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David Bowie

Never Let Me Down (2019 Remastered Edition)

    Following on from the success of the David Bowie ‘Loving The Alien’ boxed sets, on 15th February 2019 we will be breaking out the three studio albums, ‘Let’s Dance’, ’Tonight’ and ‘Never Let Me Down’ on LP.

    David Bowie

    Let’s Dance (2019 Remastered Edition)

      Following on from the success of the David Bowie ‘Loving The Alien’ boxed sets, on 15th February 2019 we will be breaking out the three studio albums, ‘Let’s Dance’, ’Tonight’ and ‘Never Let Me Down’ on LP.

      David Bowie

      Tonight (2019 Remastered Edition)

        Following on from the success of the David Bowie ‘Loving The Alien’ boxed sets, on 15th February 2019 we will be breaking out the three studio albums, ‘Let’s Dance’, ’Tonight’ and ‘Never Let Me Down’ on LP.

        David Bowie

        Glastonbury 2000

          DAVID BOWIE ‘GLASTONBURY 2000’ documents Bowie’s legendary Sunday night headline performance on 25th June at the most famous festival on earth. The legendary full performance released for the first time including many of David’s greatest hits and never before seen footage.

          All formats feature David’s diary, originally written for Time Out, which documents him preparing for the show in his own inimitable manner. In addition to newly mastered audio and upgraded video DAVID BOWIE ‘GLASTONBURY 2000’ features new artwork from Jonathan Barnbrook (who worked with Bowie on the sleeves for Heathen, The Next Day & ★) and notes from the renowned author and Bowie fan Caitlin Moran who reviewed the show for The Times.


          David Bowie

          Breaking Glass E.P (40th Anniversary)

            The new extended version of the E.P. features three previously unreleased live versions of the original E.P. tracks plus the addition of an unreleased live version of ‘Hang On To Yourself’.

            The E.P. now features ‘BREAKING GLASS’, ‘ART DECADE’, ‘HANG ON TO YOURSELF’ and ‘ZIGGY STARDUST’ live from Earls Court in London during the Isolar II tour of 1978. These four tracks are alternative performances to the ones that recently appeared on the critically acclaimed live album WELCOME TO THE BLACKOUT (LIVE LONDON ’78), and none were featured on the original 1978 E.P..

            Initially released in the UK in January 1977 on the groundbreaking LOW album, ‘BREAKING GLASS’ was co-written by Bowie, bassist George Murray and drummer Dennis Davis. A longer, reworked version of the song was a staple of the Isolar II Tour, and a live version from that tour was used as the lead track on the original live 7" E.P. to promote Bowie's second live album, STAGE in 1978.


            Paul Weller

            True Meanings

              Paul Weller releases his fourteenth solo album in September, the twenty sixth studio album of his entire career. ‘True Meanings’ is a record unlike any he has ever made before. It is not “a departure”, in the sense that soul bearing, melancholic songs have always been an important part of what he does: from ‘English Rose’, to ‘Brand New Start’, right up to ‘The Ballad Of Jimmy McCabe’ from last year’s ‘Jawbone’ soundtrack. But never, ever before has he allowed himself an entire album to exhibit this side of his song-writing, or presented them quite like this.

              ‘True Meanings’ is an album characterised by grandiose-yet-delicate, lush orchestration: an aesthetic to which Paul’s better-than-ever voice, singing some of his most nakedly honest words, is perfectly suited. It is both an album that a lot of his faithful audience have been wanting him to make for a long time, and an album that many new people outside of that audience will relate to.

              FORMAT INFORMATION

              2xLtd LP Info: 2LP Double heavyweight black vinyl LP, housed in a gatefold ‘tip-on’ sleeve, with 8-page booklet fixed inside the sleeve, plus a download card. The tip-on sleeve is limited to initial orders only.

              A brand new studio album from Gorillaz titled The Now Now will be released by Parlophone Records on 29th June.

              The Now Now is 11 all-new songs from the World’s Most Successful Virtual Act, produced by Gorillaz, with James Ford and Remi Kabaka, and recorded in London, in February this year.

              The album sessions for The Now Now saw the band largely eschewing guest stars, taking it back to the core creative crew: blue-haired, sweet-natured dreamer 2D on vocals; whip-smart Japanese badass Noodle on guitar; not forgetting Brooklyn-born philosopher and the meat–behind-the-beat Russel Hobbs on drums. And with Murdoc Niccals temporarily indisposed, bass duties on the new album have been taken up by erstwhile Gangreen Gang member Ace.


              STAFF COMMENTS

              Andy says: Gorillaz return for this, their sixth studio LP, and most diverse outing yet. Sporting sleazed-out electronic funk, smooth synthetic jams and brimming with Albarn's latent creativity, 'The Now Now' is rich with groove and packed with all the elements that make us love them so. Another brilliant outing from Albarn et. al.

              FORMAT INFORMATION

              LP Info: Heavyweight black vinyl 12” LP in spined sleeve with printed inner bag and download card.

              CD Info: 11-track CD in jewelcase with 12-page booklet on gloss art paper.

              LP Box Set Info: Deluxe Vinyl LP Box Set - 12” x 12” rigid board box set, with a lenticular image on lid, containing:
              Heavyweight blue vinyl 12” LP, in spined sleeve with printed inner bag. The blue vinyl is exclusive to the box set. 52-page booklet, replicating 2-D’s original studio notebook including album lyrics. 4 x 12” x 12” art prints, 6 x 1” pin badges mounted on card and download card.

              David Bowie

              Christiane F. Wir Kinder Vom Bahnhof Zoo - OST

                ****AVAILABLE IN STORE ONLY - £17.99 - NOT FOR SALE ONLINE****

                Christiane F. – Wir Kinder Von Bahnof Zoo is the soundtrack to the 1981 film based on the 1978 autobiography by German actress Christiane Vera Felscherinow. The soundtrack incorporates songs from several Bowie albums, including “Stay” (Station To Station, 1976), “Warszawa” (Low, 1977) “V-2 Schneider” (“Heroes”, 1977), and “Look Back In Anger” (Lodger, 1979.)

                Released on vinyl for the first time in 30 years, this fan favourite will be pressed on limited edition red vinyl and available exclusively at “brick and mortar” retail stores.


                FORMAT INFORMATION

                Ltd LP Info: ****AVAILABLE IN STORE ONLY - £17.99 - NOT FOR SALE ONLINE****

                David Bowie

                Aladdin Sane - 45th Anniversary Limited Edition Silver Vinyl

                  2017 saw gold vinyl versions of ‘Hunky Dory’ and ‘The Rise and Fall of Ziggy Stardust and the Spiders from Mars,’ released 45 years to the day of the first issuing of Ziggy. To celebrate the 45th Anniversary of the ALADDIN SANE album; there will be a special limited edition silver vinyl version released.

                  This strictly limited one run only silvery vinyl edition of ALADDIN SANE will contain Ken Scott’s approved 2013 remaster and will be released on 20th April, 2018, 45 years to the day since the original release date for the album. Previously thought to have been issued on 13th April, 1973, new evidence has come to light that proves the release date was officially the 20th, but being Good Friday in the UK the album was 'made available' on the 19th.

                  Recorded in London in late 1972 and early 1973 in New York and Nashville while Bowie and the Spiders were on the Ziggy Stardust Tour and coming on the back of two top ten UK singles, ‘The Jean Genie’ and ‘Drive-In Saturday’. Aladdin Sane was described by David as "Ziggy goes to America".


                  David Bowie

                  Changestwobowie

                    This follow up to David’s hugely successful first Best Of compilation CHANGESONEBOWIE, has not officially been available since the late 1980’s. Featuring iconic cover photography by Greg Gorman, it was first released in 1981 and was only briefly available on CD in 1985 but has long since been deleted.

                    Drawing on material spanning from HUNKY DORY (1971) to SCARY MONSTERS (AND SUPER CREEPS) (1980) it achieved gold status in the U.K. album chart in 1982. It will be reissued on the 13th April with all tracks remastered on CD in a digipak sleeve, high-resolution 192/24 and 96/24 digital and standard digital for streaming and download,

                    The 180gram vinyl edition will be available randomly on its initial limited manufacturing run in black and blue vinyl before reverting solely to black vinyl.


                    FORMAT INFORMATION

                    Ltd LP Info: 180g vinyl available randomly on black or blue vinyl.

                    David Bowie

                    Stage (2017)

                      The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

                      David Bowie

                      Lodger - 2017 Remastered Edition

                        The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

                        "On the surface, Lodger is the most accessible of the three Berlin-era records David Bowie made with Brian Eno, simply because there are no instrumentals and there are a handful of concise pop songs. Nevertheless, Lodger is still gnarled and twisted avant pop; what makes it different is how it incorporates such experimental tendencies into genuine songs, something that Low and Heroes purposely avoided. "D.J.," "Look Back in Anger," and "Boys Keep Swinging" have strong melodic hooks that are subverted and strengthened by the layered, dissonant productions, while the remainder of the record is divided between similarly effective avant pop and ambient instrumentals. Lodger has an edgier, more minimalistic bent than its two predecessors, which makes it more accessible for rock fans, as well as giving it a more immediate, emotional impact. It might not stretch the boundaries of rock like Low and Heroes, but it arguably utilizes those ideas in a more effective fashion." - Allmusic.



                        FORMAT INFORMATION

                        LP Info: 180 gram.

                        David Bowie

                        Heroes - 2017 Remastered Edition

                          The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

                          "Repeating the formula of Low's half-vocal/half-instrumental structure, Heroes develops and strengthens the sonic innovations David Bowie and Brian Eno explored on their first collaboration. The vocal songs are fuller, boasting harder rhythms and deeper layers of sound. Much of the harder-edged sound of Heroes is due to Robert Fripp's guitar, which provides a muscular foundation for the electronics, especially on the relatively conventional rock songs. Similarly, the instrumentals on Heroes are more detailed, this time showing a more explicit debt to German synth pop and European experimental rock. Essentially, the difference between Low and Heroes lies in the details, but the record is equally challenging and groundbreaking." - Allmusic.



