Lee “Scratch” Perry's posthumous masterpiece Destiny, crafted alongside Bob Riddim, is a transcendent journey through reggae's legacy and future. With Evie Pukupoo's soulful echoes, Kabaka Pyramid's revolutionary lyricism, and Xana Romeo's neo-roots infusion, the album marries iconic traditions with reggae’s modern sound and voices. Highlights also include a collaborative showcase of the next-generation reggae wave with Blvk H3ro, Leno Banton, and Wayne J on "Ring Pon My Finger", and a nod to dub royalty with Addis Pablo's melodica on "Infinity” (Dub). Scheduled for a September 8th global launch via Delicious Vinyl Island, Destiny stands as a testament to Perry's indelible influence on the Jamaican and global music soundscape.

TRACK LISTING

1. I Am - Lee "Scratch" Perry X Bob Riddim
2. Destiny - Lee "Scratch" Perry X Bob Riddim X Evie Pukupoo
3. Black - Lee "Scratch" Perry X Bob Riddim X Kabaka Pyramid
4. Space Echo - Lee "Scratch" Perry X Bob Riddim
5. Police And Thieves - Lee "Scratch" Perry X Bob Riddim X Xana Romeo
6. Ring Pon My Finger - Lee "Scratch" Perry X Bob Riddim X Blvk H3ro X Leno Banton X Wayne J
7. Infinity - Lee "Scratch" Perry X Bob Riddim X Yaadcore
8. Infinity (Dub) - Lee "Scratch" Perry X Bob Riddim X Addis Pablo
9. Destiny (Dub) - Lee "Scratch" Perry X Bob Riddim X Evie Pukupoo

When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.

It was an acceptance speech that rattled the room and built anticipation for their next projects.

Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.

This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.

From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the people’s ability to endure, overcome and bring about change.

The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of affirmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, offering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan offers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.

Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.

STAFF COMMENTS

Barry says: Humble As the Sun is almost certain to bring Bob Vylan to the wider public consciousness. It's a momentum-filled, chaos embracing collection of grime-adjacent, punky rock pieces. Brilliantly propulsive and more than a little reminiscent of rap-rock superstars RATM.

TRACK LISTING

A1. Humble As The Sun
A2. Reign
A3. GYAG
A4. Dream Big
A5. Hunger Games
B1. Right Here
B2. Makes Me Violent
B3. He's A Man
B4. Ring The Alarm
B5. I'm Still Here 

Selassie is the chapel is a beautiful, spiritual and dream like recording, made by the young Bob Marley when he had first discovered the Rastafarian religion. The single is a song taken from the little-known JAD Records catalogue of Bob Marley recordings, which have remained unexploited for some time. It was a song which held great meaning and significance for him and was always very important to him. It is no coincidence that this song, created more than 50 years ago, should resonate with all of us at this time of intense difficulty and unparalleled adversity that is being felt across the world. Bob Marley's image is known, admired and accepted as a beacon of spiritual hope and unification for people of every race, creed, colour, and gender in every corner of the globe and has been fundamental in connecting people of all countries and faiths for many years. In this dire climate of global distress, deprivation and unrest, world politics is providing us with no solution, but perhaps Bob Marley and this beautiful song will unify us.

TRACK LISTING

1. Selassie Is The Chapel
2. Lick Samba

“Incident At a Free Festival” is a tribute to the mid-afternoon slots at Deeply Vale, Bickershaw, Krumlin, Weeley, and Plumpton – early 70s festivals that don’t get the column inches afforded the Isle of Wight or Glastonbury Fayre, but which would have been rites of passage for thousands of kids. Bands lower down the bill would have been charged with waking up the gentle hippies and appealing to both the greasy bikers and the girls in knee-high boots who wanted to wiggle their hips. And the best way to do that was with volume, riffs and percussion.

Compiled by the venerated Bob Stanley and Pete Wiggs of Saint Etienne, this is the heavier side of the early 70s they summarised on the acclaimed “English Weather” collection. There’s an air of menace and illicit thrills among tracks by Andwella, Stack Waddy and Leaf Hound (whose “Growers of Mushroom” album is worth well over £1,000). Bigger names include the rabble-rousing Edgar Broughton Band and kings of the festival freakout, Hawkwind. They are represented by their rare version of ‘Ejection’

For every mystical Tyrannosaurus Rex performance there was something like Atomic Rooster’s Tomorrow Night or Curved Air’s Back Street Luv to capture the spirit of the day and stir the loins of festival goers; the tracks on “Incident At a Free Festival” were inspired by both Chicago’s percussive wig-outs and the Pink Fairies’ anarchic spirit. The sounds were heavy and frequently funky, with a definite scent of danger. Their message was clear and simple: clap your hands, stamp your feet, hold on to your mind. 

TRACK LISTING

1. Chasing Shadows - Deep Purple
2. One Way Glass - Manfred Mann Chapter Three
3. Hold Onto Your Mind - Andwella
4. Hot Pants - Alan Parker & Alan Hawkshaw
5. Do It - Pink Fairies
6. Tomorrow Night – Atomic Rooster
7. Taken All The Good Things - Stray
8. Out Demons Out - Edgar Broughton Band
9. For Mad Men Only - May Blitz
10. Back Street Luv - Curved Air
11. Ejection - Hawkwind
12. Meat Pies ’Ave Come But Band's Not ’Ere Yet - Stackwaddy
13. Lovely Lady Rock - James Hogg
14. Third World - Paladin
15. Taking Some Time On - Barclay James Harvest
16. Ricochet - Jonesy
17. Led Balloon - Steve Gray
18. Big Boobs Boogie - Slowload
19. Freelance Fiend - Leaf Hound
20. Confunktion - Dave Richmond 

A 2LP highlight edition of the 4CD box set, features 16 select unreleased live performances.

The Bob Dylan World Tour 1978 marked the artist's first international concert dates since 1966 and his first live shows since the Rolling Thunder Revue blasted through North America in 1975-76. A major international musical event, the year-long tour found Bob Dylan performing 114 shows in Asia, Oceania, North America and Europe, to a combined audience of two million fans.

For his 1978 performances, Dylan (rhythm guitar, harmonica, vocals) led an ensemble featuring Billy Cross (lead guitar), Ian Wallace (drums), Alan Pasqua (keyboards), Rob Stoner (bass, vocals), Steven Soles (acoustic rhythm guitar, vocals), David Mansfield (pedal steel, violin, mandolin, guitar, dobro), Steve Douglas (saxophone, flute, recorder), Bobbye Hall (percussion), Helena Springs (vocals), Jo Ann Harris (vocals), and Debi Dye (vocals). The original Bob Dylan At Budokan album was produced by Don DeVito, who also helmed Dylan's Street-Legal, recorded and released during the 1978 world tour, featuring the same musicians.

STAFF COMMENTS

Barry says: Another Budokan sees One of Bob Dylan's most revered performances summarised beautifully to vinyl, with each LP representing different selection of tracks from two consecutive nights. Classic, peak live Dylan.

TRACK LISTING

Live At Nippon Budokan Hall, Tokyo, Japan - February 28, 1978

LP1 - Side A

1. A Hard Rain's A-Gonna Fall　
2. Repossession Blues
3. Ballad Of A Thin Man
4. To Ramona

LP1 - Side B

1. Like A Rolling Stone
2. Blowin' In The Wind
3. All Along The Watchtower
4. Tomorrow Is A Long Time

Live At Nippon Budokan Hall, Tokyo, Japan – March 1, 1978

LP2 - Side A

1. Love Her With A Feeling
2. I Threw It All Away
3. Girl From The North Country
4. One Of Us Must Know (Sooner Or Later)

LP2 - Side B
1. I Don't Believe You (She Acts Like We Never Have Met)
2. You're A Big Girl Now
3. The Man In Me
4. Forever Young

Columbia Records and Legacy Recording, the catalog division of Sony Music Entertainment, will release Bob Dylan - The Complete Budokan 1978 on Friday, November 17.

A deluxe box set celebrating Bob Dylan's 1978 world concert tour and the 45th anniversary of the artist's first concert appearances in Japan, The Complete Budokan 1978 presents two full shows originally recorded on 24-channel multitrack analog tapes at Tokyo's Nippon Budokan Hall on February 28 and March 1, 1978 and offers fans 36 previously unreleased Dylan performances. The Complete Budokan 1978 will be available in 4CD, 8LP (Japan only) and digital configurations. 

The Bob Dylan World Tour 1978 marked the artist's first international concert dates since 1966 and his first live shows since the Rolling Thunder Revue blasted through North America in 1975-76. A major international musical event, the year-long tour found Bob Dylan performing 114 shows in Asia, Oceania, North America and Europe, to a combined audience of two million fans.

The tour launched in February 1978 with eleven historic performances: Dylan' first-ever concerts in Japan which included eight shows at the revered Nippon Budokan Hall in Tokyo. Two of the Budokan shows--February 28 and March 1, 1978--were recorded on 24-channel multi-track analog tape with 22 performances excerpted from those shows appearing on Bob Dylan At Budokan, a 2LP set first issued on Columbia Records as a Japan-only release in November 1978, followed by a global release in April 1979 in response to widespread demand. The Complete Budokan 1978 marks the first time any of Dylan's complete performances from his 1978 world tour have been officially available.

For his 1978 performances, Dylan (rhythm guitar, harmonica, vocals) led an ensemble featuring Billy Cross (lead guitar), Ian Wallace (drums), Alan Pasqua (keyboards), Rob Stoner (bass, vocals), Steven Soles (acoustic rhythm guitar, vocals), David Mansfield (pedal steel, violin, mandolin, guitar, dobro), Steve Douglas (saxophone, flute, recorder), Bobbye Hall (percussion), Helena Springs (vocals), Jo Ann Harris (vocals), and Debi Dye (vocals). The original Bob Dylan At Budokan album was produced by Don DeVito, who also helmed Dylan's Street-Legal, recorded and released during the 1978 world tour, featuring the same musicians.

According to Tetsuya Shiroki, co-producer of The Complete Budokan 1978, the newly restored, remixed and remastered recordings "…capture(s) two days of this history-making tour. Nothing has been removed or altered in any way."

Many individuals involved in the original Bob Dylan at Budokan album reunited for the new release. Under the supervision of Heckel Sugano, the CBS Sony product manager for Bob Dylan in Japan at the time, the engineer responsible for the 1978 recording has worked on the new 2023 remix using the original 24-channel multi-tapes, while the album cover showcases artwork by the same photographers as the original.

Chief engineer Tom Suzuki says, "We mixed the record with the keyword 'passion' in mind. The result is a mix that surpasses the original 1978 release, providing a crisper and clearer sound where each instrument and Bob Dylan's voice are distinctly audible."

Heckel Sugano says, "The completed album documents the remarkable sound of the legendary Budokan shows that are forever etched in history. We tried to faithfully reproduce the sound the Japanese audience would have heard in the concert hall.."

Presented in a luxurious deluxe box, The Complete Budokan 1978 includes newly remixed complete live recordings from the two Budokan concert dates featuring 36 previously unreleased tracks; facsimile memorabilia such as concert tickets, pamphlets, posters, and flyers; 60-page full-color photo book of previously unpublished photos of Dylan on-stage and behind-the-scenes at the airport, press conferences and more; exclusive liner notes. The 2LP Another Budokan 1978 features 16 previously unreleased tracks from the Budokan box.

In her liner essay for The Complete Budokan 1978, music critic Edna Gundersen notes that the original Bob Dylan At Budokan album "has undergone a sober reappraisal over the decades as consumers and critics grew to admire its adventurous arrangements and provocative performances." She heralds the new restored and remastered release, writing that "Captured at Budokan, Dylan is in good spirits and fully engaged. He sings with brio and urgency, his voice clear and melodic and his phrasing impeccable as ever....The band crackles with careening energy.... (Dylan) saw the stage as a proving ground that brought his tunes to life."

