for a Record Store Day limited edition 7” release.

        And then there was the time when Kanye West called up and invited Vernon to pop down to his studio in Hawaii to collaborate on the hip hop auteur’s astoundingly bold opus, 'My Beautiful Dark Twisted Fantasy'. West sampled ‘Woods’ (taken from ‘Blood Bank’) on the track ‘Lost in the World’. Vernon also appeared – alongside Jay-Z, Rick Ross and Nicki Minaj – on ‘Monster’, which proved to be one of the tracks of last year. He also appeared on four other tracks and has since performed live with Kanye on numerous occasions, including the 2011 Coachella Festival.

        When it came to recording the follow up to 'For Emma', Justin Vernon headed to his hometown of Eau Claire. Bon Iver was recorded and mixed at April Base Studios, a remodeled veterinarian’s clinic located in rural Fall Creek, Wisconsin. The main recording space is constructed over a defunct indoor pool attached to the clinic.

        “It’s an unique space and destination; it’s our home out here,” says Vernon, who purchased the structure with his brother in late 2008 with the sole intention of converting it into his ideal recording studio. “It’s been a wonderful freedom, working in a place we built. It’s also three miles from the house I grew up in, and just ten minutes from the bar where my parents met.”

        The creation of 'Bon Iver, Bon Iver' was not solely down to Vernon. On the track ‘Beth/Rest’ and throughout the album, we hear the pedal steel of Greg Leisz (Lucinda Williams, Bill Frisell), the uniquely layered low end of Colin Stetson's (Tom Waits, Arcade Fire) saxophones, the riffing of Mike Lewis' (Happy Apple, Andrew Bird) altos and tenors, and the lush horns of C.J. Camerieri (Rufus Wainwright, Sufjan Stevens). Bon Iver regulars Sean Carey, Mike Noyce and Matt McCaughan contributed vocals, drums and production, Rob Moose (Antony and the Johnsons, The National) helped with arranging and added strings, and fellow members of Volcano Choir, Jim Schoenecker and Tom Wincek provided processing.

        It’s all there right away, in the thicker-stringed guitar and military snare of ‘Perth’, and ‘Minnesota, WI.’ Anyone who had a single listen to 'For Emma' will peg Justin Vernon’s vocals immediately, but there is a sturdiness – an insistence – to Bon Iver that allows him to escape the cabin in the woods without burning it to the ground. ‘Holocene’ opens with simple finger-picking. The vocal is regret spun hollow and strung on a wire. Then the snare-beat breaks and drives us forward and up and up….The magical poise and restraint of ‘Michicant’. The vocals in ‘Hinnom, TX’ ease to the muffled depths, while the instrumentation remains sparse and cosmic.

        From the tenderised piano and sprouting strings of arguable album highlight ‘Wash’, we arrive at future single ‘Calgary’ – a worship song to everything 'For Emma' mourned. At the point in the final track ‘Beth/Rest’ when Vernon sings, “I ain’t livin’ in the dark no more” it is clear he isn’t dancing in the sunshine, but rather shading toward a new light. It also provides the most ‘Woods’-like moment on the album in terms of singular voice and production.

        'Bon Iver, Bon Iver' is Justin Vernon returning to former haunts with a new spirit. The reprises are there – solitude, quietude and hope – but always a rhythm arises, a pulse vivified by gratitude and grace notes, some as bright as a bicycle bell. The winter, the myth, has faded to just that, and this is the new momentary present. From ‘Perth’ to ‘Beth’ we go full circle and reach the summation to a remarkable second album.


        Released in 1997, when it went straight to the top of the album charts, this year marks the 15th anniversary of ‘Tellin’ Stories’.

        Building on the sound of their eponymous, previous release (‘The Charlatans’ - also a No.1), the band’s performance has the feel of a classic British rock band (the type which also contain ‘roll’ in the music), combined with the more focussed songwriting of Britpop.

        The package contains the original album, re-mastered and cut from the analogue studio tapes, in addition to a collection of the single B sides, plus an unreleased, early version of ‘Don’t Need A Gun’, originally entitled ‘Rainbow Chasing’. Of the eight B sides only half were re-issued on the anthology ‘Songs From The Other Side’.

        FORMAT INFORMATION

        2xLP Info: The double vinyl format is limited to 1000 copies pressed on heavyweight vinyl in a gatefold sleeve.