                          FORMAT INFORMATION

                          LP Info: 180 gram.

                          David Bowie

                          Scary Monsters (and Super Creeps) - 2017 Remastered Edition

                            The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

                            "David Bowie returned to relatively conventional rock & roll with Scary Monsters, an album that effectively acts as an encapsulation of all his '70s experiments. Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music throughout Scary Monsters. Though it doesn't have the vision of his other classic records, it wasn't designed to break new ground -- it was created as the culmination of Bowie's experimental genre-shifting of the '70s. As a result, Scary Monsters is Bowie's last great album. While the music isn't far removed from the post-punk of the early '80s, it does sound fresh, hip, and contemporary, which is something Bowie lost over the course of the '80s." - Allmusic.


                            FORMAT INFORMATION

                            LP Info: 180 gram.

                            David Bowie

                            Low - 2017 Remastered Edition

                              The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

                              The powerful reach of Bowie's masterpiece, the first part of the much feted 'Berlin Trilogy' created with the aid of Brian Eno, is still being felt strongly almost 30 years on. Air's wonderful four hour Essential Mix began with this album's opener "Speed of Life", Q Magazine rated the album #14 in it's Greatest British Albums Ever, and Pitchfork, the New Testament for the New Indie generation, recently decreed "Low" as the #1 album of the 1970's. Side A (or tracks 1-7 for those more familiar with the CD format) are classic Bowie ("Sound and Vision", "Be My Wife"), although dealing with the unfamiliar and slightly darker topics of lethargy, depression and estrangement, highlighting Bowie's overcoming of his cocaine addiction. Over on Side B the album's true colours really come through - four ambient tracks, originally rejected for the soundtrack to "The Man Who Fell To Earth" (the source of Low's iconic cover image), which see Bowie pay homage to Can, Neu! and Eno himself. The word 'timeless' was invented for such moments as these.


                              FORMAT INFORMATION

                              LP Info: 180 gram.

                              David Bowie

                              Beauty And The Beast

                                Beauty And The Beast is the latest in the series of special limited edition David Bowie 7” picture discs being released and will be out on 5th January 2018, almost 40 years to the day of its original release on 6th January 1978.

                                Beauty And The Beast was the second single taken from the album Heroes, the second of the Berlin Trilogy albums recorded with Tony Visconti and Brian Eno at the legendary Hansa Studios in Berlin. The track also features Robert Fripp of King Crimson on lead guitar, who claims that his guitar was all recorded in his first take.

                                The A-Side of the 7” picture disc features the track with newly remastered audio, mixed by long-time Bowie collaborator Tony Visconti. The AA-Side is a previously unreleased live version of Blackout, recorded live at Deutschlandhalle, Berlin on 16th May 1978 during the ISOLAR II tour.

                                Graham Coxon / Luke Daniel

                                Falling

                                  Blur’s Graham Coxon releases a special new single on Parlophone Records on December 15th. ‘Falling’ is a double A-side single which was written by the talented, but unknown song-writer and musician Luke Daniel.

                                  One side features ‘Falling’ recorded by Graham and the other features Luke Daniel’s original recording of the same track.

                                  Proceeds from the sale of this single will be donated to CALM (the Campaign Against Living Miserably), an award-winning charity dedicated to preventing male suicide, the single biggest killer of men under the age of 45 in the UK.


                                  David Bowie

                                  A New Career In A New Town (1977 - 1982)

                                    The follow-up to the awarding winning and critically acclaimed DAVID BOWIE ‘FIVE YEARS (1969 – 1973)’ and DAVID BOWIE ‘WHO CAN I BE NOW? (1974 – 1976)’ will be released on 29th September and will contain a brand new remix of the 1979 album ‘LODGER’ by long time Bowie producer/collaborator Tony Visconti.

                                    The 13LP box features all of the material officially released by Bowie between 1977 and 1982. It includes the so-called ‘Berlin Trilogy’ of albums on which he collaborated with Visconti and Brian Eno as well as the ‘BAAL’ EP, and is closed by ‘SCARY MONSTERS (And Super Creeps)’.

                                    The box set, named after a track from the first of the so-called ‘Berlin Trilogy’ LOW, includes ‘LOW’, ‘”HEROES”’, ‘STAGE (ORIGINAL and 2017 VERSIONS)’ the former in the vinyl box will be pressed on yellow vinyl, replicating its original limited edition U.K. release, and the latter of which featuring two previously unreleased tracks, ‘LODGER’, ‘LODGER (Tony Visconti 2017 Mix)’, ‘SCARY MONSTERS (And Super Creeps)’, ‘RE:CALL 3’ (featuring contemporary single versions, non-album singles, b-sides and songs featured on soundtracks) and the ‘”HEROES”’ E.P., a compilation exclusive to the set celebrating the 40th anniversary of the song, which rounds up the German and French album and single versions of the track in one place for the first time.

                                    Exclusive to each of the box sets is ‘LODGER (Tony Visconti 2017 Mix)’. The remix was started with David's blessing before his passing in January last year. Tony Visconti has revisited the original multi-tracks at Human Studios and remixed the album with the benefit of modern technology to better highlight the album's nuances. Always a personal favourite of David's, this version of the album will also feature newly 'remixed' artwork featuring unseen images from the original cover photographic session from the archive of the Estate of photographer Duffy, working closely with his son Chris.

                                    Also exclusive to each box is Re:Call 3, a new compilation featuring remastered contemporary single versions, non-album singles and b-sides, and songs featured on soundtracks. The cover features a photo by Christian Simonpietri taken at Hansa Studios in Berlin during the “Heroes” sessions in 1977.

                                    The box set’s accompanying 84p book will feature rarely seen and previously unpublished photos by photographers including Anton Corbijn, Helmut Newton, Andrew Kent, Steve Schapiro, Duffy and many others as well as historical press reviews and technical notes about the albums from producer Tony Visconti.

                                    The vinyl box set has the same content as the CD set and is pressed on audiophile quality 180g vinyl.

                                    LP Box Set:
                                    84 Page hardback book
                                    Low (remastered) (1LP)
                                    "Heroes" (remastered) (1LP)
                                    “Heroes” E.P. (remastered) (12” Single)*
                                    Stage (remastered) (2LP Yellow Vinyl) *
                                    Stage (2017) (remastered) (3LP)
                                    Lodger (remastered) (1LP)
                                    Lodger (Tony Visconti 2017 Mix) (1LP)*
                                    Scary Monsters (And Super Creeps) (1LP)
                                    Re:Call 3 (non-album singles, single versions and b-sides) (remastered) (2LP)*

                                    * Exclusive to ‘A New Career In A New Town (1977-1982)’


                                    FORMAT INFORMATION

                                    FREE SHIPPING This item has FREE UK shipping!

                                    FREE SHIPPING This item has FREE UK shipping!

                                    Kraftwerk

                                    3-D The Catalogue

                                      Released to coincide with Kraftwerk’s forthcoming June 2017 tour – their first UK dates since the breathtaking shows witnessed at the Tate Modern in 2013 – Parlophone are proud to announce the release of Kraftwerk 3-D The Catalogue on 26th May. This is the ground-breaking 3-D Kraftwerk Concert brought thrillingly to life, developed using high definition 3-D visuals, with Dolby Atmos surround sound and presented to the technological and audio standards one would associate and indeed come to expect from the pioneering Germans led by founder Ralf Hütter. For the very first time, every Kraftwerk fan can now experience a "Gesamtkunstwerk – a total work of art” in the comfort of their own home. Kraftwerk 3-D The Catalogue is released across a number of formats including: Blu-Ray, Vinyl, CD, and DVD.
                                       
                                      3-D The Catalogue features new recordings of Kraftwerk’s 8 classic albums performed / filmed at various locations around the world between 2012-2016 and mixed at the band’s own state-of-the-art, Kling Klang Studio, Düsseldorf


                                      FORMAT INFORMATION

                                      2xLtd LP Info: 77 mins (abridged) version of full-length release containing music from all 8 albums on double heavyweight vinyl + download card.

                                      2xDVD Info: Blu-ray + DVD: Card slipcase, containing 6-panel digipak with 1 x 3D Blu-ray (2D compatible) and 1 x 2D DVD, each featuring the 77 mins edit, with highlights from each of the 8 albums

                                      4xBlu-Ray Info: 12” x 12” rigid board box set with lift-off lid, housing a 31cm x 30cm, 228-page hardback book and an 8-panel digipak in a card slipcase with 4 x Blu-ray discs containing:
                                      Discs 1+2: 8 album performances filmed in 3D (2D compatible). 218 mins approx.
                                      Discs 3+4: The tour films / projections, presented in 3D (2D compatible). 218 mins approx.

                                      FREE SHIPPING This item has FREE UK shipping!

                                      LP Box Set Info: 12” x 12” rigid board slipcase, housing 8 albums across 9* pieces of heavyweight vinyl + a download card (*“The Mix” is double vinyl).

                                      FREE SHIPPING This item has FREE UK shipping!

                                      CD Box Set Info: Rigid board box set with lift-off lid, holding 8 x capacity wallets, with 8 CDs, plus 16-page booklet.

                                      2017, marks the 40th anniversary of Paul Weller’s first album, “In The City”, which he released with The Jam in May 1977. For most artists such a landmark would be greeted with extensive retrospective celebrations: lavish reissues and all that jazz. But Paul Weller is not like most artists, instead releasing a new studio album, because releasing new albums is what Paul Weller does. Always moving forwards, almost clinically averse to nostalgia or checking his progress in the rear-view mirror.

                                      And so, continuing his never-ending creative peak, Paul Weller releases his eagerly awaited 13th studio album “A Kind Revolution” on Parlophone Records.