TRACK LISTING

Live At Nippon Budokan Hall, Tokyo, Japan - February 28, 1978
CD1
1. A Hard Rain's A-Gonna Fall*　
2. Repossession Blues*
3. Mr. Tambourine Man*
4. I Threw It All Away*
5. Shelter From The Storm
6. Love Minus Zero/No Limit
7. Girl From The North Country*
8. Ballad Of A Thin Man*
9. Maggie's Farm*
10. To Ramona*
11. Like A Rolling Stone*
12. I Shall Be Released*
13. Is Your Love In Vain? *
14. Going, Going, Gone*
CD2
1. One Of Us Must Know (Sooner Or Later) *
2. Blowin' In The Wind*
3. Just Like A Woman*
4. Oh, Sister*
5. Simple Twist Of Fate
6. You're A Big Girl Now*
7. All Along The Watchtower*
8. I Want You*
9. All I Really Want To Do*
10. Tomorrow Is A Long Time*
11. Don't Think Twice, It's All Right
12. Band Introductions*
13. It's Alright, Ma (I'm Only Bleeding)
14. Forever Young
15. The Times They Are A-Changin'
Live At Nippon Budokan Hall, Tokyo, Japan – March 1, 1978
CD3
1. A Hard Rain's A-Gonna Fall*
2. Love Her With A Feeling*
3. Mr. Tambourine Man
4. I Threw It All Away*
5. Love Minus Zero/No Limit*
6. Shelter From The Storm*
7. Girl From The North Country*
8. Ballad Of A Thin Man
9. Maggie's Farm
10. One More Cup Of Coffee (Valley Below)
11. Like A Rolling Stone
12. I Shall Be Released
13. Is Your Love In Vain?
14. Going, Going, Gone
CD4
1. One Of Us Must Know (Sooner Or Later) *
2. Blowin' In The Wind
3. Just Like A Woman
4. Oh, Sister
5. I Don't Believe You (She Acts Like We Never Have Met) *
6. You're A Big Girl Now*
7. All Along The Watchtower
8. I Want You
9. All I Really Want To Do
10. Knockin' On Heaven's Door
11. The Man In Me*
12. Band Introductions*
13. It's Alright, Ma (I'm Only Bleeding)*
14. Forever Young*
15. The Times They Are A-Changin'*

*Previously Unreleased

Catch A Fire is the fifth studio album by Bob Marley and the Wailers and the first to be released by Island Records UK. Originally having a limited release under the name, The Wailers in a sleeve depicting a Zippo lighter, designed by graphic artists Rod Dyer and Bob Weiner. Future releases would have the classic portrait of Marley smoking a “spliff” and crediting the band as Bob Marley and the Wailers with the image taken by Esther Anderson. A tour taking place in the UK and US generating international interest in the band.

Critical acclaim has included the album being listed at number 126 on Rolling Stone’s 500 Greatest Albums of All Time, It is regarded as one of the top reggae albums of all time.

In 1971 after a solo tour Marley returned to Jamaica with Peter Tosh and Bunny Wailer to record Catch A Fire but the sessions were abandoned because of clashes with Johnny Nash and Danny Sims. The band did not have funds to return to Jamaica, nor could they earn money due to work-permit restrictions, The group’s London Road manager, Brent Clarke, recommended they get in contact with Chris Blackwell from Island Records, who had released licensed singles by The Wailers from Studio One in Great Britain. Blackwell gave the group an advance of £4000 to help them get home to Jamaica, and to complete the recording of their next album. In 1972 the album was recorded in Kingston, Jamaica at 3 different studios. As the story goes, in 1972 Marley flew back to London to play the tapes to Chris Blackwell. CBS and Sims, with whom the band were already contracted, took Blackwell and the Island Records label to court over the recording, Island won the case, Blackwell remixed the tracks at the Island Studios on Basing Street and included overdubs.

April 2023 saw the 50th Anniversary of Catch A Fire, to mark this a limited edition 7” featuring 2 alternate versions of Stir It Up (vocal and instrumental) both feature on these releases. The 3LP+12” vinyl package will consist of the studio album, Live at The Paris Theatre London, previously only ever bootlegged, will get its first official release, the package also feature’s Alt, extended and instrumental Jamaican versions of album tracks Slave Driver, 400 Years No More Trouble and Stop That Train, finally on the 12” is 3 tracks from the Wailer’s performance at the Sundown Theatre in the village of Edmonton, North London, playing tracks Slave Driver, Stop That Train & Get Up Stand, Stand up, the reverse side has an etched image of the Zippo lighter.

Mixing Up The Medicine is a new career-spanning compilation containing 12 of Bob Dylan’s greatest songs, including “Knocking On Heaven’s Door”, “Like A Rolling Stone” and “Hurricane”. It serves as the companion piece to the Mixing Up The Medicine book, which offers an unprecedented look into the Bob Dylan Archive. Set for release on Oct. 24, 2023, this magnum opus will include nearly 1,000 images, most of which have never been seen by the public, alongside original essays by prominent writers and artists.

TRACK LISTING

SIDE A:
Times They Are A-Changin’
Blowin’ In The Wind
Like A Rolling Stone
Subterranean Homesick Blues
All Along The Watchtower
Lay Lady Lay
Forever Young (slow Version)
SIDE B:
Tangled Up In Blue
Hurricane
Knockin’ On Heaven’s Door
Make You Feel My Love
Things Have Changed

Time Out of Mind is the thirtieth studio album by American singer-songwriter Bob Dylan, originally released on September 30, 1997, through Columbia Records. For many fans and critics, the album marked Dylan's artistic comeback after he appeared to struggle with his musical identity throughout the 1980s; he had not released any original material since Under the Red Sky in 1990. Time Out of Mind is hailed as one of Dylan's best albums, and it went on to win three Grammy Awards, including Album of the Year in 1998.

TRACK LISTING

Side A
1. Love Sick
2. Dirt Road Blues
3. Standing In The Doorway
4. Million Miles
Side B
1. Tryin' To Get To Heaven
2. 'Til I Fell In Love With You
3. Not Dark Yet
Side C
1. Cold Irons Bound
2. Make You Feel My Love
3. Can't Wait
Side D
1. Highlands

If you threw a house party in London in the late twentieth century, before the smart phone rendered it redundant, you could guarantee that the following morning there would be a dog-eared copy of the A to Z behind the sofa, or under the coffee table, probably in a Tesco bag. Everybody had at least one. It was an essential aid in understanding London. It joined the dots and threw up obscure names printed over hitherto unexplored grids of streets: Alperton, Shooters Hill, Honor Oak, Tooting Graveney, Childs Hill, Ladywell. It invited you to create your own personal map of London, discover your own secret routes, your own special places.

You could peruse the A to Z with the knowledge of who lived where – Sandy Denny in Wimbledon, before she moved to Muswell Hill which was already legendary as the home of the Kinks. Arterial roads as grisly as Archway Road (Rod Stewart) or Holloway Road (Joe Meek) or could be made magic through their pop connections.

Put together by Saint Etienne’s Bob Stanley, this is the soundtrack of London’s centre (Bert Jansch and John Renbourn’s ‘Soho’, Nick Drake’s ‘Mayfair’) and its hinterlands (Al Stewart’s ‘Swiss Cottage Manoeuvres’, Humble Pie’s ‘Beckton Dumps’, Julie Driscoll’s ‘Vauxhall To Lambeth Bridge’) with a few transport links (Barbara Ruskin’s ‘Euston Station’, Norma Tanega’s ‘Clapham Junction’) thrown in to help you navigate your A to Z. This isn’t London swinging cinematically, but it has the exact feel of the city’s streets and suburbs in the late 60s and early 70s.

What might be lurking in these locations, waiting to be uncovered on a cold winter Saturday? Corner caffs with Pepsi signs. Second-hand record shops and rickety street markets. Many are gone, but not all. This compilation is a musical travel guide – squint, and sometimes London can still seem magical. This is its soundtrack… 

TRACK LISTING

1. Cutty Sark – John Barry
2. Portobello Road - Cat Stevens
3. Sunny Goodge Street - Marianne Faithfull
4. Jeffrey Goes To Leicester Square - Jethro Tull
5. Marcel's – Herman’s Hermits
6. Goodbye Post Office Tower - Cressida
7. Primrose Hill - John & Beverley Martyn
8. Mayfair - Nick Drake
9. London Bridge - Cilla Black
10. Hampstead Way - Linda Lewis
11. Soho - Bert Jansch & John Renbourn
12. Friday Hill - Bulldog Breed
13. London Social Degree - Dana Gillespie
14. Euston Station - Barbara Ruskin
15. Kew Gardens - Ralph Mctell
16. City Road - Dave Evans
17. Parliament Hill - Magna Carta
18. Edgware Station - Edward Bear
19. Beckton Dumps - Humble Pie
20. Notting Hill Gate - Quintessence
21. Clapham Junction - Norma Tanega
22. Swiss Cottage Manoeuvres - Al Stewart
23. Richmond - Shelagh Mcdonald
24. Vauxhall To Lambeth Bridge – Julie Driscoll, Brian Auger & The Trinity 

First Time Reissued, Includes The Original Cover Artwork. Out of Print in any format for 30 years.

Most of us likely missed MUDHONEY’s ‘Five Dollar Bob’s Mock Cooter Stew’ when it first cratered here on Earth in late 1993, but we can ALL learn from our previous mistakes RIGHT NOW!!! Out of print in any physical format for 30 years (!), here is their Reprise mini-LP for all to devour in real-time and roll in its naked glory. Initially recorded by the band as an offering for their fans to devour while they were between full-length albums, the majority of ‘Five Dollar’ was recorded in one short, inspired burst on August 1, 1993, between the hours of 9:30 and 10:15 PM (with friend and Fastback Kur(d)t Bloch egging them on from the production booth). They smashed this out in just 45 minutes.

It might be the band at their most ‘Stooge-esque’ since there is no flowery imagery; nothing to misinterpret; just in-your-face blunt despair (in that department, Black Flag’s ‘Damaged’ LP comes to mind, especially in Mudhoney’s gleefully punishing highlight: ‘No Song III’). Within two seconds of any of these songs hitting your mind (maybe even within one second), you knew it could only be Mudhoney. You can instantly recognize it, because they truly own it/you/the universe.

TRACK LISTING

1. In The Blood
2. No Song III
3. Between Me & You Kid
4. Six Two One
5. Make It Now Again
6. Deception Pass
7. Underide

The world is full of Bee Gees fans. Yet, for a band of such renown, little is known about Barry, Maurice and Robin Gibb. Weren't two of them twins? Didn't one of them marry Lulu? Where does Andy fit into the Gibb family tree? And why did they storm out of that Clive Anderson interview?People tend to have their favourite era of the Bee Gees' career, but many listeners are also conscious that there is more to uncover about the band.

This book will provide the perfect route in, pulling together every fascinating strand to tell the story of a group with the imagination of the Beatles, the pop craft of ABBA, the drama of Fleetwood Mac and the emotional heft of the Beach Boys. Uniquely, the Bee Gees' tale spans the entire modern pop era - they are the only group to have scored British top-ten singles in the '60s, '70s, '80s and '90s - and includes world-conquering disco successes like 'Stayin' Alive' and 'More Than a Woman', both from the soundtrack of hit film Saturday Night Fever. But the Bee Gees' extraordinary career was one of highs and lows.

From a vicious but temporary split in 1969 to several unreleased albums, disastrous TV and film appearances, and a demoralising cabaret season, the group weren't always revelling in the glow of million-selling albums, private jets and UNICEF concerts. Yet, even in the Gibbs' darkest times, their music was rarely out of the charts, as sung by the likes of Al Green, Kenny Rogers and Dolly Parton, and Destiny's Child. Capturing the human story at the heart of the Bee Gees, this book will be a lyrical and stylish read, delighting hardcore fans with its details while engaging casual pop readers who simply want to know more about this important and enigmatic group.

Shadow Kingdom presents Dylan performing revelatory 21st century versions of songs from his storied back catalog – including fan favorites like "Forever Young" and "It's All Over Now, Baby Blue," and deep catalog gems like "Queen Jane Approximately" and "The Wicked Messenger."

Originally reinterpreted for an exclusive streaming film event, which aired in July 2021, Shadow Kingdom will now be available on vinyl, CD, and streaming platforms for the first time. The album's setlist includes 13 original songs handpicked by Dylan for his Shadow Kingdom performance plus the closing instrumental, "Sierra's Theme."