        2xCD Info: The CD is a limited edition (2000 copies) in double jewel case with slipcase.

        Sonic Youth

        Dirty - Back To Black Edition

          Issued two years after "Goo", "Dirty" reflects touring with Mudhoney and Nirvana, whose "Nevermind" producer Butch Vig was employed for "Dirty".

          Probably Sonic Youth's rockiest album this still sounds as heavy, intense and utterly fantastic as it did when it was released. ESSENTIAL!!!

          FORMAT INFORMATION

          LP includes MP3 Download Code.

          The Cure

          Seventeen Seconds

            Released in May 1980, this record is the place where The Cure really started to develop their unique early 80's sound. It's sparse, precise and rhythmic, with those gorgeous melodies always on top. This album features 'A Forest' which is still regarded as one of The Cure's greatest ever songs.

            STAFF COMMENTS

            Andy says: 'A Forest'. 'Nuff said!

            FORMAT INFORMATION

            Ltd LP Info: 180 gram vinyl.

            Ltd LP includes MP3 Download Code.

            Pixies

            Bossa Nova

              Originally released in 1990, "Bossanova" was seen as something of a let-down initially, (it was always going to be tough following such a huge album as "Doolittle") but Frank Black has since said it's his favourite. There are rockers here but it's on the mellower moments that they really excel.

              FORMAT INFORMATION

              Ltd LP Info: On 180 gram vinyl for the first time.

              The Fall

              The Wonderful And Frightening World Of The Fall - Expanded Edition

                This expanded edition bundles together The Wonderful And Frightening World Of The Fall with The Wonderful And Frightening Escape Route To The Fall.

                Released in 1984, The Wonderful And Frightening World Of The Fall was the band’s seventh studio album and their first for Beggars Banquet. It makes few concessions to the larger market - every potential hook seemed spiked with the band’s usual rough take- it-or- leave- it stance - though the integration of Brix Smith into the band added a melodic twist. This LP has been mastered from HD files transferred from the analog tapes.

                The Wonderful And Frightening Escape Route contains the material from the two singles and the EP, Call For Escape Route, that the band released in 1984, which were also part of the extended cassette ver-sion of the original album. These were the remaining tracks recorded at the sessions.



                The Specials, one of the most electrifying, influential and important bands of all time, release “Encore”, their first new music for 37 years.

                2019 marks the 40th anniversary of the formation of The Specials and the legendary Two-Tone label in Coventry in 1979, and also marks 10 years since the band reformed to play some of the most vital and joyous live shows in recent memory.

                The 10-song “Encore” was produced by Specials founding members Terry Hall, Lynval Golding and Horace Panter alongside Danish musician/producer Torp Larsen and indeed is the first time Hall, Golding & Panter have recorded new material together since the band’s 1981 No.1 single Ghost Town.



                Jimi Hendrix

                Axis: Bold As Love

                "Axis: Bold As Love" was the follow-up to "Are You Experienced?", and represented a much more conscious use of the recording studio's possibilities. Where his live shows continued to showcase the raw rocking power of the Experience, the recording studio gave Hendrix the composer/arranger a broader palette. There are still plenty of powerful blues/rock-inflected songs, such as the menacing "If 6 Was 9", the rolling "Spanish Castle Magic" and the spatial title tune. But "Up From The Skies" is a jazzy trio romp, featuring Hendrix's bluesy, vocalised wah-wah pedal. And on the ballads "Little Wing"and "Castles Made Of Sand", Hendrix shifts the focus from the band to the silvery chord/melody accompaniments he often employed to complement his vocals. They are an orchestral effect unto themselves.

                The Velvet Underground

                The Velvet Underground - Back To Black Vinyl Edition

                  The Velvet Underground’s classic self-titled third album, originally released in March 1969, by MGM, was a departure from the band’s first two albums in more ways than one. Gone was co-founding member John Cale, and in his place was a 21-year-old with Long Island roots named Doug Yule, who stepped right in. The record was also a stylistic leap, as Lou Reed described to Rolling Stone editor David Fricke, “I thought we had to demonstrate the other side of us. Fricke calls it “a stunning turnaround… 10 tracks of mostly warm, explicit sympathy and optimism, expressed with melodic clarity, set in gleaming double-guitar jangle and near-whispered balladry. Or as the late rock critic Lester Bangs put it, “How do you define a group like this, who moved from ‘Heroin’ to ‘Jesus’ in two short years?”