                                      Weller started work on “A Kind Revolution” immediately after finishing 2015’s “Saturns Pattern”, first tickling out the funky strut of “New York” and the beautiful slow-mo gospel of “The Cranes Are Back” - a song that ties in the changing face of London with the power of nature. The album’s title is taken from a line in the aforementioned song.

                                      Musicians on the album feature most of the touring band faithful with Andy Crofts and Ben Gordelier being the top mainstays. Steve Cradock and Steve Pilgrim also feature on several tracks. Opening track “Woo Sé Mama” sees legendary soul singers PP Arnold & Madeleine Bell supply their distinctive vocal skills while the exceedingly funky “One Tear” features the unmistakable voice of the one and only Boy George. Paul even managed to lure Robert Wyatt out of retirement to sing and play trumpet on “She Moves With The Fayre”. Finally, and once again, The Strypes’ guitarist Josh McClorey has been drafted in to add his magic to 3 tracks.

                                      “A Kind Revolution” features ten absolute classic modern Paul Weller songs. By “modern Paul Weller songs” we mean, instantly recognisable but in no way predictable. He doesn’t make a “kind of” album, he fits together all his influences - rock, R&B, soul, jazz, funk, folk…whatever - and builds a song from them, delivering something that drifts through genres unselfconsciously and at ease. Two great examples of this are two of the most reflective, contemplative songs, “Long Long Road” and “Hopper”, which in lesser hands might have been delivered as ballads, but Weller adds so much texture and colour to each that they defy categorisation. With great age comes great wisdom…

                                      Written and recorded at de facto HQ, Black Barn Studios in Surrey, “A Kind Revolution” was produced and arranged by Jan ‘Stan’ Kybert and Paul himself.

                                      FORMAT INFORMATION

                                      3xDeluxe CD Info: 8-panel fold-out card wallet containing the original 10-track album “A Kind Revolution”, plus a bonus CD featuring instrumental versions of “A Kind Revolution” and a third CD with remixes / alternate versions of “A Kind Revolution” tracks and another brand new track, Alpha. Also includes a booklet containing album lyrics.

                                      CD Info: 10-track album in gatefold card wallet with lyric booklet.

                                      Ltd Box Set Info: Deluxe rigid board box set with lift-off lid containing “A Kind Revolution” pressed up on 5 x pieces of 10” black vinyl with individual artwork. Includes 10” art print, lyric booklet and download card to access MP3s of all 29 tracks from Deluxe formats of the album.

                                      FREE SHIPPING This item has FREE UK shipping!

                                      The Gorillaz return for their newest offering since 2010's 'Plastic Beach'. Having amped up the guest-factor on this release, there is a whole host of influence from all over the musical spectrum. The Peven Everett number, 'Strobelite' for instance is a luminescent dancefloor house number, complete with soaring vocals and thumping bassy rolls, lots of filters and clanging sweeps, all topped with a smooth-as-silk string synth overlay. 

                                      Move along to 'Charger' though and we get the scary/alluring big baddie vox of disco-not-disco legend Grace Jones, before sweeping spookily into Albarn's dulcet Gorillaz voice. Backed by an industrious clanging synth sweep and charged percussives, it slowly segues into anthemic swirl of grooving disco before fading into the solemn follower, 'Andromeda'.

                                      By integrating a diverse selection of supplimentary talent, Gorillaz have managed to increase the scope of their already venerable musical palette, and absorb all sorts of influence along the way. 'Humanz' is littered with references to classic electronic music in all it's forms but still relies heavily upon that good old-fashioned songwriting we're all so keen on, providing their most diverse offering yet, whilst not sacrificing the cohesion and flow that has set them in such good stead so far. 




                                      STAFF COMMENTS

                                      Barry says: Featuring a who's who of electronic influence, 'Humanz' is as thematically diverse and as musically capable as any of their previous collections, but endowed with a maturity and scope previously unheard. Their best work so far.

                                      FORMAT INFORMATION

                                      LP Box Set Info: Super Deluxe Vinyl Box Set.

                                      FREE SHIPPING This item has FREE UK shipping!

                                      Paul Weller

                                      Jawbone (Music From The Film)

                                        Paul Weller releases his first ever soundtrack, to the forthcoming British movie, Jawbone. The film’s star (and writer / co-producer), the Bafta-nominated actor Johnny Harris approached Paul a few years ago through a mutual friend, on the off-chance that he might be interested. At that point, all that existed was a script – no cast and no budget – but Weller was keen almost immediately and a great partnership (and friendship) was forged.

                                        ‘Jawbone: Music From The Film’ is a collection quite unlike anything else from Paul Weller’s extensive discography as you can hear on the album’s sprawling 21-minute opener ‘Jimmy / Blackout’, an experimental sound collage which provides much of the film’s score and underlying mood.

                                        ‘Jimmy / Blackout’ segues across a variety of different and often dissonant tones, its eclectic tapestry of sounds flourishes and fractures with choral vocal harmonies, bursts of droning guitar and the swirl of vintage synthesisers, but on track 2, ‘The Ballad of Jimmy McCabe’, we find Paul in more familiar territory with a beautiful acoustic song, which reflects the situation and emotional turmoil that’s troubling Johnny Harris’s lead character.


                                        VANT release their eagerly anticipated debut album ‘DUMB BLOOD’ on Parlophone. The fiery punk and visceral alt-rock that pulsates throughout ‘DUMB BLOOD’ is music that incites moshpit bedlam and their lyrics demand discussion – on environmentalism, inequality, racism, religion, social media isolation and the all-out self-destruction of mankind. 

                                        “Each song is an exhilarating, blood-pumping punk thriller. This is a band on a rapid upswing, ascending at lightning speed, and the world will have to do their bit to be able to keep up.” – DIY – review of 29/11/16 Scala gig.

                                        STAFF COMMENTS

                                        Barry says: Crashing full-force melodic punk anthems, replete with fuzzed-out guitars, snarling vocal delivery and lo-fi solos. Melodic, dynamic fist-pumping anthemic rock, pushing through with a combination of catchy hooks and hefty production. Highly recommended.

                                        Two Door Cinema Club

                                        Gameshow

                                        Two Door Cinema Club return with Gameshow, their first album since the no. 2 LP 'Beacon' in 2012 and their first album for the Parlophone label. Gameshow incorporates a wide and varied range of styles and influences that perfectly marries the band’s pop sensibilities and hooks, with a continued sonic invention. It’s a real statement of intent, introducing their dedicated fan base to Two Door v2.0 – it’s a sound that’s ambitious, but never alienating – off-kilter, but always danceable

                                        David Bowie

                                        Who Can I Be Now? (1974-1976)

                                          The follow up to the awarding winning and critically acclaimed DAVID BOWIE ‘FIVE YEARS (1969 – 1973)’ this twelve CD box features all of the material officially released by Bowie during the so-called ‘American’ phase of his career from 1974 to 1976. The box set, which is named after a track recorded in 1974 but not officially released until the 1990’s, includes ‘DIAMOND DOGS’, ‘DAVID LIVE’ (in original and 2005 mixes), ‘YOUNG AMERICANS’ and ‘STATION TO STATION’ (in original and 2010 mixes) as well as ‘THE GOUSTER’, ‘LIVE NASSAU COLISEUM 76’ and a new compilation entitled ‘RE:CALL 2’ which is a collection of single versions and non-album b-sides. All of the formats include tracks that have never before appeared on CD as well as new remasters. Exclusive to the box set is ‘THE GOUSTER previously unreleased as a complete album’ it was recorded at Sigma Sound, Philadelphia in 1974 and produced by Tony Visconti. The album was mixed and mastered before David decamped to New York to work with John Lennon and Harry Maslin on what became the ‘YOUNG AMERICANS’ album. ‘THE GOUSTER’ contains three previously unreleased mixes of ‘Right’, ‘Can You Hear Me’ and ‘Somebody Up There Likes Me’. For the 2016 release, Tony Visconti has overseen the mastering from the original tapes and photos taken by Eric Stephen Jacobs have been put together for the sleeve based around one of David’s original concepts for the album. Also exclusive to the box set will be the remastered ‘DAVID LIVE (original mix)’, the 2010 Harry Maslin mix of ‘STATION TO STATION’ (previously only available on an audio only DVD in 5.1 and stereo as part of the ‘STATION TO STATION’ Deluxe box set in 2010) and ‘RE:CALL 2’. ‘RE:CALL 2’ features the original single mix of ‘Rebel Rebel’, which has only featured on a 40th anniversary picture disc in 2014 since its original release on single in 1974, and a previously unreleased on CD Australian single edit of ‘Diamond Dogs’, the only place in the world that this edit was issued. Also appearing on CD for the first time is the single edit of the live version of ‘Rock ‘n’ Roll With Me’, which was issued to radio stations in the U.S. to help promote the ‘DAVID LIVE’ album. ‘RE:CALL 2’ features newly originated artwork with 1975 in-studio images from the ‘STATION TO STATION’ recording sessions by David’s friend and backing vocalist Geoff MacCormack aka Warren Peace. The alternative cover for the 2010 mix of ‘STATION TO STATION’ by Harry Maslin, features the originally intended colour sleeve for the album that never got further than a few colour proofs and was replaced by the more familiar black and white image. The box set’s accompanying 128 page book will feature rarely seen and previously unpublished photos by photographers including Eric Stephen Jacobs, Tom Kelley, Geoff MacCormack, Terry O’Neill, Steve Schapiro, and many others as well as historical press reviews and technical notes about the albums from producers Tony Visconti and Harry Maslin. The CD box set will include faithfully reproduced mini-vinyl versions of the original albums and the CDs will be gold coloured rather than the usual silver. Also available as a 13LP 180g vinyl set (with 84 page book).

                                          FORMAT INFORMATION

                                          LP Box Set Info: 13LP box with 84 page book. 180 gram vinyl.

                                          FREE SHIPPING This item has FREE UK shipping!

                                          CD Box Set Info: 12CD box with 128 page book.
                                          The CD box set will include faithfully reproduced mini-vinyl versions of the original albums and the CDs will be gold coloured rather than the usual silver.