TRACK LISTING

When I Paint My Masterpiece
Most Likely You Go Your Way (And I'll Go Mine)
Queen Jane Approximately
I'll Be Your Baby Tonight
Just Like Tom Thumb's Blues
Tombstone Blues
To Be Alone With You
What Was It You Wanted
Forever Young
Pledging My Time
The Wicked Messenger
Watching The River Flow
It's All Over Now, Baby Blue
Sierra's Theme

Dylan's self-titled debut album was produced in a matter of hours and cost just$402 to record (according to producer John Hammond).It serves as an introduction for anyone wanting to explore Dylan's first steps as a professional musician.Recorded at New York's Columbia Recording Studios, on November 20-22, 1961, Dylan sang topical folk songs, accompanying himself on harmonica and guitar. The album contained only two originals ("Song to Woody" and "Talking New York") and eleven cover versions, mostly old folk and blues numbers.

Dylan takes an arranger's credit on many of the traditional songs, but a number of them can be traced to his contemporaries. For example, the arrangement of "House of the Rising Sun" was developed by Dave Van Ronk, who was Dylan's close friend at the time. A significant portion of the album is possessed by the style and spirit of Woody Guthrie, whose influence as a singer and guitarist hovers over "Man of Constant Sorrow" and "Pretty Peggy-O", as well as the two originals here - the savagely witty "Talkin' New York" and the poignant "Song to Woody".

TRACK LISTING

1.  Corrina, Corrina 
2.  Baby, Please Don't Go 
3.  See That My Grave Is Kept Clean 
4.  Song To Woody 
5.  Freight Train Blues 
6.  House Of The Risin' Sun 
7.  Baby, Let Me Follow You Down 
8.  Gospel Plow 
9.  Mixed-Up Confusion 
10.  Highway 51 
11.  Pretty Peggy-O 
12.  Fixin' To Die 
13.  Man Of Constant Sorrow 
14.  In My Time Of Dyin' 
15.  Talkin' New York 
16.  You're No Good

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

From Bob Marley and the Wailers world renowned 5th studio album (first release on Island Records) "Catch A Fire" this RSD exclusive will feature an unreleased version of Stir It Up Alternate Jamaican version and an instrumental version to celebrate the albums 50th anniversary 7".

TRACK LISTING

1. Promo/Stir It Up Alternate Jamaican
2. Stir It Up Alternate Jamaican Instrumental

There was plenty of genuine discontent in Britain at the tail end of the 1970s, and it had little to do with bin strikes or dark rumours about overflowing morgues. In the world of popular music, the most liberating after-effect of the Sex Pistols was that anyone with something to say now felt they could make a 7” single. “Winter Of Discontent” is the sound of truly DIY music, made by people who maybe hadn’t written a song until a day or two before they went into the studio. It’s spontaneous and genuinely free in a way the British music scene has rarely been before or since.

“Winter of Discontent” has been compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, the latest in their highly acclaimed series of albums that includes “The Daisy Age”, “Fell From The Sun” and “English Weather” ("really compelling and immersive: it’s a pleasure to lose yourself in it" - Alexis Petridis, the Guardian). The era's bigger DIY names (Scritti Politti, TV Personalities, the Fall) and the lesser-known (Exhibit A, Digital Dinosaurs, Frankie’s Crew) are side by side on “Winter Of Discontent”. Mark Perry’s Sniffin’ Glue command – “Here’s one chord, here’s another, now start a band” – was amplified by the Mekons and the Raincoats, whose music shared a little of punk’s volume, speed and distortion, but all of its obliqueness and irreverence.

The discontent was with society as a whole. No subject matter was taboo: oppressive maleness (Scritti Politti); deluded Britishness (TV Personalities); gender stereotypes (Raincoats, Androids of Mu); nihilistic youth (Fatal Microbes); alcoholism (Thin Yoghurts); self-doubt and pacifism (Zounds). The band names (Thin Yoghurts!) and those of individual members (Andrew Lunchbox!) had enough daftness to avoid any accusations of solemnity.

“Winter Of Discontent” is the definitive compilation of the UK DIY scene, and a beacon in grim times. 

STAFF COMMENTS

Darryl says: A soundtrack to a generation of discontent in the late 70s. DIY music that spontaneously smashed through the British music scene in the wake of the punk revolution.
Mark Perry’s Sniffin’ Glue command, “Here’s one chord, here’s another, now start a band” was the fuse and these tracks are the light that shone through those dark days.

TRACK LISTING

SIDE ONE
1. WHERE WERE YOU? – The Mekons
2. VIOLENCE GROWS – Fatal Microbes
3. THE TERRAPLANE FIXATION – Animals & Men
4. WORK – Blue Orchids
5. SMALL HOURS – Karl’s Empty Body
6. SOMEBODY – Frankie’s Crew
SIDE TWO
1. CONFIDENCE – Scritti Politti
2. DRINK PROBLEM – Thin Yoghurts
3. LOW FLYING AIRCRAFT – Anne Bean & Paul Burwell
4. BROW BEATEN – Performing Ferret Band
5. NO FORGETTING – The Manchester Mekon
6. FAIRYTALE IN THE SUPERMARKET – The Raincoats
SIDE THREE
1. CAN’T CHEAT KARMA – Zounds
2. BORED HOUSEWIVES – Androids Of Mu
3. IN MY AREA (Take 2) – The Fall
4. THE SIDEWAYS MAN – The Digital Dinosaurs
5. ATTITUDES – The Good Missionaries
6. THE WINDOW’S BROKEN – Human Cabbages
SIDE FOUR
1. KING AND COUNTRY – Television Personalities
2. IN THE NIGHT – Exhibit ‘A’
3. NUDES - Performing Ferret Band
4. DIFFERENT STORY – Tarzan 5
5. THE RED PULLOVER – The Gynaecologists
6. PRODUCTION LINE – The Door And The Window

Bob Marley With The Chineke! Orchestra reimagines some of Bob Marley's greatest songs with contemporary classical orchestration from the globally esteemed Chineke! Orchestra. Recorded at Abbey Road Studios and produced by Nick Patrick (If I Can Dream, Elvis Presley and the Royal Philharmonic Orchestra, True Love Ways, Buddy Holly and The Royal Philharmonic Orchestra), reimagined tracks include Satisfy My Soul, Exodus, Is This Love, Redemption Song, Get Up, Stand Up, and One Love/People Get Ready, scheduled for release as a lead track on 25th March.

The genesis of the idea for Bob Marley & The Chineke! Orchestra came via the acclaimed cellist and 2016 BBC Young Musician of the Year Sheku Kenneh-Mason OBE. Although now a full-time solo artist and no longer an active Chineke! member, it was Kenneh-Mason's pioneering and original arrangements of Marley's No Woman, No Cry and Redemption Song that initially captured the attention and appreciation of Tuff Gong and the Bob Marley estate. So the Chineke! musical journey, via Abbey Road Studios, had begun.

Chineke! founder Chi-chi Nwanoku OBE explains, "As a purely trained classical musician, the idea of being involved in a musical collaboration with the legendary Bob Marley was truly mind-blowing. I ardently believe that all genres of music should be open to absolutely everyone, so it was wonderful for Chineke! to be able to bring new orchestrations to these iconic tracks."

TRACK LISTING

1. Exodus
2. Stir It Up
3. One Love/People Get Ready
4. Get Up, Stand Up
5. Is This Love
6. Redemption Song
7. Top Rankin'
8. Satisfy My Soul
9. I Shot The Sheriff
10. Turn Your Lights Down Low

Blonde on Blonde: A double album that transcends time, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didn’t know. Renowned for what Bob Dylan deemed “that thin, that wild mercury sound.”

Deemed by cultural critic Greil Marcus “the most glamorous record imaginable,” Blonde on Blonde remains to music, production, prose, and performance what hydrogen is to water. The secret to the 1966 masterwork’s inimitable aural character partially stems from Dylan’s request to remove the baffles from the studio room, allowing the musicians to interact as well as the music to possess a more organic quality. 

The story of Blonde on Blonde is almost as compelling as the music. Dylan, relocating to Tennessee and pairing with Nashville’s top session players as well as members of what would become the Band, feverishly chasing perfectionism while arriving at an inimitable on-the-fly feel. A majority of tunes were recorded long after midnight, the early A.M. vibe reflected in the nocturnal aura, woozy optimism, and spiritual soulfulness of the playing. “Essential” doesn’t even begin to cover the genius of this record that, ranked ninth-best of all-time by Rolling Stone, finally features sonics that match the caliber of the conscious-altering power and mythical weight of the songs within.

Deptford Northern Soul Club continue their retrograde mission with two colossal floorfillers from the late 1960s Northern scene.

‘I’ll Be On My Way’ is not only a staggeringly beautiful song, it’s also a super rare side filled with those strings that recall the echoey ceiling of Wigan Casino. A supremely soulful cut with a sturdy beat from 1966, with a classic vocal to fall in love with. Originally on Big Mack and going for over two grand, even the re-issue on Goldmine fetches 75 quid, it’s such an invigorating vocal and storming instrumental.

On side B, The Volumes’ funky floor surfer ‘I’ve Never Been So In Love’. Filled with horn slurps over a crazed organ anchor, it chugs into a singalong chorus that’s impossible to forget. From 1969 and originally on the obscure Garu label, it goes for between £40 and £140 pounds if you're lucky enough to find a copy.

Nicely pressed in sturdy 7" disco bag. Northern never sounded so crisp and fresh! 

STAFF COMMENTS

Matt says: Shark-slaying re-issues to keep Kevin Lewandowski crying into his dipping stock value. If you're a fan of Northern on a budget (and sounded nice n crisp to boot!) you need these floor-fillers!

TRACK LISTING

Bob & Fred - I’ll Be On My Way
The Volumes - I’ve Never Been So In Love

The latest chapter in Columbia/Legacy's highly acclaimed Bob Dylan Bootleg Series revisits an often-forgotten, rich vein in Dylan’s vast and complex catalog, shining fresh light on the provocative new musical directions Dylan was taking as a songwriter and a recording artist from 1980 through 1985. In the early 1980s, while the music industry was grappling with the arrival of new trends and technology, from MTV to compact discs to digital recording, Bob Dylan was writing and recording new songs for a new decade, creating an essential new chapter in his studio catalog. Bob Dylan - Springtime In New York (1980-1985) celebrates the rich creative period surrounding Dylan's albums Shot Of Love, Infidels, and Empire Burlesque with previously unreleased outtakes, alternate takes, rehearsal recordings, live performances and more. 

The second volume of music from the hit Fox TV show ‘Bob’s Burgers’. The Emmywinning, top-rated show was named one of the 60 Greatest TV Cartoons of All Time by TV Guide.

In addition to the show’s cast, the album features high-profile guests including Adam Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall, Aparna Nancherla and Matt Berninger (of the National).

The ‘Bob’s Burgers’ audience is wide-ranging: strong performance with 15-25 year olds, median viewing age of 37, 35 share among males 35-54 and a 16 share of females in the same group.bCampaign will include promotion from the cast and show production team.
‘The Bob’s Burgers Music Album Vol. 2’ includes nearly every single musical morsel from Seasons 7 through 9.

This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin), Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen Schaal) - as well as the show’s numerous recurring and special guests.

For fans of the show, enjoying the music of Bob’s Burgers on its own is both an irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely epic disco celebration ‘Hot Pants Rain Dance’, sing along with the musical theatre gem ‘The Wedding Is My Warzone’, or do whatever you’re gonna do to ‘Sexy Little Tiger’ but don’t miss ‘The Bob’s Burgers Music Album Vol. 2’.

Demon Records presents Distortion: Live, the fourth and final edition in a series of expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. The final volume in the series features 8LPs of live recordings from across Mould’s solo career.