                  How indeed do you describe an album which includes such classics as “Candy Says,” Reed’s ode to Warhol superstar Candy Darling; the aching love song “Pale Blue Eyes,” allegedly inspired by a girlfriend at Syracuse University who got away, with lead vocals by Yule; the inspiring “Beginning to See The Light”; the spoken-word narrative and musique concrete of “The Murder Mystery,” and the beautiful Maureen Tucker-sung “After Hours”?

                  Celebrating the 45th anniversary and following on from the Super Deluxe CD release in 2014, we will be reissuing The Velvet Underground on 180g vinyl.

                  FORMAT INFORMATION

                  LP Info: 180 gram vinyl.

                  Patti Smith

                  Easter

                    Patti Smith's third album was her most commercial sounding album to date, and due to the inclusion of the Bruce Springsteen penned (with lyrical amendments from Smith) "Because The Night" it also became her biggest seller. This isn't a 'sell out' slbum though, she still stick to her defiant, poetic lyrics but here she  manages to create a balance between her art and commercial success.

                    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!

                      Iggy Pop

                      The Idiot - Back To Black Edition

                        Two years on from the end of The Stooges, Iggy returned, older, wiser and perhaps a little more world weary. The Idiot is his debut solo album and the first of two LPs released in 1977 which Pop wrote and recorded in collaboration with David Bowie. Style-wise the album sits nicely alongside Bowie’s Berlin period albums, gone is the raw proto-punk of The Stooges, instead we have fractured guitar sounds and discordant keyboards, and whereas previously his vocals were delivered with a defiant snarly, he instead adopts his now trademark baritone drawl.

                        FORMAT INFORMATION

                        Ltd LP Info: 180g and download card.

                        The Rolling Stones

                        Their Satanic Majesties Request

                        For years dismissed as a self-indulgent cul-de-sac into psychedelic whimsy, "Their Satanic Majesties..." has undergone a 21st century renaissance. Tracks like "2000 Light Years From Home" and "2000 Man" have been namechecked by figures as diverse as Primal Scream's Bobby Gillespie, film-maker Wes Anderson and Peter Gabriel (!). Granted it probably doesn't stand up to the band's later albums but neither does it deserve to languish as a druggy slab of indulgence.

                        FORMAT INFORMATION

                        Ltd LP Info: Limited gatefold vinyl run of the newly remastered Stones Decca albums.

                        Dennis Wilson

                        Pacific Ocean Blue - Music On Vinyl Edition

                          Much is made of his older brother Brian's tortured genius, but Beach Boys drummer Dennis Wilson had his own deeply artistic statement to make - one he made with moody, heartrending beauty and fathomless, soulful introspection on his 1977 masterpiece, "Pacific Ocean Blue". Besides being the first solo album by a member of the Beach Boys, "Pacific Ocean Blue" is a lost classic of 70s West Coast rock, a richly orchestrated opus that swaths the singer-songwriter's delicate and profoundly personal observations in epic, wide-screen arrangements that easily match the drama of the celluloid blockbusters made in his Hollywood back yard. Awash in studio strings and layered, breathy melodies, the piano-sprinkled balladry of tracks like "Thoughts of You" and "End Of The Show" offer glimpses of a more tender, wounded, and never-before-seen side of this most famously free-spirited Beach Boys member; while such ecology-themed meditations as "River Song" (which boasts flashes of hard rock) and the title cut reflect other topics close to the drummer's heart. But despite the album's more serious subject matter, the Beach Boys' good-time pop is still firmly on deck with the horn-pumping R&B of "What's Wrong" and the sunshine lilt of "Rainbows". No wonder Brian Wilson himself is one of "Pacific Ocean Blue"'s biggest fans.

                          FORMAT INFORMATION

                          LP Info: 180g audiophile vinyl pressing in a gatefold sleeve.

                          Can

                          Future Days - Remastered Edition

                            Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

                            The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 

                            Rodriguez

                            Coming From Reality - Reissue

                              Back in 1971, "Coming From Reality" was Rodriguez's last gasp, the follow-up to "Cold Fact" and the final album he was allowed to record for the Sussex label. Unearthed, once again, it's another treat for fans new and old, designed - at the time - as Rodriguez's vision of a perfect pop album.