                                          FREE SHIPPING This item has FREE UK shipping!

                                          The Bride follows the story of a woman whose fiancé has been killed in a crash on the way to the church for their wedding. The Bride flees the scene to take the honeymoon trip alone, resulting in a dark meditation on love, loss, grief, and celebration. Written as the soundtrack for a feature length film in mind, The Bride is Khan’s most ambitious work to date, sonically and visually incorporating an entire world inhabited by The Bride, along with the characters and places she encounters on the way. The lush narrative of the artwork was conceived as a visual partnership between Natasha and Neil Krug, The Bride's universe being the product of two years of collaboration and experimentation.

                                          The Bride was conceived of and produced by Natasha Khan alongside a host of long-time collaborators and friends including Simone Felice, Dan Carey, Head and Ben Christophers. Inspired by a short film Khan wrote and directed entitled I Do, making its debut at this year’s Tribeca Film Festival in NYC in April, The Bride was created over the course of 18 months across London, Los Angeles, and Brighton. Finally last Autumn, Natasha headed to the mountains of Woodstock, NY, where she built a studio into the ground floor of a big old house and lived there for two months, finishing the record with co-producer Simone Felice (Lumineers, Felice Bros). The album was mixed by Head in London and mastered at Metropolis Studios.

                                          STAFF COMMENTS

                                          Sil says: Lusciously clean tonalities inhabit the layers of melancholic landscapes that cover all the compositions in 'The Bride'. A conceptual project that channels all possible gloom scattered with some thin sun-rays of hope.

                                          David Bowie

                                          David Bowie AKA Space Oddity - 180 Gram Vinyl Edition

                                            The album, produced by Tony Visconti (bar "Space Oddity" itself which was produced by the late Gus Dudgeon), was a giant leap forward in terms of songwriting for Bowie compared to his eponymous debut, and can be considered as the first truly essential David Bowie album. Noted for a list of collaborators, including session players Herbie Flowers, Tim Renwick, Terry Cox and Rick Wakeman, the album delves into psychedelic folk-rock, as well as prog, with its genre-defying template creating a blueprint of what would become over the next decade and more, one of the most inimitable British artists.

                                            FORMAT INFORMATION

                                            LP Info: 180 gram audiophile vinyl.

                                            David Bowie

                                            Pinups - 180 Gram Vinyl Edition

                                              David Bowie's seventh album was his last to feature the famous "Spiders From Mars" band. It originally came out in November 1973 and is unique in that it is made up entirely of cover versions. In the original liner notes Bowie wrote that the original songs carried the flavour of "64 to '67 London" when he was first getting his band together. As such, it really does feel like a labour of love. Apart from enormo stars Pink Floyd, The Kinks and The Who, he also mastered tracks by The Merseys, Pretty Things and Easybeats. In short, a fine collection of classic songs given that indefatigable Bowie stamp.

                                              FORMAT INFORMATION

                                              LP Info: 180 gram audiophile vinyl.

                                              David Bowie

                                              Hunky Dory - 180 Gram Vinyl Edition

                                                "After the freakish hard rock of The Man Who Sold the World, David Bowie returned to singer/songwriter territory on Hunky Dory. Not only did the album boast more folky songs ("Song for Bob Dylan," "The Bewlay Brothers"), but he again flirted with Anthony Newley-esque dancehall music ("Kooks," "Fill Your Heart"), seemingly leaving heavy metal behind. As a result, Hunky Dory is a kaleidoscopic array of pop styles, tied together only by Bowie's sense of vision: a sweeping, cinematic mélange of high and low art, ambiguous sexuality, kitsch, and class. Mick Ronson's guitar is pushed to the back, leaving Rick Wakeman's cabaret piano to dominate the sound of the album. The subdued support accentuates the depth of Bowie's material, whether it's the revamped Tin Pan Alley of "Changes," the Neil Young homage "Quicksand," the soaring "Life on Mars?," the rolling, vaguely homosexual anthem "Oh! You Pretty Things," or the dark acoustic rocker "Andy Warhol." On the surface, such a wide range of styles and sounds would make an album incoherent, but Bowie's improved songwriting and determined sense of style instead made Hunky Dory a touchstone for reinterpreting pop's traditions into fresh, postmodern pop music." - Allmusic.

                                                FORMAT INFORMATION

                                                LP Info: 180 gram audiophile vinyl.

                                                David Bowie

                                                The Rise And Fall Of Ziggy Stardust And The Spiders From Mars - 180 Gram Vinyl Edition

                                                  Originally released through RCA Victor on 6th June 1972, Ziggy Stardust was David Bowie’s fifth album, co-produced by Bowie and Ken Scott. Incredibly, the album was written whilst Bowie was recording 1971’s Hunky Dory album, with recording beginning a couple of months before that album’s release. It was recorded at Trident Studios, London between 8th November 1971 and 4th February 1972, with the line up: Mick Ronson (guitar, piano, backing vocals, string arrangements), Trevor Bolder (bass), Mick Woodmansey (drums), Rick Wakeman (keyboards) and backing vocals on ‘It Ain’t Easy’ by Dana Gillespie. As well as performing vocals, Bowie also played acoustic guitar, saxophone and harpsichord on the album and was involved in the arrangements too.

                                                  The album eventually peaked at #5 on the UK Album Chart on 22nd July having entered the chart at #15 on 1st July. Key to the album’s rise in the UK were the two TV performances of “Starman” on Granada TV’s Lift Off With Ayshea and nationally on the BBC’s Top Of The Pops. The album’s influence is immeasurable – it converted legions of fans, becoming the zeitgeist and a major influence on the next generation, particular those who were involved in the punk movement – musicians, artists, designers – and the subsequent re-birth of rock and pop.

                                                  Famously Bowie killed Ziggy at his peak at London’s Hammersmith Odeon, on July 3rd, 1973, though Ziggy Stardust’s influence was to redefine popular culture forever: pop music was never the same again.

                                                  FORMAT INFORMATION

                                                  LP Info: 180 gram audiophile vinyl.

                                                  David Bowie

                                                  The Man Who Sold The World - 180 Gram Vinyl Edition

                                                    "Even though it contained no hits, The Man Who Sold the World, for most intents and purposes, is the beginning of David Bowie's classic period. Working with guitarist Mick Ronson and producer Tony Visconti for the first time, Bowie developed a tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen. The mix is off-center, with the fuzz-bass dominating the compressed, razor-thin guitars and Bowie's strangled, affected voice. The sound of The Man Who Sold the World is odd, but the music is bizarre itself, with Bowie's bizarre, paranoid futuristic tales melded to Ronson's riffing and the band's relentless attack. Musically, there isn't much innovation on The Man Who Sold the World - it is almost all hard blues-rock or psychedelic folk-rock - but there's an unsettling edge to the band's performance, which makes the record one of Bowie's best albums." - Allmusic.

                                                    FORMAT INFORMATION

                                                    LP Info: 180 gram audiophile vinyl.

                                                    Recorded in Malibu, LA and London, the album was produced by Stargate together with the band’s long-time collaborator Rik Simpson. It features more guests than any previous Coldplay record, with Beyoncé, Noel Gallagher, Tove Lo and Merry Clayton among those appearing across its 11 tracks.

                                                    ‘A Head Full Of Dreams’ is the widescreen follow-up to 2014’s fragile and lovelorn ‘Ghost Stories’, Coldplay’s sixth consecutive worldwide chart topper, award winner and multi-million seller. The band chose not to tour ‘Ghost Stories’ and headed straight back into the studio to record ‘A Head Full Of Dreams’.

                                                    Revitalised, they’ve made an album that’s bursting with energy, colour and big, life-affirming moments such as the deliciously ebullient first single ‘Adventure Of A Lifetime’ and the rocket-powered ‘Hymn For The Weekend’.

                                                    15 years after the release of the legendary "Tourist", French house icon, jazz expert and production genius St Germain returns to the scene with a third studio album. The self-titled long player further builds on Germain's deep house roots, incorporating a soulful collage of blues and jazz samples with his trademark hypnotic electronic loops and vocal samples. Much of the album was recorded live with the participation of African musicians on traditional Malian instruments. Opening track, "Real Blues", is a fiery, percussion-driven track layered with the smooth vocals of blues legend Lightnin' Hopkins and gorgeous kora tones, while "Sittin' Here" works a Malian vocal around burnt out chords and intricate rhythms. Downbeat cuts "Hanky Panky" and "Voila" drop the tempo and swap the 4/4 for broken rhythms perfectly suited to their jazzy keys and African guitar licks. Over on the second disc, "Family Tree" keeps things classy with its subtle combination of sophisticated jazz, desert mysticism and smoky vocals, while "How Dare You" blends blues and broken rhythms into a bass heavy house roller. Over into the D-side, and the hip hop influenced "Mary L" and "Forget Me Not" (a superb reprise of "Boulevard" closer "Forget It" swaggers in to get heads nodding and spirits soaring. Ludo keeps things classy from start to finish on a sophisticated return.

                                                    David Bowie

                                                    Five Years 1969 - 1973

                                                      David Bowie 'Five Years 1969 - 1973' is the first in a series of box sets spanning his career. The ten album / twelve CD box, ten album / thirteen-piece vinyl set featuring all of the material officially released by Bowie during the nascent stage of his career from 1969 to 1973. All of the formats include tracks that have never before appeared on CD as well as new remasters.