TRACK LISTING

LP 1 & 2
Bob Mould
Live At The Cabaret Metro, 1989

Side A
1. Sunspots
2. Wishing Well
3. Compositions For The Young And Old
4. Heartbreak A Stranger
5. Dreaming, I Am

Side B
1. If You're True
2. Poison Years
3. Sinners And Their Repentances
4. Lonely Afternoon

Side C
1. Brasilia Crossed With Trenton
2. See A Little Light
3. Whichever Way The Wind Blows
4. All Those People Know

Side D
1. Shoot Out The Lights
2. Hardly Getting Over It
3. Celebrated Summer
4. Makes No Sense At All

LP 3 & 4

Sugar
The Joke Is Always On Us, Sometimes

Side A
1. Gift
2. Company Book
3. Hoover Dam
4. After All The Roads Have Led To Nowhere

Side B
1. Where Diamonds Are Halos
2. Slick
3. Going Home
4. Running Out Of Time
5. Frustration

Side C
1. Changes
2. Can't Help You Any More
3. Helpless
4. If I Can't Change Your Mind
5. In The Eyes Of My Friends

Side D
1. Clownmaster
2. Gee Angel
3. Explode And Make Up
4. The Slim

LP 5 & 6

BobMouldBand
LiveDog98

Side A
1. Moving Trucks
2. Taking Everything
3. First Drag Of The Day
4. I Hate Alternative Rock
5. Stand Guard

Side B
1. Classifieds
2. Hear Me Calling
3. Art Crisis
4. Anymore Time Between

Side C
1. Skintrade
2. Eternally Fried
3. Roll Over And Die
4. Lonely Afternoon

Side D
1. Egoverride
2. Reflecting Pool
3. Disappointed
4. Hanging Tree
5. Man On The Moon

LP 7
Bob Mould Band
Live At ATP 2008

Side A

1. The Act We Act
2. A Good Idea
3. I Hate Alternative Rock
4. See A Little Light
5. Hoover Dam
6. Circles

Side B
1. Paralyzed
2. I Apologize
3. Chartered Trips
4. Celebrated Summer
5. Makes No Sense At All
6. New Day Rising

LP 8

Bob Mould
Distortion Plus: Live

Side A - Live At First Avenue, March 1995

1. Fort Knox, King Solomon
2. I Hate Alternative Rock

Side B - Live At The 9:30 Club, 7th October 2005

1. Could You Be The One?
2. I Apologize
3. Chartered Trips 

Demon Records presents Distortion: 2008-2019, the third in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume three in this new series covers the period 2008-2019 and contains many of Bob Mould’s most celebrated recordings including Silver Age (2012), Patch The Sky (2016), and Sunshine Rock (2019).

TRACK LISTING

LP 1 – District Line (2008)

Side A

1. Stupid Now
2. Who Needs To Dream?
3. Again And Again
4. Old Highs, New Lows
5. Return To Dust

Side B

1. The Silence Between Us
2. Shelter Me
3. Very Temporary
4. Miniature Parade
5. Walls In Time

LP 2 - Life And Times (2009)

Side A

1. Life And Times
2. The Breach
3. City Lights (Days Go By)
4. MM 17
5. Argos

Side B

1. Bad Blood Better
2. Wasted World
3. Spiraling Down
4. I'm Sorry, Baby, But You Can’t
Stand In My Light Any More
5. Lifetime

LP 3 – Silver Age (2012)

Side A

1. Star Machine
2. Silver Age
3. The Descent
4. Briefest Moment
5. Steam Of Hercules

Side B

1. Fugue State
2. Round The City Square
3. Angels Rearrange
4. Keep Believing
5. First Time Joy

LP 4 – Beauty & Ruin (2014)

Side A

1. Low Season
2. Little Glass Pill
3. I Don't Know You Anymore
4. Kid With Crooked Face
5. Nemeses Are Laughing
6. The War

Side B

1. Forgiveness
2. Hey Mr. Grey
3. Fire In The City
4. Tomorrow Morning
5. Let The Beauty Be
6. Fix It

LP 5 – Patch The Sky (2016)

Side A

1. Voices In My Head
2. The End Of Things
3. Hold On
4. You Say You
5. Losing Sleep
6. Pray For Rain

Side B

1. Lucifer And God
2. Daddy's Favorite
3. Hands Are Tied
4. Black Confetti
5. Losing Time
6. Monument

LP 6 – Sunshine Rock (2019)

Side A

1. Sunshine Rock
2. What Do You Want Me To Do
3. Sunny Love Song
4. Thirty Dozen Roses
5. The Final Years
6. Irrational Poison

Side B

1. I Fought
2. Sin King
3. Lost Faith
4. Camp Sunshine
5. Send Me A Postcard
6. Western Sunset

LP 7 – Distortion Plus: 2008-2019 (2021, First Time On Vinyl)

Side A

1. Dear Rosemary (Foo Fighters)
2. Father's Day (Butch Walker)
3. I Don't Mind

Side B

Etching 

On the 'We Are Legacy' label - "Highway 61 Revisited" is the sixth studio album by American singer-songwriter Bob Dylan, released on August 30, 1965 by Columbia Records. Having until then recorded mostly acoustic music, Dylan used rock musicians as his backing band on every track of the album, except for the closing track, the 11-minute ballad "Desolation Row".

Critics have focused on the innovative way Dylan combined driving, blues-based music with the subtlety of poetry to create songs that captured the political and cultural chaos of contemporary America. Author Michael Gray has argued that, in an important sense, the 1960s "started" with this album. 

Distortion: 1996-2007 is the second in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume two in this new series covers 1996 to 2007, beginning with the 1996 self-titled solo album and continuing through to Mould’s 2006 collaboration with Rich Morel Blowoff. 

STAFF COMMENTS

Barry says: As one of the most well regarded and enduring figureheads of the punk movement, this box set of Bob Mould's covers mid 90's to the mid 00's, some of his greatest work including his first solo album.

TRACK LISTING

LP 1: Bob Mould – Bob Mould
Side A
1. Anymore Time Between
2. I Hate Alternative Rock
3. Fort Knox, King Solomon
4. Next Time That You Leave
5. Egøverride
Side B
1. Thumbtack
2. Hair Stew
3. Deep Karma Canyon
4. Art Crisis
5. Roll Over And Die

LP 2: Bob Mould – The Last Dog And Pony Show
Side A
1. New #1
2. Moving Trucks
3. Taking Everything
4. First Drag Of The Day
5. Classifieds
6. Who Was Around?
Side B
1. Skintrade
2. Vaporub
3. Sweet Serene
4. Megamanic
5. Reflecting Pool
6. Along The Way

LP 3: Bob Mould – Modulate.
(First Time On Vinyl)
Side A
1. 180 Rain
2. Sunset Safety Glass
3. Semper Fi
4. Homecoming Parade
5. Lost Zoloft
6. Without?
7. Slay/Sway
Side B
1. The Receipt
2. Quasar
3. Soundonsound
4. Hornery
5. Comeonstrong
6. Trade
7. Author's Lament

LP 4 & 5: LoudBomb – Long Playing Grooves.
(First Time On Vinyl, 45 Rpm)
Side A
1. Theme (It's A Perfect Day)
2. Guys Like You
3. Devil V. Angel
Side B
1. I Cannot Reverse You
2. The Fall Collection
3. This Is The Way I Want It
Side C
1. BB DuBois
2. Factory Builders Convention
3. NumberNine
Side D
1. Heaven's On Fire
2. We Need The Truth
3. Helium

LP 6: Bob Mould – Body Of Song
Side A
1. Circles
2. (Shine Your) Light Love Hope
3. Paralyzed
4. I Am Vision, I Am Sound
5. Underneath Days
6. Always Tomorrow
Side B
1. Days Of Rain
2. Best Thing
3. High Fidelity
4. Missing You
5. Gauze Of Friendship
6. Beating Heart The Prize

LP 7 & 8: BLOWOFF – BLOWOFF
(First Time On Vinyl, 45 Rpm)
Side A
1. Hormone Love
2. Here And Now
3. Overload
Side B
1. Saturday Night All The Time
2. Life With A View
3. Man Keeps Winning
Side C
1. Lemonade
2. Tag It
3. Fallout
Side D
1. Get Inside With Me
2. Beautiful
3. The Ballad Of Mark Dirt

LP 9: Distortion Plus: 1996-2007
(First Time On Vinyl)
Side A
1. Dog On Fire (Demo)
2. Wanted Was
3. Eternally Fried
4. Doubleface
5. He Didn't
Side B
1. Castor And Pollux
2. Surveyors And Cranes
3. Love Escalator
4. Lowdown Ground
5. My Old Friend
6. Nihil

Nashville Skyline is the ninth studio album by American singer-songwriter Bob Dylan, released on April 9, 1969, by Columbia Records as LP record, reel to reel tape & audio cassette. Building on the rustic style he experimented with on John Wesley Harding, Nashville Skyline displayed a complete immersion into country music. Along with the more basic lyrical themes, simple songwriting structures & charming domestic feel, it introduced audiences to a radically new singing voice from Dylan, who had temporarily quit smoking—a soft, affected country croon. 

John Wesley Harding (2010 mono version) is the eighth studio album by American singersongwriter Bob Dylan, released on December 27, 1967, by Columbia Records. Produced by Bob Johnston, the x12 song album marked Dylan's return to semi-acoustic instrumentation and folk-influenced songwriting after three albums of lyrically abstract, blues-indebted rock music. 

In the winter of 2019, Bob Mould bucked the era’s despair with his most melodic, upbeat album in ages, Sunshine Rock.

Cut to spring of 2020, and he has this to say: “We’re really in deep shit now.”

That sentiment informs the new full-length album, Blue Hearts (Merge, September 25), the raging-but-catchy yin to Sunshine Rock’s yang.

To be sure, we were in some shit back in 2018, when Mould recorded Sunshine Rock with longtime colleagues Jon Wurster (drums), Jason Narducy (bass), and Beau Sorenson (engineer). Back then, he had a song called “American Crisis” that didn’t fit the album.

“That song is the seed for what we’re talking about now,” Mould says from his home in San Francisco during the COVID-19 lockdown. “At the time, it just seemed too heavy. Today it seems fucking quaint.”

“American Crisis” is the third song in a walloping first half of an album that spits plainspoken fire at the people who fomented this crisis. “This is the catchiest batch of protest songs I’ve ever written in one sitting,” he says.

Through some of the most direct, confrontational lyrics of his four-decade career, Mould makes his POV clear: “I never thought I’d see this bullshit again / To come of age in the ’80s was bad enough / We were marginalized and demonized / I watched a lot of my generation die / Welcome back to American crisis.”

Why “welcome back”? Because Mould experienced deja vu writing Blue Hearts in the fall of 2019. “Where it started to go in my head is back to a spot that I’ve been in before,” he says. “And that was the fall of 1983.”

Back then, Mould was a self-described “22-year-old closeted gay man” touring with the legendary Hüsker Dü and seeing an epidemic consume his community. Leaders, including the one in the White House, were content to let AIDS kill a generation. Mould later realized why his mind wandered back there for Blue Hearts.

“We have a charismatic, telegenic, say-anything leader being propped up by evangelicals,” he says. “These fuckers tried to kill me once. They didn’t do it. They scared me. I didn’t do enough. Guess what? I’m back, and we’re back here again. And I’m not going to sit quietly this time and worry about alienating anyone.”

Recorded at the famed Electrical Audio in Chicago with Sorenson engineering and Mould producing, Blue Hearts nods to Mould’s past while remaining firmly planted in the issues of the day. Acoustic opener “Heart on My Sleeve” catalogues the ravages of climate change. “Next Generation” worries for who comes next. “American Crisis” references “Evangelical ISIS” and features this dagger of a line: “Pro-life, pro-life until you make it in someone else’s wife.”

“There are songs that have no room,” Mould says, laughing. “The other songs, there’s room. There is room for imagination on the second half of the record.”

That’s where the songs turn personal in a different way. Tracks like “When You Left,” “Siberian Butterfly,” and “Everyth!ng to You” are grounded in personal relationships. “Racing to the End” captures the economic disparity of Mould’s neighborhood, and “Leather Dreams”… well, maybe Jon Wurster put it best.

“Jon turns to Jason and asks, ‘Is this the dirtiest song you’ve ever played on?’” Mould recalls with a chuckle. “I clearly did not put the edit tool to that one. Those are all pretty true bits. What kind of person could possibly have a life like that?” He laughs again. “Says the author.”

“Leather Dreams,” “Password to My Soul,” and “The Ocean” were composed during a writing binge before a January 2020 Solo Electric tour, when Mould stayed up for three straight days. “Songs just kept coming out,” he says. “‘Leather Dreams’ and ‘The Ocean’ both appeared within hours. I barely remember writing them.”