                              "Coming From Reality" found Rodriguez decamping from Detroit to London's Lansdowne Studios, where the album was recorded with some of the UK's top talent including Chris Spedding (Dusty Springfield, Harry Nilsson) and producer Steve Rowland (The Pretty Things, PJ Proby and the man who discovered The Cure), who recalls "Coming From Reality" as his favourite ever recording project.

                              Highlights include the super-poppy "To Whom It May Concern", the "Rocky Raccoon"-inspired "A Most Disgusting Song" and period piece "Heikki's Suburbia Bus Tour".

                              FORMAT INFORMATION

                              Ltd LP Info: 180 gram vinyl edition.

                              CD Info: Includes 3 bonus tracks.

                              Beastie Boys

                              Hello Nasty - Remastered Vinyl Edition

                                "Hello Nasty", the Beastie Boys' fifth album, is a head-spinning listen loaded with analogue synthesizers, old drum machines, call-and-response vocals, freestyle rhyming, futuristic sound effects, and virtuoso turntable scratching. The Beasties had long been notorious for their dense, multi-layered explosions, but "Hello Nasty" was their first record to build on the multi-ethnic junk-culture breakthrough of "Check Your Head", instead of merely replicating it. Hiring DJ Mix Master Mike (one of the Invisibl Skratch Piklz) turned out to be a masterstroke; he and the Beasties created a sound that strongly recalls the spare electronic funk of the early 80s, but spiked with the samples and postmodern absurdist wit that have become their trademarks.

                                The Chemical Brothers

                                Surrender

                                  Continuing with celebrating 40 years of disruption of the Virgin Records label, we’re pressing a very limited number of the some of the labels land mark albums as single and double vinyl LPs.

                                  Released in 1999 'Surrender' proved that the Chemical Brothers were always bigger and better than the one dimensional big beat genre they'd been lumped with earlier in the decade. Showcasing Tom and Ed's expansive musical tastes the album takes in motorik krautrock rhythms, 80s electro-disco ('Out Of Control' featuring Bernard Sumner), Beatlesesque psychedelic block rockers ('Let Forever Be' with Noel Gallagher), fierce technoid bangers, sun-dappled dreaminess ('Asleep From Day' featuring Mazzy Star's Hope Sandoval) and mega festival smashes ('Hey Boy Hey Girl'). all given the widescreen Chemicals production feel.


                                  Manchester based, DJ, bandleader and trumpeter Matthew Halsall is one of the UK's brightest jazz talents. A gifted trumpeter with a beautiful, expressive tone, his music draws on his love of the transcendental, spiritual and modal jazz of Alice and John Coltrane and Pharoah Sanders, as well as the glories of 60s British jazz.

                                  His third album "On The Go" is a heartfelt love letter to the jazz of the late 50s and early 60s. Inspired by the evocative sounds of Miles Davis' soundtrack to the Louis Malle film "Lift To The Scaffold" and the legendary early 60s recordings of Art Blakey and Max Roach the album is nostalgic but always soulful. However, while Halsall's elegiac music is imbued with a sense of history, the young trumpeter and DJ nevertheless brings a contemporary bounce to his music ensuring that his music breathes with a personality all its own.

                                  The album opens with "Music For A Dancing Mind", the most obvious nod to the work of Blakey and Roach. The beautiful "Song For Charlie" is named for Halsall's grandfather, a key inspiration in his life. Dukkha is a Buddhist term roughly translating to suffering so the title "The End Of Dukkha" is self-explanatory and "Samatha", another Buddhist term, means calm, a perfect title for this elegant tune. "The Journey Home" came to Halsall on the train back to Manchester from London and captures that happy feeling of return.



                                  A Tribe Called Quest

                                  We Got It From Here... Thank You 4 Your Service

                                  Just when it looked like The Avalanches had the 'unlikely comeback of the year' award sewn up, legendary hip hop ensemble A Tribe Called Quest return with their first album in eighteen years, months after the death of group member Phife Dawg. Recorded at Q-Tip's home studio after the group's reunion on Jimmy Fallon, the set sees Q-Tip, Phife and Jarobi swapping the mic at will, exchanging couplets and finishing each other's lines like they'd never been apart. Musically, "We Got It From Here..." finds the group flipping their well loved jazz samples into contemporary arrangements alive with collaborative performances from a whole host of A-list guests, while the free flowing lyrics meditate on culture, sociology and the total shit show which is US politics. As a longtime fan of ATCQ, I'd have been happy with a decent rehash of their early nineties stylings, but "We Got It From Here" excels with modern production and pointed subject matter, serving up a stinging critique of society's ills over the most infectious grooves. Simply put, it's a masterpiece.