                                                      Contents:
                                                      6 original studio albums: David Bowie AKA Space Oddity*, The Man Who Sold The World*, Hunky Dory*, The Rise and Fall Of Ziggy Stardust And The Spiders From Mars, Aladdin Sane and PinUps*. (*New remasters)

                                                      2 Live albums: Live Santa Monica ’72, Ziggy Stardust: The Motion Picture Soundtrack

                                                      Exclusive to the set:
                                                      • Re:Call 1 a new 2-disc compilation of non-album singles, single versions & b-sides. Featuring a previously unreleased single edit of All The Madmen. And the original version of Holy Holy, which was only ever released on the original 1971 Mercury single.
                                                      • ‘The Rise and Fall Of Ziggy Stardust And The Spiders From Mars’ (2003 stereo remix) by the album’s original co-producer Ken Scott, previously only available on DVD with the LP/DVD format of the 40th anniversary edition of the album.
                                                      • Book: [ CD - 128 page book / Vinyl - 84 page book ], features rarely seen photos as well as technical notes about each album from producers Tony Visconti and Ken Scott, an original press review for each album and a short foreword by legendary Kinks front man Ray Davies.
                                                      • The CD box set includes faithfully reproduced mini-vinyl versions of the original albums, the CDs will be gold rather than the usual silver, an alternate cover for the 2003 mix of Ziggy Stardust by Ken Scott and newly originated artwork for the ‘Re:Call 1’ featuring a 1973 in-studio image from renowned photographer Mick Rock.
                                                      • The vinyl box set has the same content as the CD set on pressed on audiophile quality 180g vinyl.


                                                      FORMAT INFORMATION

                                                      LP Box Set Info: ONE COPY ONLY!!!

                                                      FREE SHIPPING This item has FREE UK shipping!

                                                      David Bowie

                                                      Space Oddity - 2015 Remaster Edition

                                                        The album, produced by Tony Visconti (bar "Space Oddity" itself which was produced by the late Gus Dudgeon), was a giant leap forward in terms of songwriting for Bowie compared to his eponymous debut, and can be considered as the first truly essential David Bowie album. Noted for a list of collaborators, including session players Herbie Flowers, Tim Renwick, Terry Cox and Rick Wakeman, the album delves into psychedelic folk-rock, as well as prog, with its genre-defying template creating a blueprint of what would become over the next decade and more, one of the most inimitable British artists.

                                                        STAFF COMMENTS

                                                        Andy says: Psych and folk flavours, typical of the late 60's era, dominate on Bowie's second LP. Obviously the title track is one of the greatest songs ever written!

                                                        David Bowie

                                                        The Rise And Fall Of Ziggy Stardust - 2012 Remaster Edition

                                                          Originally released through RCA Victor on 6th June 1972, Ziggy Stardust was David Bowie’s fifth album, co-produced by Bowie and Ken Scott. Incredibly, the album was written whilst Bowie was recording 1971’s Hunky Dory album, with recording beginning a couple of months before that album’s release. It was recorded at Trident Studios, London between 8th November 1971 and 4th February 1972, with the line up: Mick Ronson (guitar, piano, backing vocals, string arrangements), Trevor Bolder (bass), Mick Woodmansey (drums), Rick Wakeman (keyboards) and backing vocals on ‘It Ain’t Easy’ by Dana Gillespie. As well as performing vocals, Bowie also played acoustic guitar, saxophone and harpsichord on the album and was involved in the arrangements too.

                                                          The album eventually peaked at #5 on the UK Album Chart on 22nd July having entered the chart at #15 on 1st July. Key to the album’s rise in the UK were the two TV performances of “Starman” on Granada TV’s Lift Off With Ayshea and nationally on the BBC’s Top Of The Pops. The album’s influence is immeasurable – it converted legions of fans, becoming the zeitgeist and a major influence on the next generation, particular those who were involved in the punk movement – musicians, artists, designers – and the subsequent re-birth of rock and pop.

                                                          Famously Bowie killed Ziggy at his peak at London’s Hammersmith Odeon, on July 3rd, 1973, though Ziggy Stardust’s influence was to redefine popular culture forever: pop music was never the same again.

                                                          STAFF COMMENTS

                                                          Andy says: One of the best pop albums of all time. It enchanted a whole generation and went on to inspire future pop stars for decades to come.

                                                          Following the success of his hugely acclaimed 2012 Top Three album, Standing At The Sky’s Edge, Richard Hawley will release his eighth studio album, 'Hollow Meadows' via Parlophone Records.

                                                          Recorded at Sheffield’s Yellow Arch Studio in spring 2015, Hollow Meadows' sees Hawley return to the classic, sophisticated songwriting and subtle arrangements that made him so widely loved and revered in the first place.

                                                          Meditating on such themes as ageing, fallibility and relationships, much of the album shares a brooding, yet wistful and romantic atmosphere in keeping with early albums Late Night Final and Lowedges, as well as touches of 2009’s Truelove’s Gutter (‘Nothing Like A Friend’) and Standing At The Sky’s Edge (‘Which Way’, ‘Welcome The Sun’).


                                                          FORMAT INFORMATION

                                                          2xLtd LP Info: Double heavyweight vinyl in a gatefold sleeve.

                                                          2xLtd LP includes MP3 Download Code.

                                                          Who best to describe Paul Weller’s first album for the Parlophone label other than Paul himself: “I think it’s one of the best things I’ve done. I can’t compare it to any of my other albums. I think it’s different – not just for me, but different for what else is around. It’s defiantly 21st-Century music.” – Uncut (January 2015)

                                                          Nearly 40 years into his recording career, Paul continues to challenge and excite both himself and the listener, by constantly evolving as a song-writer and musician, always moving forwards and pursuing fresh creative avenues and Paul’s new album Saturns Pattern does not disappoint.

                                                          Paul Weller

                                                          Saturns Pattern - Deluxe Box Set

                                                            This deluxe edition includes CD (+3 bonus tracks), DVD, exclusive coloured vinyl LP, booklet, poster.

                                                            Who best to describe Paul Weller’s first album for the Parlophone label other than Paul himself: “I think it’s one of the best things I’ve done. I can’t compare it to any of my other albums. I think it’s different – not just for me, but different for what else is around. It’s defiantly 21st-Century music.” – Uncut (January 2015) 

                                                            Nearly 40 years into his recording career, Paul continues to challenge and excite both himself and the listener, by constantly evolving as a song-writer and musician, always moving forwards and pursuing fresh creative avenues and Paul’s new album Saturns Pattern does not disappoint.

                                                            Paul Weller

                                                            Saturns Pattern

                                                              Weller returns with the first taster from his new album of the same name. Mod-ish r'n'b but spiked with effects that add some psychedelic soul.

                                                              The 7” is backed with a brand new, non-album track called ‘Sun Goes’.

                                                              It’s 16 years since their last album as a four-piece and 27th April sees the release of a brand new album from Blur on Parlophone, titled The Magic Whip.

                                                              The recordings, which began during a five-day break in touring in Spring 2013 - at Avon Studios in Kowloon, Hong Kong - were put aside when the group finished touring and returned to their respective lives. Last November Graham Coxon revisited the tracks and, drafting in Blur’s early producer Stephen Street, he worked with the band on the material. Damon Albarn then added lyrics and the 12 tracks of The Magic Whip are the result. 

                                                              Rainbow Ffolly

                                                              Sallies Fforth

                                                                THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                Rainbow Ffolly had a light, fun touch, very much in the spirit of early 1967, and a close, cohesive sound in which all four members sang, with Jon Dunsterville serving as songwriter. (via Wikipedia)

                                                                Sallies Fforth was the band’s one and only release (1968). Their only single, "Drive My Car," failed to garner much success on the charts, and they disbanded shortly thereafter. A true era rarity.

                                                                Format: 1LP (mono) on 140 gram splattered vinyl with black and yellow 60’s Parlophone label.

                                                                Limited edition Record Store Day exclusive, available to independent retailers only, 4500 units worldwide.


                                                                Iron Maiden

                                                                Wasted Years

                                                                  Parlophone Records follow the 2012/13 Iron Maiden vinyl picture disc reissues of their albums, which spanned the 1980s, with brand new pressings of the albums in heavyweight 180g black vinyl. In conjunction with these premium album releases, a strictly limited one-off run of the 7” singles from each respective album is made available. These highly collectable black vinyl singles are cut from the original analogue master tapes.

                                                                  Iron Maiden

                                                                  Stranger In A Strange Land

                                                                    Parlophone Records follow the 2012/13 Iron Maiden vinyl picture disc reissues of their albums, which spanned the 1980s, with brand new pressings of the albums in heavyweight 180g black vinyl. In conjunction with these premium album releases, a strictly limited one-off run of the 7” singles from each respective album is made available. These highly collectable black vinyl singles are cut from the original analogue master tapes.

                                                                    Iron Maiden

                                                                    The Evil That Men Do

                                                                      Parlophone Records follow the 2012/13 Iron Maiden vinyl picture disc reissues of their albums, which spanned the 1980s, with brand new pressings of the albums in heavyweight 180g black vinyl. In conjunction with these premium album releases, a strictly limited one-off run of the 7” singles from each respective album is made available. These highly collectable black vinyl singles are cut from the original analogue master tapes.

                                                                      Iron Maiden

                                                                      Running Free

                                                                        Parlophone Records follow the 2012/13 Iron Maiden vinyl picture disc reissues of their albums, which spanned the 1980s, with brand new pressings of the albums in heavyweight 180g black vinyl. In conjunction with these premium album releases, a strictly limited one-off run of the 7” singles from each respective album is made available. These highly collectable black vinyl singles are cut from the original analogue master tapes.

                                                                        Iron Maiden

                                                                        Twilight Zone

                                                                          Parlophone Records follow the 2012/13 Iron Maiden vinyl picture disc reissues of their albums, which spanned the 1980s, with brand new pressings of the albums in heavyweight 180g black vinyl. In conjunction with these premium album releases, a strictly limited one-off run of the 7” singles from each respective album is made available. These highly collectable black vinyl singles are cut from the original analogue master tapes.

                                                                          Kate Bush

                                                                          The Whole Story

                                                                            "The first compilation of highlights from Kate Bush's work is still one of the better ways of getting introduced to her music, even 20-plus years after its original release. Bush made a special effort on behalf of this collection - originally an LP - by re-recording and remixing her debut hit "Wuthering Heights"; she felt that her teenaged vocal didn't properly represent the song and, in fact, at one point thought to re-do the vocals on several other of the early numbers included. The collection is an excellent overview, presenting the many sides of her music, and bookending her whole career through 1984, from her debut to her then newest single, "Experiment IV"; nor is it confined exclusively to major hits, as important lesser-charting entries are also featured." - All Music.