That feels right for an explosive, hook-laden album like Blue Hearts. Only there’s nothing forgettable about it.

TRACK LISTING

1. Heart On My Sleeve
2. Next Generation
3. American Crisis
4. Fireball
5. Forecast Of Rain
6. When You Left
7. Siberian Butterfly
8. Everyth!ng To You
9. Racing To The End
10. Baby Needs A Cookie
11. Little Pieces
12. Leather Dreams
13. Password To My Soul
14. The Ocean

The album is accompanied by a selection of some of the band’s favourite demo recordings made between 1988 and 1994.

The long awaited and eagerly anticipated new album by BOB captures the band at their peak and includes some of their best material ever committed to vinyl and CD. A 12-track vinyl record is available in coloured and black vinyl and includes digital download of all 28 tracks contained on the double CD version. ‘You Can Stop That For A Start’ is an exclusive album of previously unheard material written and recorded by BOB over a five day period in 1992. The almost legendary archive of unreleased professional and demo recordings by BOB is a rich one, and this release showcases some of the band’s best work.

All the recordings in the set have been newly mixed by songwriters Simon Armstrong and Richard Blackborow, and come packaged in artwork conceived by the band and accompanied by period images and new sleeve notes. 

Potted BOB History:
BOB’s initial line-up was Richard Blackborow (vocals, keyboards, guitar), Simon Armstrong (guitar, vocals).
Jem Morris (bass guitar), joined the duo in 1986 and, augmented with a drum machine, they recorded the band’s first release, a flexi disc, released in 1986 on their own House Of Teeth label, and containing three short songs: “Prune (Your Tree)”, “Groove” and “Brian Wilson’s Bed”. The band gave a copy to John Peel in a fortuitous encounter in the Rough Trade record shop, and he played it many times.
The drum machine was replaced by drummer Gary Connors in 1987, and this line-up recorded 1987’s What a Performance single and the first of three John Peel sessions. The band were now able to take to the UK’s motorway network in their newly acquired ‘vintage’ Transit van, and begin a series of tours that eventually saw them play hundreds of gigs the length of the country and beyond.

Early in 1988, Gary Connors was replaced by former Jamie Wednesday drummer Dean Leggett, and the band recorded their second single, Kirsty, a session for BBC Radio One’s Simon Mayo, and their second John Peel session. Both singles received heavy play by John Peel. The two singles were brought together with the earlier flexi disc as the compilation LP Swag Sack, which was their final release on the Sombrero label. All later records were on their own House Of Teeth label.

In 1989, the band released a single Convenience, which charted well in the NME and Melody Maker indie charts and, more importantly, reached no.31 in John Peel’s Festive Fifty at the end of the year. This was followed by a limited edition/fan club release containing three songs: “Esmerelda Brooklyn”, “I Don’t Know” and “Sink”. After their third and final John Peel session, Morris was replaced by ex-Caretaker Race bassist Stephen ‘Henry’ Hersom, and this final line-up recorded the Stride Up EP in 1990, an LP Leave The Straight Life Behind, the single Tired in 1991, and one last 12”, the Nothing For Something EP in 1992.
BOB became one of the victims of the demise of Rough Trade’s distribution arm, which limited sales of the album and forced the band to tour for an extended period to recoup the album’s costs. A feeling of disillusionment with the ‘business’ side of the music caused a drop in morale, and despite having produced a large body of unreleased work, they disbanded early in 1995.

In February 2014, “Leave the Straight Life Behind” was re-released by British independent label 3 Loop Music as a 2CD expanded edition which included the remastered album plus a bonus CD of all the John Peel and BBC sessions, as well as extra tracks.

In 2015, “The Singles and EPs” was released by 3 Loop Music as a 2CD compilation of remastered tracks from Swag Sack and all vinyl Sombrero and House of Teeth releases.

In 2019, the band announced six final concerts in England and Germany featuring Blackborow, Armstrong, and Leggett with newly recruited old friend Arthur Tapp on bass. A limited edition 7” of Convenience with an unreleased B-side from 1992 was released on Optic Nerve. The single reached number 18 on the official UK vinyl sales chart.

BOB on the new album You Can Stop That For A Start:
“The tracks that make up You Can Stop That For A Start were recorded over a five day period in our final years, as the hectic touring schedule that had kept us financially viable began to tail off. What funds the band could glean from occasional publishing deals were spent on studio time, with the hope of creating work that would eventually attract more substantial financial investment. As this never materialised, the songs have largely remained unheard since the early nineties. 

TRACK LISTING

TRACKLIST LP
SIDE ONE
01 Telepathy
02 Say You’re Alone
03 That’s What Tomorrow Brings
04 Round
05 Now
06 Sundown

SIDE TWO
01 Plastic
02 She’s Something Like Me
03 Green Pepper Feast
04 Queen Of Sheba
05 Plastered In Paris
06 Don’t Kid

TRACKLIST 2CD
CD1
01 Telepathy
02 Say You’re Alone
03 That’s What Tomorrow Brings
04 Round
05 Now
06 Sundown
07 Plastic
08 She’s Something Like Me
09 Green Pepper Feast
10 Queen Of Sheba
11 Plastered In Paris
12 Don’t Kid
13 I Must Need Some Sleep

CD2
01 Long May We Increase
02 Too Far Down
03 STP
04 When The Saints
05 Helvetia
06 On Your Side
07 Buy Me A Barstool
08 There She Was
09 Shoot
10 207
11 Jehovah
12 Hanging On
13 Thunderfeet
14 Turn That Racket Down
15 Before A Fall

“76 In The Shade” follows in the footsteps of Bob Stanley’s hugely successful comps for Ace, including “English Weather” and “The Tears Of Technology”. It suggests bright yellow sunshine, hot plastic car seats, cats lolloping on the lawn. A few tracks (Smokey Robinson, Cliff Richard, David Ruffin, Carmen McRae) act as necessary splashes of cooling water; most of them sound like it’s just too hot to move. Luckily, you don’t need to.

The months without rain and airless days and nights might not have been something out of the ordinary in the Algarve or the south of France, but it was without precedent in Britain. The Summer of 1976 has remained a benchmark for long, hot summers – there may have been scorchers since, but none have seemed quite as relentless or enervating. The country melted into a collective puddle. “76 In The Shade” probably wasn’t anyone’s real life soundtrack of the year – that could have included Bowie’s “Station To Station” and Abba’s “Greatest Hits”. Instead, Saint Etienne’s Bob Stanley has put a compilation together that sonically evokes the summer of 1976 itself, its sweet heat and almost narcotic lethargy.

Getting out of the sun, you might have sat inside with the radio on, and heard the dreamy wooziness of Liverpool Express’s ‘You Are My Love’, 10cc’s ‘I’m Mandy Fly Me’, or the Emotions’ ‘Flowers’. Or maybe you flopped out in front of the telly, where you heard an alternative summer soundtrack – the music libraries that provided the bulk of the testcard’s music gave us Simon Park’s minimal ‘Stoned Out’ and John Cameron’s deeply immersive ‘Liquid Sunshine’; the Californian jazzer Spike Janson provided the wordless vocal harmonies of ‘Walking So Free’.

“76 In The Shade” follows in the footsteps of Bob Stanley’s hugely successful comps for Ace, including “English Weather” and “The Tears Of Technology”. It suggests bright yellow sunshine, hot plastic car seats, cats lolloping on the lawn. A few tracks (Smokey Robinson, Cliff Richard, David Ruffin, Carmen McRae) act as necessary splashes of cooling water; most of them sound like it’s just too hot to move. Luckily, you don’t need to.

TRACK LISTING

1. WALKING SO FREE - Spike Janson
2. SUGAR SHUFFLE - Lynsey De Paul
3. MIRACLES (SINGLE VERSION) - Jefferson Starship
4. GET OUT OF TOWN - Smokey Robinson
5. I’M MANDY FLY ME (ALBUM VERSION) - 10CC
6. STONED OUT - Simon Park
7. NOTHING TO REMIND ME - Cliff Richard
8. DISCOVER ME - David Ruffin
9. YOU’RE THE SONG (THAT I CAN’T STOP SINGING) - Hollywood Freeway
10. YOU ARE MY LOVE - Liverpool Express
11. LIQUID SUNSHINE - John Cameron
12. NOT ON THE OUTSIDE - Sylvia
13. STAY WITH ME - Blue Mink
14. WILD MOUNTAIN HONEY - Steve Miller Band
15. FALLIN’ IN LOVE - Hamilton, Joe Frank & Reynolds
16. FLOWERS - The Emotions
17. MONTREAL CITY - Azimuth
18. ROCK’N’ROLL STAR - Barclay James Harvest
19. MISS MY LOVE TODAY - Gilbert O’Sullivan
20. MUSIC - Carmen McRae

The debut, limited edition 12" by The Illness featuring collaborations with Steve West and Bob Nastanovich (Pavement & Silver Jews).

The Illness are a UK collective of Sea-related personnel (members of Ambulance / Wolf Solent / Broken Arm / Alisia Casper) This 12" is the first release following 5+ years of scrapped sessions, line-up changes and other distractions.

This double sided single serves as a precursor to an Illness album, due to be recorded/released in 2020 (worldwide crisis permitting).

Both tracks were initially recorded in the basement of a former maternity home, Heworth Moor House in York (on Scout Niblett's old 8-track machine), then sent to Steve and Bob respectively. Steve recorded his vocals at Marble Valley Studio, Richmond, Virginia and Bob in Des Moines, Iowa.

The songs were mixed and Mastered by Iwan Morgan (Euros Childs, Cate le Bon, Gruff Rhys, Laura J Martin).

39th studio album by the legendary American singer-songwriter. It is Dylan's first album of original songs since his 2012 album 'Tempest'. The album has been preceded by the singles 'Murder Most Foul', 'I Contain Multitudes', and 'False Prophet'.

Two classic floor fillers from the DNSC record label.

Featuring Herb Ward’s 1968 RCA release that goes for around £200 if you can find a copy.

A Catacombs Club favourite that emphasizes Ward’s deep soulful vocal with a gorgeous call-andresponse bridge that leads into a truly uplifting chorus.

Backed with Bob Brady And The Con Chords’ blueeyed soul classic from the same year.

Often compared in style to Smokey Robinson, ‘Love In’ is a brass-led scorcher with a pulsating back beat that could have been a Motown 45.

Both tracks remastered from the original sound sources for maximum dancefloor effect.

TRACK LISTING

Herb Ward - Honest To Goodness
Bob Brady & The Con Chords - Everybody's Goin' To The Love - In

It wasn’t really a movement, barely even a moment, but the Daisy Age was an ethos that briefly permeated pop, R&B and hip hop. The name was coined by Long Island trio De La Soul; they claimed D.A.I.S.Y. stood for “da inner sound, y’all”, but then De La Soul said a lot of things. Playfulness and good humour were central to their 1989 debut album, which cast a long, multi-coloured shadow. The 90s, it promised, would be a lot easier going than the 80s.

In Britain, the timing for De La Soul’s “3 Feet High And Rising” couldn’t have been better. The acid house explosion of 1988 would lead to a radical breaking down of musical barriers in 1989. Just 18 months earlier, snobbery had been so rife that Bomb The Bass’ ‘Beat Dis’ was faked as a US import (pressed in the States, then imported back) to get club play; by the summer of ’89, however, something as previously unhip as Chris Rea’s ‘Josephine’ could become a dancefloor hit and indie veterans Primal Scream would be reborn as space-seeking Sun Ra initiates and still taken seriously. Ecstasy was largely responsible, of course, and its associated look – loose clothing, dayglo colours, smiley faces – chimed with the positivity of rising New York rap acts the Jungle Brothers and De La Soul, both at the heart of a growing collective called Native Tongues.