                                  FORMAT INFORMATION

                                  2xLtd LP Info: Limited double vinyl.

                                  Miles Davis

                                  Birth Of The Cool

                                  Eleven tracks recorded by Miles Davis' nonet in 1949 and 1950, 'Birth Of The Cool' may just be the most accurately titled album ever. The tracks just bleed hipness - cool, smooth, and swinging - and practically define the genre of "cool jazz". Unparalleled recordings required for any fan of mid-century American jazz.

                                  Boards Of Canada

                                  Geogaddi

                                  Four years on from the massive 'Music Has The Right To Children' Boards Of Canada arrived with triple album epic 'Geogaddi'. It features 23 three tracks of haunting, spooky, exquisite unique electronica. Instead of just repeating the formula of its predecessor, the Scottish duo pushed their sound in a darker direction. However, all of the qualities with which Boards of Canada are identified are still present. Their melodies ooze and whoosh, in an out, rarely repeating and rarely staying true to key or convention. Their timing is startling and impeccable, laying down the biggest of beats in the smallest of places. Syncopation and clipping are not as prominent on 'Geogaddi' as they were on 'Children' but their subtle and frequent presence is crucial to each song's character and presence. Their production is painstakingly attentive to each detail, and it pays off. Every kick of bass drum is perfectly symmetric, crisp, and full.


                                  FORMAT INFORMATION

                                  3xLP Info: 3xLP in gatefold sleeve. 140g pressing recut by Noel Summerville from original DAT master. Includes etching on side F. Includes sticker sheet with hexagon die cut stickers.

                                  Massive Attack

                                  Protection

                                    Three years after changing the musical landscape with the stoned and soulful majesty of "Blue Lines", Massive Attack returned to the airwaves and turntables with the afterhours cool of "Protection". A natural successor to their stratospheric debut (even down to the sleeve design), "Protection" finds the group in confident mode, continuing to fuse hip hop, reggae and soul, but adding elements of R&B and chilled out electronica. The LP opens in emotive fashion with Tracey Thorn collaboration "Protection", before the thumping bass and relaxed rhymes of "Karmacoma" begin to test your speakers. The infectious, undulating groove of "Weather Storm" is one of the finest sample flips ever, while the menacing piano and robust breakbeats of "Heat Miser" rival the introspective quality of anything on DJ Shadow's "Endtroducing". Peppered with irresistible melodies and irrepressible rhythms throughout, all the while maintaining a subtle melancholy, "Protection" is the perfect soundtrack to those lonely moments very late in the night.

                                    FORMAT INFORMATION

                                    Ltd LP Info: 180gram heavyweight vinyl.

                                    Marvin Gaye

                                    Trouble Man - 180g Vinyl Edition

                                      As Motown migrated from Detroit to LA, Marvin's follow-up to the spiritual consciousness of "What's Goin' On" was the soundtrack to '72 Blaxploitaion flick "Trouble Man". It's altogether a more streetwise collection of stone cold funk, earthy Curtis-esque falsetto and badass grooves that has seen it plundered by generations of beatdiggers. "'T' Plays it Cool" is one of the best tunes ever made, just ask Jazzy Jeff!!!

                                      FORMAT INFORMATION

                                      LP includes MP3 Download Code.

                                      Six years after his groundbreaking debut LP "Entroducing", Josh Davis (AKA DJ Shadow) came back with a follow up, "The Private Press". Containing everything you'd want from a DJ Shadow LP, the fifteen track LP zips through crazy B-boy breaks, audacious cut ups, sublime hip hop instrumentals, oddball samples, quirky downbeat and leftfield rock weirdness. It was released on June 4, 2002, by MCA Records to widespread acclaim from critics. This double LP reissue has been printed on 180gm heavyweight vinyl, in a triple gatefold package. It also comes complete with a download code.


                                      FORMAT INFORMATION

                                      2xLtd LP includes MP3 Download Code.


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