                                                                            Morrissey

                                                                            Vauxhall & I - 20th Anniversary LP Remastered Edition

                                                                            ‘Vauxhall and I’ is the latest Morrissey album to get the ‘definitive remaster’ treatment after the success of ‘Your Arsenal’. 

                                                                            This album is widely considered to feature some of Morrissey’s best output post The Smiths. 

                                                                            ‘Vauxhall and I’ celebrates its 20th Anniversary in 2014. 

                                                                            This 2CD edition includes a previously unavailable concert recorded at the Theatre Royal, London, 1995.

                                                                            FORMAT INFORMATION

                                                                            LP includes MP3 Download Code.

                                                                            After 20 years of success fronting globally successful bands Blur and Gorillaz, a true British icon releases his first solo album.

                                                                            A poignant and introspective record that will win people over with it its quality.
                                                                            Campaign will be creative led with Damon working with conceptual multi-media artist Aitor to create artwork, video and online concepts.


                                                                            STAFF COMMENTS

                                                                            Andy says: Gorgeously understated, mellow mix of sounds, organic and electronic. An honest, thoughtful record.

                                                                            FORMAT INFORMATION

                                                                            2xLP includes MP3 Download Code.

                                                                            Vinyl comes with CD version of the album enclosed.

                                                                            2xLtd CD/DVD Info: Deluxe CD and DVD edition.

                                                                            Coldplay

                                                                            Midnight

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

                                                                              Special one-sided 7” featuring ‘Midnight’ from Coldplay’s forthcoming sixth album ‘Ghost Stories’ backed with an exclusive etching from artist Mila Fürstová.

                                                                              Limited to 1500 copies.

                                                                              Damon Albarn

                                                                              Hollow Ponds / Lonely Press Play

                                                                                ONE COPY FOUND!!!

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

                                                                                To celebrate Record Store Day, Damon Albarn will release two songs from his forthcoming solo album as a limited edition Double A Side.

                                                                                The tracks - ‘Hollow Ponds’ and ‘Lonely Press Play’ - feature on Albarn’s new studio album Everyday Robots, set for release on April 28. This very limited 7 inch release comes in a Parlophone house bag and gives fans the opportunity to own two songs from Everyday Robots – Albarn’s most soul-searching and autobiographical record since his musical journey began – on vinyl ahead of the album’s release.

                                                                                Limited to 1000 copies.

                                                                                Luke Sital-Singh

                                                                                Nothing Stays The Same

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

                                                                                  Limited to 300 copies.

                                                                                  David Bowie

                                                                                  Rebel Rebel - Limited Edition 40th Anniversary 7" Picture Disc

                                                                                    The first David Bowie release of 2014 will be 'REBEL REBEL' the latest in the run of 40th anniversary 7" picture discs released by Parlophone Records.

                                                                                    ‘REBEL REBEL’ is the seventh 40th anniversary 7" picture disc release, preceded by ‘STARMAN’, ‘JOHN, I'M ONLY DANCING’, ‘THE JEAN GENIE’, ‘DRIVE-IN SATURDAY’, ‘LIFE ON MARS’ and ‘SORROW’.

                                                                                    Originally released in February 1974, ‘REBEL REBEL’ was Bowie's first new original single since disbanding The Spiders From Mars and acted as a taster for the groundbreaking album DIAMOND DOGS. The track reached #5 in the UK and also hit the US Billboard Hot 100. It is reportedly the most covered track of Bowie’s career

                                                                                    The A-side of the limited edition 7" picture disc features the original single mix of the track which hasn't been available on 7" since the early eighties and is still unavailable on CD to this day.

                                                                                    The singles master tape disappeared shortly after it was originally used and with David changing record companies it has never reappeared. All subsequent uses of ‘REBEL REBEL’ for CD or download have been the LP version from DIAMOND DOGS not the original 7" version which is a bit more rough and ready. Rather than continue using the album version, for this it was decided to dub it from the cleanest original 7" single that could be found to put in back in its rightful place as THE single version.

                                                                                    The AA-side has the U.S Version of ‘REBEL REBEL’, performed entirely by Bowie himself (with Geoff MacCormack supplying congas). This radically different version of the song was released in May 1974 three months after the first issue, but only in the U.S, Canada and Mexico.

                                                                                    The artwork for the picture disc features two shots from a session that took place in Amsterdam at the television show Top Pop in February 1974.

                                                                                    This is a definitive new re-master of Morrissey’s seminal third album, produced by legendary Spiders From Mars’ guitarist and arranger Mick Ronson. Originally released in 1992 (UK No.4) it showcases Morrissey at the peak of his artistic powers. There is one change to the tracklist - the original version of ‘Tomorrow’ is replaced with the superior U.S. Mix.

                                                                                    FORMAT INFORMATION

                                                                                    Ltd LP Info: The heavyweight, gatefold vinyl LP features a rare Kevin Cummins photo of Morrissey and his band taken in Koln, 1991.

                                                                                    Duran Duran

                                                                                    No Ordinary EP

                                                                                      On May 15, 1993, Duran Duran played an intimate acoustic show at the now-defunct Tower Records in Hollywood. Only attended by those who won tickets as part of an exclusive radio contest, the show served as a radical departure from the full-band splendor enjoyed on the Dilate Your Mind World Tour. Three tracks from the one-night-only event were captured on the No Ordinary EP, a cassette given away free in the United States with a purchase of the "Too Much Information" single.

                                                                                      With Nick Rhodes peppering sparse keyboards into a steady mix of stripped-down arrangement, everything from the breakthrough track "Hungry Like the Wolf" to the laidback "Come Undone" is reimagined to assume more reflective musical duties. Never released as a package elsewhere, the No Ordinary EP is a unique lens into a sliver of the British new-wave outfit's expansive discography, and feels at home on the strictly limited warm white vinyl format.



                                                                                      Parlophone are thrilled to announce that the third Babyshambles album Sequel To The Prequel. The album was recorded at Question Du Son, Paris and mixed in The Bunker, London, with producer/mixer and long time 'Shambles collaborator Stephen Street.

                                                                                      Filled with hooks and humour, the album features some of the band’s finest ever lyrics ranging from the tender to the downright hilarious. Musically it has already been called their most accomplished and collaborative work to date.

                                                                                      As Peter Doherty told the NME recently, “I don’t want this to be half arsed, I want to get up there and really fu*king smash it out. Babyshambles aren’t back, this band has always been here”.

                                                                                      The album - featuring sleeve artwork by Brit-art icon Damien Hirst - is released on CD, and on heavyweight 12" clear vinyl LP (including a CD of the album, plus artwork poster).

                                                                                      STAFF COMMENTS

                                                                                      Andy says: Proper songs and a solid production make this a surprisingly coherent effort from the erstwhile Libertines man.

                                                                                      Debut album from Gabrielle Aplin for Parlophone Records. Entitled English Rain, the album was recorded with Mike Spencer (Rudimental, Alex Clare) in his Buckingham studio over a period of 6 months. Gabrielle wrote or co-wrote all the new songs on the album, and played the majority of the instruments herself.


                                                                                      Coldplay

                                                                                      Hurts Like Heaven (Picture Disc + Mylo Xyloto Comic)

                                                                                        THIS IS A RECORD STORE DAY 2013 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                                        David Bowie

                                                                                        Hunky Dory - 2015 Remaster Edition

                                                                                          "After the freakish hard rock of The Man Who Sold the World, David Bowie returned to singer/songwriter territory on Hunky Dory. Not only did the album boast more folky songs ("Song for Bob Dylan," "The Bewlay Brothers"), but he again flirted with Anthony Newley-esque dancehall music ("Kooks," "Fill Your Heart"), seemingly leaving heavy metal behind. As a result, Hunky Dory is a kaleidoscopic array of pop styles, tied together only by Bowie's sense of vision: a sweeping, cinematic mélange of high and low art, ambiguous sexuality, kitsch, and class. Mick Ronson's guitar is pushed to the back, leaving Rick Wakeman's cabaret piano to dominate the sound of the album. The subdued support accentuates the depth of Bowie's material, whether it's the revamped Tin Pan Alley of "Changes," the Neil Young homage "Quicksand," the soaring "Life on Mars?," the rolling, vaguely homosexual anthem "Oh! You Pretty Things," or the dark acoustic rocker "Andy Warhol." On the surface, such a wide range of styles and sounds would make an album incoherent, but Bowie's improved songwriting and determined sense of style instead made Hunky Dory a touchstone for reinterpreting pop's traditions into fresh, postmodern pop music." - Allmusic.

                                                                                          STAFF COMMENTS

                                                                                          Andy says: "Ziggy" gets all the kudos but this may just well be David Bowie's best album ever! Features the world-classic "Life On Mars". Flawless.

                                                                                          David Bowie

                                                                                          The Man Who Sold The World - 2015 Remaster Edition

                                                                                            "Even though it contained no hits, The Man Who Sold the World, for most intents and purposes, is the beginning of David Bowie's classic period. Working with guitarist Mick Ronson and producer Tony Visconti for the first time, Bowie developed a tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen. The mix is off-center, with the fuzz-bass dominating the compressed, razor-thin guitars and Bowie's strangled, affected voice. The sound of The Man Who Sold the World is odd, but the music is bizarre itself, with Bowie's bizarre, paranoid futuristic tales melded to Ronson's riffing and the band's relentless attack. Musically, there isn't much innovation on The Man Who Sold the World - it is almost all hard blues-rock or psychedelic folk-rock - but there's an unsettling edge to the band's performance, which makes the record one of Bowie's best albums." - Allmusic.


                                                                                            STAFF COMMENTS

                                                                                            Andy says: The classic title track would famously be covered by Nirvana on their "MTV Unplugged" album, but as ever, this record is pretty unlike anything else The Dame would go on to produce.