What was so new about De La Soul’s sound? Previously, sample material for hip hop had been almost exclusively taken from 60s and 70s soul and funk, especially from James Brown and his extended family – Bobby Byrd, Maceo Parker, Lyn Collins, the stuff of purists. The freewheeling collage of “3 Feet High And Rising” gleefully raided the non-U catalogues of Billy Joel and Hall & Oates; soul heroes Wilson Pickett and the Mad Lads were now abutting such unlikely material as the Turtles’ ‘You Showed Me’ and French Linguaphone lessons. The Invitations’ sweet, Drifters-like ‘Written On The Wall’ provided the hook for De La Soul’s first single ‘Plug Tunin’’ which, along with follow-up ‘Potholes In My Lawn’, referenced “the daisy age”. With the album including a cover of Bob Dorough’s ‘Three Is The Magic Number’ from Schoolhouse Rock – a song every American kid knew from Sunday morning TV – the essence of Sesame Street was everywhere.

By 1989 hip hop had made major inroads in Britain with rock fans (via Run DMC) and pubescent teens (the Beastie Boys), while NME writers had voted Public Enemy’s “It Takes A Nation Of Millions To Hold Us Back” the best album of 1988. Still, it had an air of exclusivity, with Tim Westwood its mirthless UK gatekeeper. De La Soul were also fans of Public Enemy, the Beastie Boys and Run DMC; they were fans in general, and threw their love of music into the blender, giving more time to melodies and mind-expanding samples while most contemporary rap records still revolved around the biggest sounding beats.

Above all, De La Soul were welcoming. They had grown up with their parents’ eclectic musical taste, a TV culture grab bag, and black radio stations that played Hall & Oates and Steely Dan alongside the Spinners and Brass Construction. They had also attended the same high school as producer and Stetsasonic member Prince Paul who, intimidatingly, was two years above them. He knew their faces but it wasn’t until he heard a demo of ‘Plug Tunin’’ that he realised they were all on the same wavelength; working with their rough sketch, Paul added a sample from Billy Joel’s ‘Stiletto’ into the mix.

In 1990, the third Native Tongues act to release an album was A Tribe Called Quest, and “People’s Instinctive Travels And The Paths Of Rhythm” was heavily indebted to “3 Feet High”’s airy nature. The Native Tongues’ charismatic aura spread west to the Bay Area’s similarly minded Hieroglyphics crew (Del Tha Funkeé Homosapien, Souls Of Mischief); Canada’s Dream Warriors used the “3 Feet High” colour palette and, borrowing Count Basie and Quincy Jones riffs, scored a brace of major UK hits; Naughty By Nature were mentored by Native Tongues heroine Queen Latifah, while Londoner Monie Love was also adopted by the collective, resulting in her Grammy-nominated ‘It’s A Shame (My Sister)’.

A Tribe Called Quest’s second album, “The Low End Theory”, would pick up the baton, giving a platform for and inspiration to Leaders Of The New School (who included future superstar Busta Rhymes) and the abstract technique of Brand Nubian. Meanwhile, the Jungle Brothers’ second album, “Done By The Forces Of Nature”, was in essence a concept album about Africa, fusing hip hop with jazz, doo wop, soul, Harlem – a new direction for the Native Tongues, away from ‘Multiplication Rock’, bubble writing and the gently psychedelic.

As hip hop rapidly became a bigger commercial concern, rights owners smelt money and – for the rest of the 90s – made sample clearance unfeasibly expensive. Robbed of their pick-and-mix approach, some Daisy Age-era acts moved towards consciousness and a jazz-leaning live feel, which down the line would lead to the rise of Arrested Development, and beyond them the Fugees and the Roots; meanwhile, on the West Coast, the gut-churning violence and misogyny of Dr Dre’s “The Chronic” took rap to a whole new commercial level. Neither direction, sadly, would involve much use of Sesame Street, Turtles samples, or magic numbers.

The cliché that circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism.
Yet Bob Mould calls his new album Sunshine Rock.
It’s not because Mould—whose face belongs on the Mount Rushmore of alternative music—likes the current administration. His decision to “write to the sunshine,” as he describes it, comes from a more personal place – a place found in Berlin, Germany, where he’s spent the majority of the last three years. Here Mould would draw inspiration from the new environments.
“Almost four years ago, I made plans for an extended break,” Mould explains. “I started spending time in Berlin in 2015, found an apartment in 2016, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark, but when the sun comes back, all spirits lift.”
These three years in Berlin would quite literally shed new light on Mould’s everyday mindset.

“To go from [2011 autobiography] See a Little Light to the last three albums, two of which were informed by loss of each parent, respectively, at some point I had to put a Post-It note on my work station and say, ‘Try to think about good things.’ Otherwise I could really go down a long, dark hole,” he says. “I’m trying to keep things brighter these days as a way to stay alive.”

That makes Sunshine Rock as logical a product of the current climate as any rage-fuelled agit-rock. Variations on the word “sun” appear 27 times in five different songs over the course of the album’s 37 minutes. To hear Mould tell it, the theme developed early.
“Sunshine Rock is one hell of a way to wrap up the busiest decade of my career,” he shares. “The autobiography, the Disney Hall tribute show, reissues of several albums from my catalogue, three current rock band albums, several world tours, and now this new album — I’m humbled and grateful to still be making new music while celebrating my lifetime songbook.”

STAFF COMMENTS

Barry says: The aptly titled Sunshine Rock is indeed another side to Mould, eschewing the dark undertones of his previous work, focusing on the more optimistic pop spirit that has always provided the counterfoil to his trademark gloom. Major-key resolutions to slowly-grown unease lifts the mood once again into shining summer haze. Exactly as accomplished as you'd expect from Mould, but a good deal more optimistic. Lovely.

TRACK LISTING

01 Sunshine Rock
02 What Do You Want Me To Do
03 Sunny Love Song
04 Thirty Dozen Roses
05 The Final Years
06 Irrational Poison
07 I Fought
08 Sin King
09 Lost Faith
10 Camp Sunshine
11 Send Me A Postcard
12 Western Sunset

By mid-1968 there was a growing consensus that something had gone horribly wrong with the American dream. The nation’s youth had loudly made their feelings clear, but now the older, pre-Beatles generations began to look at the country – with urban riots, Vietnam, and the assassinations of Martin Luther King and Bobby Kennedy – and wonder what the hell was happening. This album includes rare classics (The Beach Boys’ ‘Fourth Of July’), lost masterpieces (Roy Orbison’s seven-minute ‘Southbound Jericho Parkway’), and forgotten gems by some of the biggest names in the business (Elvis Presley’s ‘Clean Up Your Own Back Yard’).

Reactions to America’s existential crisis ranged in subject matter from divorce (Frank Sinatra’s ‘The Train’) and the break-up of the nuclear family (The Four Seasons’ ‘Saturday’s Father’), to eulogies for fallen heroes (Dion’s ‘Abraham Martin and John’), sympathy for Vietnam vets (Johnny Tillotson’s ‘Welfare Hero’), the church’s institutional racism (Eartha Kitt’s intense ‘Paint Me Black Angels’), and even questioning the ethics of the space programme (Bing Crosby’s terrific ‘What Do We Do With The World’).

Compiled by Bob Stanley and Pete Wiggs, State Of The Union follows on from their highly acclaimed English Weather and Paris In The Spring compilations. With clear parallels between today's fractured country and the USA fifty years ago, this is a fascinating condensation of what Americans were thinking when they turned on the TV, or the radio, or simply walked down Main Street in 1968.

TRACK LISTING

1. CLEAN UP YOUR OWN BACK YARD - Elvis Presley
2. BRAND NEW DAY - Della Reese
3. ABRAHAM, MARTIN AND JOHN - Dion
4. THE TRAIN - Frank Sinatra
5. SATURDAY'S FATHER - The 4 Seasons
6. 4TH OF JULY - The Beach Boys
7. WINE IN THE WIND - Anita Kerr & The Anita Kerr Singers
8. WHAT DO WE DO WITH THE WORLD? - Bing Crosby
9. LORD OF THE MANOR - The Everly Brothers
10. HITCHHIKER - The Four Preps
11. PAINT AMERICA LOVE - Lou Christie
12. MR BUSINESSMAN - Ray Stevens
13. PAINT ME BLACK ANGELS - Eartha Kitt
14. SOUTHBOUND JERICHO PARKWAY - Roy Orbison
15. QUESTIONS - Bobby Darin
16. THIS CRAZY WORLD - Paul Anka
17. TAKE A LETTER MARIA - Mel Torme
18. CHERRYSTONES - Eugene McDaniels
19. SOME PEOPLE SLEEP - The Tokens
20. CARDBOARD CALIFORNIA - Buddy Greco
21. DO YOU BELIEVE THIS TOWN - Dean Martin
22. WELFARE HERO - Johnny Tillotson
23. SAVE THE CHILDREN - Teresa Brewer
24. REVOLUTION - The Brothers Four

‘Battle Lines’, the new album from Grammywinning duo Bob Moses, is set for release on Domino.

‘Battle Lines’ follows the band’s acclaimed debut album, ‘Days Gone By’, which featured their worldwide hit ‘Tearing Me Up’. The band recorded the new album in Los Angeles’ Laurel Canyon, after writing and testing out new material on the road. Inspired by their time playing raves and rock clubs all over the globe since the release of ‘Days Gone By’, Battle Lines takes a harder look at the world in which they find themselves.

TRACK LISTING

Heaven Only Knows
Battle Lines
Back Down
Eye For An Eye
The Only Thing We Know
Nothing But You
Enough To Believe
Listen To Me
Selling Me Sympathy
Don’t Hold Back
Fallen From Your Arms

On August 24, The Marley Family, Island Records, and UMC celebrate 40 years of "Kaya", Bob Marley & The Wailers’ historic March 1978 release. This most special anniversary edition to date will feature Stephen 'Ragga' Marley’s exciting and vibrant new "Kaya 40" mixes of all ten tracks from the original album alongside its original mixes in 2CD and 180-gram 2LP configurations.

Bob Marley’s artistic legacy forever endures, and the 40th anniversary edition of "Kaya" only serves to reinforce just how much we all share the shelter of this special music.

TRACK LISTING

Disc 1
Easy Skanking
Kaya
Is This Love
Sun Is Shining
Satisfy My Soul
She's Gone
Misty Morning
Crisis
Running Away
Time Will Tell


Disc 2
Easy Skanking
Kaya (Kaya 40 Mix)
Is This Love (Kaya 40 Mix)
Sun Is Shining (Kaya 40 Mix)
Satisfy My Soul (Kaya 40 Mix)
She's Gone (Kaya 40 Mix)
Misty Morning (Kaya 40 Mix)
Crisis (Kaya 40 Mix)
Running Away (Kaya 40 Mix)
Time Will Tell (Kaya 40 Mix)

All the Young People Must Fall in Love (Bob Clearmountain Mix) / Rose Garden (Live at The Grand Ole Opry, Nashville) is the fourth 7" release from Morrissey's album 'Low In High School'. Low in High School is Morrissey’s first studio album since 2014 and was recorded at La Fabrique Studios in France and in Rome at Ennio Morricone’s Forum Studios. The record is produced by Joe Chiccarelli (who has worked with Frank Zappa, The Strokes, Beck and The White Stripes to name a few). Morrissey’s talent for combining political statements and beautiful melodies is more prevalent than ever on Low in High-School, capturing the zeitgeist of an ever-changing world.

STAFF COMMENTS

Andy says: A jaunty, handclapping sing-a-long vibe belies this song's deeper message of love inspite of the chaos all around us.

TRACK LISTING

Side A
1. All The Young People Must Fall In Love (Bob Clearmountain Mix)

Side B
1. Rose Garden (Live At The Grand Ole Opry, Nashville)

“Paris In The Spring” is a collection of the new music, put together by Saint Etienne’s Bob Stanley and Pete Wiggs, that emerged from France between 1968 and the mid-70s, an extraordinary blend of several previously independent strains – French chanson and yé-yé, American jazz and funk, British chamber pop – shot through with the era’s underlying mixture of optimism, uncertainty and darkness. This is the first collection of its kind, released on the 50th anniversary of the Paris uprising.

Serge Gainsbourg – a jazz pianist with a chanson past and a pop present – was in a position to play a key role in soundtracking France in flux over the next five years. His “Histoire de Melody Nelson”, with its heavily atmospheric arrangements by Jean-Claude Vannier, was the acme of this new, unsettling French sound. “Paris In The Spring” includes other equally dazzling Vannier arrangements (for Léonie) and Gainsbourg compositions (for Jane Birkin and Mireille Darc).

Prior to 1968, 60s French pop had been dominated by yé-yé, the country’s unique brand of upbeat pop, a world of primary colours, minijupes and discothèques (a French invention, after all). Its stars either faded fast after May ’68 or adapted to the new era: Jacques Dutronc (‘Le Métaphore’) and France Gall (‘Chanson Pour Que Tu M’aimes un Peu’) discovered a moody side they had previously kept hidden, while Françoise Hardy released the Brazilian-influenced, after-hours classic “La Question”, from which we have picked ‘Viens’.

New bands like Triangle emerged, influenced by Soft Machine and Gong who became regulars on the Paris club scene. French library music from Janko Nilovic and film soundtracks (François De Roubaix, Karl-Heinz Schäfer) reflected the era’s edginess. All are represented on “Paris In The Spring”, making it a continental cousin to Stanley and Wiggs’s hugely popular 2017 Ace compilation “English Weather”

TRACK LISTING

1. LA VICTIME - Karl Heinz Schäfer
2. HÉLICOPTÈRE - Mireille Darc
3. LES AVENTURES EXTRAORDINAIRES D'UN BILLET DE BANQUE - Bernard Lavilliers
4. ROSES AND REVOLVERS - Janko Nilovic
5. L'ELU - Ilous & Decuyper
6. LA METAPHORE - Jacques Dutronc
7. DOMMAGE QUE TU SOIS MORT - Brigitte Fontaine
8. LES GARDE VIOLENT AU SECOURS DU ROI - Jean-Claude Vannier
9. LOOKING FOR YOU - Nino Ferrer
10. CHANSON D'UN JOUR D'HIVER - Cortex
11. VIENS - Françoise Hardy
12. COULEURS - Léonie
13. LESLIE SIMONE - William Sheller
14. LITANIES - Triangle
15. BALEINES - François De Roubaix
16. ENCORE LUI - Jane Birkin
17. EVELYNE - Serge Gainsbourg
18. LE BAL DES LAZES - Michel Polnareff
19. LILETH - Léonie
20. YSTOR - Ys
21. CHANSON POUR QUE TU M'AIMES UN PEU - France Gall
22. LA VICTIME - Karl Heinz Schäfer
23. LA CHANSON D'HÉLÈNE - Romy Schneider & Michel Piccoli

Dylans first compilation album, originally released in March, 1967 on Columbia Records. 

TRACK LISTING

Rainy Day Women # 12 & 35
Blowin' In The Wind
The Times They Are A-Changin'
It Ain't Me Babe
Subterranean Homesick Blues
Mr Tambourine Man
Like A Rolling Stone
I Want You
Positively 4th Street
Just Like A Woman

Live album from Bob Dylan & The Band, originally released in 1974, documenting their American tour. A 21 song double album, pressed on black vinyl with download code insert. 

TRACK LISTING

Side One

1. "Most Likely You Go Your Way (And I'll Go Mine)" 02-14 (evening) 4:15
2. "Lay Lady Lay" 02-13 3:14
3. "Rainy Day Women #12 & 35" 02-13 3:27
4. "Knockin' On Heaven's Door" 01-30 New York City 3:51
5. "It Ain't Me, Babe" 02-14 (evening) 3:40
6. "Ballad Of A Thin Man" 02-14 (afternoon) 3:41

Side Two

7. "Up On Cripple Creek" (Robbie Robertson) 02-14 (evening) 5:25
8. "I Shall Be Released" 02-14 (afternoon) 3:50
9. "Endless Highway" (Robertson) 02-14 (evening) 5:10
10. "The Night They Drove Old Dixie Down" (Robertson) 02-14 (evening) 4:24
11. "Stage Fright" (Robertson) 02-14 (evening) 4:45

Side Three

12. "Don't Think Twice, It's All Right" 02-14 (evening) 4:36
13. "Just Like A Woman" 02-14 (evening) 5:06
14. "It's Alright, Ma (I'm Only Bleeding)" 02-14 (evening) 5:48
15. "The Shape I'm In" (Robertson) 02-14 (afternoon) 4:01
16. "When You Awake" (Richard Manuel, Robertson) 02-14 (evening) 3:13
17. "The Weight" (Robertson) 02-13 4:47

Side Four

18. "All Along The Watchtower" 02-14 (afternoon) 3:07
19. "Highway 61 Revisited" 02-14 (evening) 4:27
20. "Like A Rolling Stone" 02-13 7:09
21. "Blowin' In The Wind" 02-13 + 02-14 (afternoon) 4:30

A CMG release - The latest in the Bob Dylan 'Bootleg Series' covers a prolific recording period between 1979 - 1981, where Dylan recorded a x3 album trilogy - "Slow Train Coming", "Saved" & "Shot of Love". 

The Deluxe box-set includes:- A hardcover book with exclusive liner notes & pics, plus... The first two discs contain x30 live songs, with discs 3&4 being rare & unreleased songs. Discs 5&6 are recorded live in Toronto (1980). Discs 7&8 are recorded live @ Earls Court, London, June 1981. Disc 9 is a bonus DVD featuring "Trouble No More" a musical film, plus other extra bonus content.

The Vinyl format has x4 LP Vinyl & x2 CD (featuring the first x2 discs from the deluxe box). The standard CD a x2 CD set (featuring the first x2 discs from the deluxe box).

This collection debuts x14 previously unreleased songs & a multitude of unreleased live performances, rare studio outtakes & more...

TRACK LISTING

Disc 1: Live
1. Slow Train (Nov. 16, 1979)
2. Gotta Serve Somebody (Nov. 15, 1979)
3. I Believe In You (May 16, 1980)
4. When You Gonna Wake Up? (July 9, 1981)
5. When He Returns (Dec. 5, 1979)
6. Man Gave Names To All The Animals (Jan. 16, 1980)
7. Precious Angel (Nov. 16, 1979)
8. Covenant Woman (Nov. 20, 1979)
9. Gonna Change My Way Of Thinking (Jan. 31, 1980)
10. Do Right To Me Baby (Do Unto Others) (Jan. 28, 1980)
11. Solid Rock (Nov. 27, 1979)
12. What Can I Do For You? (Nov. 27, 1979)
13. Saved (Jan. 12, 1980)
14. In The Garden (Jan. 27, 1980)

Disc 2: Live
1. Slow Train (June 29, 1981)
2. Ain’t Gonna Go To Hell For Anybody (Unreleased Song – Apr. 24, 1980)
3. Gotta Serve Somebody (July 15, 1981)
4. Ain’t No Man Righteous, No Not One (Unreleased Song – Nov. 16, 1979)
5. Saving Grace (Nov. 6, 1979)
6. Blessed Is The Name (Unreleased Song – Nov. 20, 1979)
7. Solid Rock (Oct. 23, 1981)
8. Are You Ready? (Apr. 30, 1980)
9. Pressing On (Nov. 6, 1979)
10. Shot Of Love (July 25, 1981)
11. Dead Man, Dead Man (June 21, 1981)
12. Watered-Down Love (June 12, 1981)
13. In The Summertime (Oct. 21, 1981)
14. The Groom’s Still Waiting At The Altar (Nov. 13, 1980)
15. Caribbean Wind (Nov. 12, 1980)
16. Every Grain Of Sand (Nov. 21, 1981)

Disc 3: Rare And Unreleased
1. Slow Train (Soundcheck – Oct. 5, 1978)
2. Do Right To Me Baby (Do Unto Others) (Soundcheck – Dec. 7, 1978)
3. Help Me Understand (Unreleased Song – Oct. 5, 1978)
4. Gonna Change My Way Of Thinking (Rehearsal – Oct. 2, 1979)
5. Gotta Serve Somebody (Outtake – May 4, 1979)
6. When He Returns (Outtake – May 4, 1979)
7. Ain’t No Man Righteous, No Not One (Unreleased Song – May 1, 1979)
8. Trouble In Mind (Outtake – April 30, 1979)
9. Ye Shall Be Changed (Outtake – May 2, 1979)
10. Covenant Woman (Outtake –February 11, 1980)
11. Stand By Faith (Unreleased Song – Sept. 26, 1979)
12. I Will Love Him (Unreleased Song – Apr. 19, 1980)
13. Jesus Is The One (Unreleased Song – Jul. 17, 1981)
14. City Of Gold (Unreleased Song – Nov. 22, 1980)
15. Thief On The Cross (Unreleased Song – Nov. 10, 1981)
16. Pressing On (Outtake – Feb. 13, 1980)

Disc 4: Rare And Unreleased
1. Slow Train (Rehearsal – Oct. 2, 1979)
2. Gotta Serve Somebody (Rehearsal – Oct. 9, 1979)
3. Making A Liar Out Of Me (Unreleased Song – Sept. 26, 1980)
4. Yonder Comes Sin (Unreleased Song – Oct. 1, 1980)
5. Radio Spot January 1980, Portland, OR Show
6. Cover Down, Pray Through (Unreleased Song – May 1, 1980)
7. Rise Again (Unreleased Song – Oct. 16, 1980)
8. Ain’t Gonna Go To Hell For Anybody (Unreleased Song – Dec. 2, 1980)
9. The Groom’s Still Waiting At The Altar (Outtake – May 1, 1981)
10. Caribbean Wind (Rehearsal – Sept. 23, 1980)
11. You Changed My Life (Outtake – April 23, 1981)
12. Shot Of Love (Outtake – March 25, 1981)
13. Watered-Down Love (Outtake – May 15, 1981)
14. Dead Man, Dead Man (Outtake – April 24, 1981)
15. Every Grain Of Sand (Rehearsal – Sept. 26, 1980)

Disc 5 – Live In Toronto 1980
1. Gotta Serve Somebody (April 18, 1980)
2. I Believe In You (April 18, 1980)
3. Covenant Woman (April 19, 1980)
4. When You Gonna Wake Up? (April 18, 1980)
5. When He Returns (April 20, 1980)
6. Ain’t Gonna Go To Hell For Anybody (Unreleased Song – April 18, 1980)
7. Cover Down, Pray Through (Unreleased Song – April 19, 1980)
8. Man Gave Names To All The Animals (April 19, 1980)
9. Precious Angel (April 19, 1980)

Disc 6 – Live In Toronto 1980
1. Slow Train (April 18, 1980)
2. Do Right To Me Baby (Do Unto Others) (April 20, 1980)
3. Solid Rock (April 20, 1980)
4. Saving Grace (April 18, 1980)
5. What Can I Do For You? (April 19, 1980)
6. In The Garden (April 20, 1980)
7. Band Introductions (April 19, 1980)
8. Are You Ready? (April 19, 1980)
9. Pressing On (April 18, 1980)

Disc 7 – Live In Earl’s Court, London – June 27, 1981
1. Gotta Serve Somebody
2. I Believe In You
3. Like A Rolling Stone
4. Man Gave Names To All The Animals
5. Maggie’s Farm
6. I Don’t Believe You
7. Dead Man, Dead Man
8. Girl From The North Country
9. Ballad Of A Thin Man

Disc 8 – Live In Earl’s Court – London – June 27, 1981
1. Slow Train
2. Let’s Begin
3. Lenny Bruce
4. Mr. Tambourine Man
5. Solid Rock
6. Just Like A Woman
7. Watered-Down Love
8. Forever Young
9. When You Gonna Wake Up
10. In The Garden
11. Band Introductions
12. Blowin’ In The Wind
13. It’s All Over Now, Baby Blue
14. Knockin’ On Heaven’s Door

Disc 9: Bonus DVD
Trouble No More – A Musical Film

DVD EXTRAS:
Shot Of Love
Cover Down, Pray Through
Jesus Met The Woman At The Well (Alternate Version)
Ain’t Gonna Go To Hell For Anybody (Complete Version)
Precious Angel (Complete Version)
Slow Train (Complete Version)

STAFF COMMENTS

Andy says: The best of Bob Dylan. The perfect entry point.