                                                                                            David Bowie

                                                                                            Aladdin Sane - 2013 Remaster Edition

                                                                                              "Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of "Panic in Detroit," as well as on his oddly clueless cover of "Let's Spend the Night Together." For all the pleasures on Aladdin Sane, there's no distinctive sound or theme to make the album cohesive; it's Bowie riding the wake of Ziggy Stardust, which means there's a wealth of classic material here, but not enough focus to make the album itself a classic." - AllMusic.


                                                                                              STAFF COMMENTS

                                                                                              Andy says: David Bowie's follow-up to "Ziggy Stardust" stayed in the Glam style but with loads of other arty stylings that it kept him streets ahead of the rest. Includes the classic stomper "Jean Genie".

                                                                                              The Beatles

                                                                                              Revolver - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                STAFF COMMENTS

                                                                                                Andy says: Beatles ruled the world. From fun-loving popstars to cultural and cosmic ambassadors. Amazing.

                                                                                                The Beatles

                                                                                                Please Please Me - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                  The Beatles

                                                                                                  A Hard Day's Night - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                    The Beatles

                                                                                                    The Beatles (White Album) - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                      The Beatles

                                                                                                      Past Masters (Volumes 1 & 2) - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                        The Beatles

                                                                                                        Abbey Road - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                          The Beatles

                                                                                                          Rubber Soul - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                            STAFF COMMENTS

                                                                                                            Andy says: Commonly regarded as the record which heralded The Beatles' evolution from pop to rock, Rubber Soul was really the first LP to fully display the influence of Bob Dylan. In My Life (one of their best ever) Norwegian Wood and Nowhere Man were all deeper cuts than before whilst If I Needed Someone was George Harrison's greatest contribution to a Beatles' album so far.

                                                                                                            The Beatles

                                                                                                            With The Beatles - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                              The Beatles

                                                                                                              Yellow Submarine - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                                The Beatles

                                                                                                                Let It Be - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                                  The Beatles

                                                                                                                  Magical Mystery Tour - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                                    The Beatles

                                                                                                                    Beatles For Sale - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                                      The Beatles

                                                                                                                      Help! - Vinyl Edition

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

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                                        The Beatles

                                                                                                                        The Beatles In Stereo - Vinyl Box

                                                                                                                          Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles. Each album will be available individually, and accompanied by a stunning, elegantly designed 252-page hardbound book in a lavish boxed edition which is limited to 50,000 copies worldwide.

                                                                                                                          The book, exclusive to the boxed edition, is authored by award-winning radio producer Kevin Howlett and features a dedicated chapter for each of the albums, as well as insight into the creation of the remasters and how the vinyl albums were prepared. The 12”x12” book showcases a wealth of photographs spanning The Beatles’ recording career, including many images which were not included in the 2009 CD booklets.

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

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

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

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

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

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

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

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

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

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

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

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

                                                                                                                          FORMAT INFORMATION

                                                                                                                          LP Box Set Info: This weighs in at a hefty 13kg.
                                                                                                                          Mainland UK customers get free shipping via UK Mail.
                                                                                                                          If this is shipping to you outside mainland UK please email for postage rates.

                                                                                                                          Bat for Lashes first captured hearts way back in 2006 with a set of distinctively haunting and darkly phantasmagorical songs ripe with magic realism. Two Mercury Music Prize nominated albums, the atavistic, reverb-drenched Fur and Gold (2006) and 2009’s universally acclaimed Two Suns, re-affirming Natasha Khan as a unique song writing talent and one who is paving her own way. Bat for Lashes returns with her long awaited third album The Haunted Man via Parlophone on October 15th. Produced by long time collaborator David Kosten and newly appointed Dan Carey, the album features a mixture of electronic beats and swooning ballads backed by an orchestra recorded at Abbey Rd. studios.

                                                                                                                          The title track is one of the album’s two pole stars. Khan sees it as the record’s ‘godfather’, representing the trauma of loss and miscommunication (with the other being the more hopeful ‘Lilies’, exploring creative resurgence, love and sensuality). ‘The Haunted Man’ is an overwhelmingly lovely song, poignant and ghostly, but with a strong restorative charge and was inspired by David Lean’s movie ‘Ryan’s Daughter’, which is set in 1916 against the backdrop of the Irish conflict. This was one of several songs she worked on with Rob Ellis, when they and other players decamped to a house in Perugia last summer, and it involved projecting massed male vocals across a canyon with an amp, then recording the slapback – a sonic metaphor for the men returning over the hill from war.

                                                                                                                          STAFF COMMENTS

                                                                                                                          Millie says: An awe inspiring album from Bat For Lashes, not only is her voice beautifully haunting but her lyrics carry so much meaning. The songs are teamed with narratives which makes them spring to life. The new upcoming album ‘The Bride’ is highly anticipated in my books.

                                                                                                                          Graham Coxon

                                                                                                                          What'll It Take

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

                                                                                                                            Limited to 750, Dinked Vinyl with retro sleeve.


                                                                                                                            Following the success of his award-winning, hugely acclaimed 2009 album ‘Truelove’s Gutter’, Richard Hawley will release his sixth studio album.

                                                                                                                            Recorded at Sheffield’s Yellow Arch Studio in 2011, ‘Standing At The Sky’s Edge’ marks a seismic shift in direction for Hawley. The album is a euphoric, sonic assault on the senses, channelling elements of psychedelia, space rock and ragas with heavy riffs and raw, visceral guitar solos – as well as more familiar, tender moments – which will surprise Hawley’s fans and peers alike.

                                                                                                                            Exploring lyrical themes of love, loss, redemption and darker areas of the human condition, it’s an album of ominous storytelling and cosmic exploration, sung in Hawley’s rich baritone and soundtracked by an epic musical journey in glorious, menacing Technicolor. In the tradition of Hawley’s previous albums, the title is inspired by an area of Sheffield.

                                                                                                                            Hawley says of the album, “I wanted to get away from the orchestration of my previous records and make a live album with two guitars, bass, drums and rocket noises!”

                                                                                                                            'Standing At The Sky's Edge' is set to establish Hawley as one of the UK's greatest, contemporary guitarists.


                                                                                                                            STAFF COMMENTS

                                                                                                                            Laura says: Right from the off you realise that this album isn’t exactly going to follow the same lush, string embellished path of the last three Hawley albums, as it plunges straight into a seven minute plus psych rocker. "She Brings The Sunlight" and title track "Standing At The Sky’s Edge" - a bleak view of modern life pushing people to the brink - pretty much set the tone for the whole album really. Although he hinted at a darker side with "Truelove’s Gutter", this album is not just a darker affair, but heavier too. (He has rocked before though don’t forget, and he’s really pretty good at it!) There are lighter moments: "Seek It" and the shimmering acid haze of "Don’t Stare At The Sun" for example, mellow things out nicely before we’re plunged back into heavy riffs and layers of feedback. It’s an ambitious and very different sound, but he pulls it off with ease. And of course with THAT voice, it’s most definitely a Richard Hawley album. A triumph!

                                                                                                                            Graham Coxon returns to Parlophone for his new album titled A+E, which will be released on 2nd April. A+E is Coxon’s first release since the acclaimed, acoustic-driven The Spinning Top.

                                                                                                                            Aptly named not only for the sense of scratchy, frantic urgency that suffuses its 10 songs, A+E finds Graham continuing with his singular vision as a truly eclectic artist. Playing all the instruments and improvising in the studio, Coxon found himself preoccupied with lyrical themes around the effects of weekend hedonism in modern Britain, on which A+E shines an outsider’s light, albeit with a mordant, sharp wit.

                                                                                                                            Produced by Ben Hillier, A+E features Coxon’s distinctive, visceral garage-punk-pop and is inspired by the experimental genres of Krautrock and the black & white, post-punk era – bringing to mind artists such as Neu! (‘City Hall’), Can and Kraftwerk (‘What’ll It Take’), as well as Peter Hamill, Joy Division (‘Knife In The Cast’) and Monochrome Set - with hypnotic, driving grooves (‘The Truth’). This may be the closest Graham has ever come to making, in a skewed sense of the word, ‘dance’ music.

                                                                                                                            Coxon describes the album as, “Improvisations, experiments in beats, rhythms. A chance to uninhibitedly make some sort of perversely sad, danceable and funny and despondent songs.” Adding “I didn’t want to get caught up in my usual struggle with trying to make things sound really posh. I didn’t want lovely 60s-sounding drums and valves.”


                                                                                                                            Gorillaz

                                                                                                                            The Singles Collection 2001-2011 - 7" Box Set

                                                                                                                              "The Singles Collection: 2001-2011" the career-spanning best of from Gorillaz, is a 15-track collection of the band’s singles, and remixes, celebrating 10 years of audio visual innovation and three studio albums from the most successful virtual band in the world ever.

                                                                                                                              Formed in 1998, the band released their self-titled debut album in 2001. The launch had many industry detractors who saw the idea of an animated pop group as merely folly and gimmick - but the album went on to sell 6 million copies around the world. The hugely successful campaign took its toll on Gorillaz. As guitar-playing wunderkind Noodle noted sadly “Every great band is destroyed by their success. Cartoon bands are no exception". Despite this, she wrestled the band back together for the release of second album "Demon Days" in 2005, and fantastic "Plastic Beach" in 2010.

                                                                                                                              Always open to an interesting collaboration, Gorillaz have worked with numerous artists including Dangermouse, Ibrahim Ferrer, Del the Funkee Homosapien, De La Soul, Kano, Bobby Womack, Ike Turner, Lou Reed, Mark E Smith, Bootie Brown, Tina Weymouth, Bashy, Little Dragon, Hypnotic Brass Ensemble, Snoop Dogg, Dan The Automator, Mos Def, D12, Phi Life Cypher, MF Doom, Rosie Wilson, Shaun Ryder and Neneh Cherry.