TRACK LISTING

Side A
1. Blowin' In The Wind
2. Don't Think Twice, It's All Right
3. The Times They Are A-Changin'
4. It Ain't Me Babe
5. Maggie's Farm
6. Mr. Tambourine Man
7. Subterranean Homesick Blues

Side B
1. Like A Rolling Stone
2. Positively 4th Street
3. Just Like A Woman
4. Rainy Day Women #12 & 35
5. Lay, Lady, Lay
6. Knockin' On Heaven's Door

Side C
1. Forever Young
2. Tangled Up In Blue
3. Gotta Serve Somebody
4. Jokerman
5. Make You Feel My Love

Side D
1. Things Have Changed
2. Mississippi
3. When The Deal Goes Down
4. Beyond Here Lies Nothin'
5. Long And Wasted Years

'World Gone Wrong' is the 29th Bob Dylan studio album, released in 1993. It was Dylan’s second consecutive collection of only traditional folk songs, performed acoustically with guitar and harmonica. The songs tend to deal with darker and more tragic themes than the previous outing, 'Good As I Been To You'.

'World Gone Wrong' is an exceptional album, boasting a strong set of songs given performances so fully realized that they seemed like modern protest songs. Much of this record is fairly obscure to anyone outside of dedicated folk fans; “Delia” (covered by Johnny Cash the following year) and “Stack-A-Lee” are the most familiar items, yet they’re given traditional readings, meaning that the latter doesn’t quite seem like “Stagger Lee.”

But even if these are traditionalist, they’re spirited and lively renditions, and Dylan seems more connected to the music than he has in years. That sense of connection, plus the terrific choice of songs, makes this one of his best, strongest albums of the second half of his career.

TRACK LISTING

SIDE A
1. World Gone Wrong
2. Love Henry
3. Ragged & Dirty
4. Blood In My Eyes
5. Broke Down Engine

SIDE B
1. Delia
2. Stack A Lee
3. Two Soldiers
4. Jack-A-Roe
5. Lone Pilgrim

The first legit reissues of these rare, stellar LP's by DC-based singer/songwriter Bob Brown. Richie Havens took Bob under his wing, produced both albums, and released them on his Stormy Forest label distributed by MGM. Although they failed to make a commercial impact at the time, cosmic-folk enthusiasts and vinyl-heads have long placed these albums in high esteem alongside the works of exploratory greats like Tim Hardin and Tim Buckley. 

"The Cutting Edge, 1965-1966" is the latest installment in the 'Bootleg Series' of releases from rock music icon Bob Dylan on the Columbia/Legacy label. Focussing on the legendary studio sessions that produced 'Bringing It All Back Home', 'Highway 61', & 'Blonde On Blonde'. All recordings are pristine transfers & mixed from the original studio tracking tapes.

STAFF COMMENTS

Andy says: Sessions and out-takes from Dylan's imperious phase. Absolutely essential.

TRACK LISTING

Disc: 1
1. Love Minus Zero / No Limit
2. I'll Keep It With Mine
3. Bob Dylan's 115th Dream
4. She Belongs To Me
5. Subterranean Homesick Blues
6. Outlaw Blues
7. On The Road Again
8. Farewell, Angelina
9. If You Gotta Go, Go Now
10. You Don't Have To Do That
11. California
12. Mr. Tambourine Man
13. It Takes A Lot To Laugh, It Takes A Train To Cry
14. Like A Rolling Stone
15. Like A Rolling Stone
16. Sitting On A Barbed Wire Fence
17. Medicine Sunday
18. Desolation Row
19. Desolation Row
Disc: 2
1. Tombstone Blues
2. Positively 4th Street
3. Can You Please Crawl Out Your Window
4. Just Like Tom Thumb's Blues
5. Highway 61 Revisited
6. Queen Jane Approximately
7. Visions Of Johanna
8. She's Your Lover Now
9. Lunatic Princess
10. Leopard-Skin Pill-Box Hat
11. One Of Us Must Know (Sooner Or Later)
12. Stuck Inside Of Mobile With The Memphis Blues Again
13. Absolutely Sweet Marie
14. Just Like A Woman
15. Pledging My Time
16. I Want You
17. Highway 61 Revisited

The masterpiece that is Bob Marley’s ‘Exodus’ was originally released on Friday 3rd June 1977. He recorded the ‘Exodus’ album in exile in the UK, having escaped an assassination attempt in Jamaica.

‘Exodus’ transformed Marley’s career. A recording of extraordinary creative maturity, the album resonated with audiences around the world. In the UK alone in stayed on the chart for 56 consecutive weeks and included three massive hit singles. Bob Marley was established as the Third World’s first superstar, a legacy that survives thirty years after the album’s release.

TRACK LISTING

1. Natural Mystic 3:28
2. So Much Things To Say 3:08
3. Guiltiness 3:19
4. The Heathen 2:32
5. Exodus 7:40
6. Jamming 3:31
7. Waiting In Vain 4:16
8. Turn Your Lights Down Low 3:39
9. Three Little Birds 3:00
10. One Love / People Get Ready 2:52

'Catch A Fire' was the major label debut for Bob Marley and the Wailers, and it was an international success upon its release in 1973. Although Bob Marley may have been the main voice, every member of the Wailers made valuable contributions and they were never more united in their vision and sound. All the songs were originals, and the instrumentation was minimalistic in order to bring out the passionate, often politically charged lyrics. Much of the appeal of the album lies in its sincerity and sense of purpose - these are streetwise yet disarmingly idealistic young men who look around themselves and believe they might help change the world through music. Marley sings about the current state of urban poverty ("Concrete Jungle") and connects the present to past injustices ("Slave Driver"), but he is a not a one-trick pony. He is a versatile songwriter who also excels at singing love songs such as his classic "Stir It Up." Peter Tosh sings the lead vocal on two of his own compositions - his powerful presence and immense talent hint that he would eventually leave for his own successful solo career. More than anything else, however, this marks the emergence of Bob Marley and the international debut of reggae music. Marley would continue to achieve great critical and commercial success during the 1970s, but 'Catch a Fire' is one of the finest reggae albums ever. This album is essential for any music collection.

TRACK LISTING

A1 Concrete Jungle 4:12
A2 Slave Driver 2:53
A3 400 Years 2:45
A4 Stop That Train 3:55
A5 Baby We've Got A Date (Rock It Baby) 3:56
B1 Stir It Up 5:32
B2 Kinky Reggae 3:36
B3 No More Trouble 3:51
B4 Midnight Ravers 5:09

Following the acclaimed re-issue of their sole album, Leave The Straight Life Behind, BOB return with an anthology of all their singles, many appearing on CD for the first time.

The band’s most well-known single, Convenience, a John Peel favourite, opens this 2CD set and the CD is then a chronological run through of the key songs from the various singles and EPs.

Disc Two includes many of their b-sides and EP tracks including their debut 1986 flexi disc.

All tracks bar Convenience appear on CD for the very first time having all only ever been released on vinyl previously.

Featuring 10 tracks, the Jack Frost produced album 'Shadows In The Night' is the 36th studio release from iconic superstar Bob Dylan & marks his first new music since 2012's 'Tempest'. The album was recorded 'live' in the studio with a five-piece band & features some classic ballads, stripped down, with no overdubbing & mixed as it was recorded.

TRACK LISTING

I'm A Fool To Want You
The Night We Called It A Day
Stay With Me
Autumn Leaves
Why Try To Change Me Now
Some Enchanted Evening
Full Moon And Empty Arms
Where Are You
What'll I Do
That Lucky Old Sun

Legend has it that a chance meeting with John Peel in the Rough Trade record shop set Bob on the road to becoming a true indie favourite in the late 80s and early 90s, with Peel championing the band throughout their career.

Starting life in 1986, the band released a series of acclaimed singles, and with each single release, they toured and promised an album. Eventually they got enough money together to release Leave The Straight Life Behind on their own House Of Teeth label in 1991.

The album met with rave reviews but due to the collapse of Rough Trade Distribution it was frustratingly difficult to find. Now available again for the first time in many years, the album has been expanded to 2CDs, with a second disc including all four of their Radio 1 sessions, 3 for John Peel and 1 for Simon Mayo.

Following the various pieces of bad luck that befell the band, they became disillusioned with the industry and finally split in 1995, leaving a legacy of eight singles, one compilation of early singles, the album and a legion of happy fans who had been lucky enough to see them live.

The single ‘Convenience’ graced the John Peel Festive Fifty in 1989.

The important thing about this LP is that it was Dylan's first record to feature solely his own compositions. It was his third album and came out in 1964. It dealt mainly with issues of social protest, and this was how he came to be defined in that early era. It all started to gel on this release. He was the kid that put poetry into rock'n'roll.

TRACK LISTING

1 The Times They Are A-Changin'
2 The Ballad Of Hollis Brown
3 With God On Our Side
4 One Too Many Mornings
5 North Country Blues
6 Only A Pawn In Their Game
7 Boots Of Spanish Leather
8 When The Ship Comes In
9 The Lonesome Death Of Hattie Carroll
10 Restless Farewell

Thirteen song, second studio album by American singer-songwriter Bob Dylan, released on May 27, 1963 by Columbia Records. Where as his self-titled debut album Bob Dylan had contained only two original songs, Freewheelin' represented the beginning of Dylan's writing contemporary words to traditional melodies. Eleven of the thirteen songs on the album are Dylan's original compositions.

Recorded in a single day in June, 1964, Another Side yielded deeply personal and poetic songs like "It Ain't Me Babe", and "All I Really Want To Do", bursting at the seams with lyrical, dream-fueled imagery, often leavened with dashes of whimsy and always set sailing by Bob Dylan's free-ranging imagination.

Having left a permanent mark with both his bands, Hüsker Dü and Sugar, and with a half-dozen, uncompromising solo albums released during and after these bands lived, Bob has long been regarded as a name at the forefront of American music. Not one for sentiment, Bob prefers to ignore his legacy and 'cult status', going straight to what he does best – namely that of making hair-raisingly emotional, undeniably catchy, loud, mature, guitar rock. "District Line" instantly sounds both familiar and classic. Providing a backbone to the record is Brendan Canty (Fugazi), a perfect foil to Mould's determined guitar riffs, insistent basslines and passionate, vulnerable singing, while the beautifully bittersweet cello comes courtesy of Amy Domingues. They make a huge sound for a small team and fans will delight in this, a new 'Loud Bob' record. Recorded in a warehouse space with a mobile studio, "District Line" is a dozen flavours of Mould's inspired, instantly memorable, melodic songwriting and playing.

There are only a few living legends working in the field of music today and Bob Dylan is one of them. An original troubadour and singer/songwriter, the voice of a generation, Dylan has been all these things and more.

Quite simply the best band in Sweden. Bob Hund are an amazing band. Even covered by Graham Coxon "Min Trampolin" was a firm live favourite and he even sang it in Swedish. Bob Hund is Sweden's ultimate live band. Memories from pop concerts have no dates but for those who were at Notting Hill Arts Café May 23rd 2001 and experienced Bob Hund this hysterical and crowded night will now have to share this with others. 12 of the bands greatest songs recorded with such brilliance you would think it was a studio take, only with the furious energy of this live machine. On this double album you will also get to know the band by their B-sides and EPs and that will surely make you wish for more.

This historic 'halloween concert' remastered from original source tapes captures the moment when the hottest young folk singer of his age transformed into one of the greatest artists of the twentieth century. The show is divided into the standards that made his name and the longer, experimental pieces ("It's Alright Ma ...") that emerged on the then unreleased "Bringing It All Back Home". Includes a 56 page booklet with stunning rare photographs and in-depth notes

An early classic from Dylan, featuring many a classic.

Canadian only tour box set from Bob Dylan features the albums "Greatest Hits", "Greatest Hits Vol II" (2xCD set,) and "Greatest Hits Volume 3" all packaged together in a slip case with a bonus CD sampler featuring four live unreleased tracks "Things Have Changed", a seven minute version of "Blowin' In The Wind", "Blind Willie McTell" and "Roving Gambler".

"Private Radio" is actor and now singer Billy Bob Thornton's suprisingly good album of country tinged americana on Lost Highway. It's dark, often funny and he's written a love song for his laydee, Angelina Jolie (Lara Croft to you) aaaahh. Co-written and produced by Marty Stuart.

The first new album from 282 in ages, and they have finally made an album that is their warmest to date. Their biggest strength, arrangements that allow the ugly beauty of avant-rock to meld organically with peppy little melodies that kick in hard, is finally flourishing.