                                                                                                                              FORMAT INFORMATION

                                                                                                                              7" Box Set Info: 8x7" box set.

                                                                                                                              'Mylo Xyloto' was produced by Markus Dravs, Daniel Green and Rik Simpson with "enoxification" and additional composition by Brian Eno. According to Chris Martin, it is a concept album based on a love story with a happy ending, inspired by old school American graffiti and HBO TV series The Wire among other things.

                                                                                                                              Danger Mouse & Daniele Luppi

                                                                                                                              Rome - Exclusive Double Vinyl Edition

                                                                                                                                ● Incredibly limited (150 only in the UK) double vinyl set.
                                                                                                                                The extra disc is an exclusive to this edition full instrumental version of the album.
                                                                                                                                ● 180-gram vinyl.
                                                                                                                                ● old style, tip-on sleeve.
                                                                                                                                ● black-foil print on cover.
                                                                                                                                ● double-pocket gatefold.
                                                                                                                                ● die cut (heart-shaped) poster.


                                                                                                                                In a digital age where music is produced, consumed and discarded in the blink of an eye, "Rome" is brilliant anachronism: a defiantly analogue album that took five years to perfect and has been made to pass the test of time.

                                                                                                                                Brian Burton and Daniele Luppi met in Los Angeles in 2004. Burton, better known as Danger Mouse, had just created a media storm with The Grey Album, begun work on Gorillaz "Demon Days" opus and was also embarking on his hugely successful Gnarls Barkley project with Cee-Lo Green. Luppi, a composer from Italy, was receiving acclaim for his album "An Italian Story", which revisited the cinematic sounds of his childhood. (He has also written music for the screen – Sex and the City, Nine – and later worked with Burton on arrangements for Gnarls Barkley, Dark Night of the Soul and Broken Bells.)

                                                                                                                                United by their shared passion for classic Italian film music, they decided to create something special. After an intense songwriting period – writing separately at first, and then together as the songs evolved – they travelled to Rome in October 2006. Luppi made some calls and they assembled the original musicians from films such as The Good, the Bad and the Ugly and Once Upon a Time in the West – including the legendary Marc 4 backing band and Alessandro Alessandroni’s ‘I Cantori Moderni’ choir. Most of the musicians were in their seventies and hadn’t worked together for several decades.

                                                                                                                                They booked time in Rome’s cavernous Forum Studios – formerly Ortophonic Studios, founded, amongst others, by the great Ennio Morricone. Burton and Luppi scoured the city for vintage equipment, using bottles of wine as payment. Every effort was made to replicate the recording practices of the 1960s/70s golden age, recording live and straight to tape, with overdubs but no electronics, computers, 21st-century effects or studio trickery.

                                                                                                                                'The studio was a beautiful thing', says Luppi. 'It sits underneath a neo-classical church and is carved out of an ancient catacomb. The space is huge. It has an echo chamber and a room full of vintage tapes. The vibe is really inspiring'.

                                                                                                                                Return journeys were made to record the choir and full orchestra. 'I’m so happy with how it’s turned out, but it’s been a real labour of love', says Burton, who funded the whole project himself, 'It’s taken up a lot of time and effort, not to mention the cost, but it’s because it had to be a certain way'. And that, ultimately, reflects what this album is built on: perfectionism, patience, being ambitious and two people who were prepared to go to great lengths to ensure the end result is exactly at it should be.

                                                                                                                                The next step was finding two lead vocalists who could do justice to the songs – three of which been written for a man and three for a woman. While on tour with Gnarls Barkley, Burton met Jack White of the White Stripes: 'I played him some of the tracks, not even thinking I’d be able to get him on it'. A year later, White recorded his contributions – "The Rose With The Broken Neck", "Two Against One" and "The World" – in Nashville. 'We thought it would be really interesting to combine his voice, which is very rock n’ roll, with this polished and elegant music', says Luppi. 'He nailed it perfectly'.

                                                                                                                                White’s counterpart, in a revelatory turn, is Norah Jones, who flew to Burton’s LA studio from New York to sing on "Season’s Trees", "Black" and "Problem Queen". 'I really love the way her voice sounds', says Burton. 'I knew this was a little bit different for her, but she was really up for it'.

                                                                                                                                Subsequently, acclaimed director and photographer Chris Milk was enlisted as ‘Visual Director’, and finally, after half a decade of hard work and unstinting perfectionism, the album was mixed. It opens with soprano Edda Dell'Orso’s dramatic voice (used to haunting effect on The Good, the Bad and the Ugly 44 years ago) gracing "Theme of Rome". For all its cinematic qualities, what follows is not the soundtrack to an imaginary movie, or a homage to the great Italian film composers but a complex, nuanced pop record with intensity and darkness as well as uplift and light. (Luppi calls it 'a small window on human life, touching on love, death, happiness, desperation, and the visceral connection of a man and a woman'.) It’s an ambitious work with an uniquely modern sound that has been achieved through traditional, vintage processes. It is, above all, a fully realised album, perfectly formed and hauntingly beautiful.

                                                                                                                                Welcome to Rome.


                                                                                                                                Coldplay

                                                                                                                                Every Teardrop Is A Waterfall

                                                                                                                                THE 7" VINYL VERSION IS ONE PER PERSON.

                                                                                                                                Coldplay will release a CD and limited edition 7” blue vinyl of their new single 'Every Teardrop Is A Waterfall' on Monday 27th June.

                                                                                                                                The brand new track 'Major Minus' will be available on all formats.


                                                                                                                                STAFF COMMENTS

                                                                                                                                Andy says: Enormous, ringing, chiming, driving ANTHEM! Quite possibly a hit.

                                                                                                                                Morning Parade

                                                                                                                                On Your Shoulders (RSD 2011 Edition)

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

                                                                                                                                  Limited to 300, Dinked Vinyl with retro sleeve.

                                                                                                                                  Danger Mouse & Daniele Luppi

                                                                                                                                  Two Against One (Feat. Jack White)/ Black (RSD 2011 Edition)

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

                                                                                                                                    Limited to 1000 units.

                                                                                                                                    Hailing from Harlow in Essex the band started playing together in 2007 with a distinct idea of what they wanted to sound like, “We always wanted that anthemic rock sound because we grew up with Britpop. But we wanted an electronic edge, blending the euphoria and rhythmic elements of dance music, but still keeping the anthemic rock element.” says lead vocalist Steve Sparrow “Organic, natural sounds, like guitars and pianos. Real instruments played live that made something that sounds dance-y. It’s different from most dance rock, because the emphasis is on rock music.” Sparrow describes the other master plan for success: “We have a rule. Whenever we write something, we ask ourselves, ‘Can you see 100,000 people singing this back to you?’ If not, we get rid of it. We want to be huge.”


                                                                                                                                    “Five Essex natives trading in star gazing indie-rock and with enough pop-synth hooks to keep Delphic on their toes, its no surprise Morning Parade recently signed with Parlophone. The band have studied the art of indie-rock and are close to mastering it" - High Voltage.

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    Ltd 7" Info: One of 3 limited edition 7"s from Morning Parade, all released on the same day.

                                                                                                                                    Hailing from Harlow in Essex the band started playing together in 2007 with a distinct idea of what they wanted to sound like, “We always wanted that anthemic rock sound because we grew up with Britpop. But we wanted an electronic edge, blending the euphoria and rhythmic elements of dance music, but still keeping the anthemic rock element.” says lead vocalist Steve Sparrow “Organic, natural sounds, like guitars and pianos. Real instruments played live that made something that sounds dance-y. It’s different from most dance rock, because the emphasis is on rock music.” Sparrow describes the other master plan for success: “We have a rule. Whenever we write something, we ask ourselves, ‘Can you see 100,000 people singing this back to you?’ If not, we get rid of it. We want to be huge.”

                                                                                                                                    “Five Essex natives trading in star gazing indie-rock and with enough pop-synth hooks to keep Delphic on their toes, its no surprise Morning Parade recently signed with Parlophone. The band have studied the art of indie-rock and are close to mastering it" - High Voltage.

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    Ltd 7" Info: One of three limited edition 7" singles from Morning Parade, all released on the same day.

                                                                                                                                    Morning Parade

                                                                                                                                    Under The Stars

                                                                                                                                    Hailing from Harlow in Essex the band started playing together in 2007 with a distinct idea of what they wanted to sound like, “We always wanted that anthemic rock sound because we grew up with Britpop. But we wanted an electronic edge, blending the euphoria and rhythmic elements of dance music, but still keeping the anthemic rock element.” says lead vocalist Steve Sparrow “Organic, natural sounds, like guitars and pianos. Real instruments played live that made something that sounds dance-y. It’s different from most dance rock, because the emphasis is on rock music.” Sparrow describes the other master plan for success: “We have a rule. Whenever we write something, we ask ourselves, ‘Can you see 100,000 people singing this back to you?’ If not, we get rid of it. We want to be huge.”


                                                                                                                                    “Five Essex natives trading in star gazing indie-rock and with enough pop-synth hooks to keep Delphic on their toes, its no surprise Morning Parade recently signed with Parlophone. The band have studied the art of indie-rock and are close to mastering it" - High Voltage.

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    Ltd 7" Info: One of 3 limited edition 7"s by Morning Parade all released on the same day.

                                                                                                                                    Danger Mouse & Sparklehorse

                                                                                                                                    Dark Night Of The Soul

                                                                                                                                    "Dark Night Of The Soul" is a beautiful, haunting album by Danger Mouse and Sparklehorse, featuring a remarkable roll call of guests. News of this unparalleled project began to circulate in early 2009 sparking widespread anticipation and excitement, however its music was never made officially available. Now, following months of talks, "Dark Night Of The Soul" has been rescued from 'lost album' status.

                                                                                                                                    Danger Mouse, also know as Brian Burton, is an acclaimed artist and producer thanks to the widescreen musical landscapes he has created for Gorillaz, The Good The Bad & The Queen, The Black Keys, Beck and others, as well as his own artist-led adventures with Gnarls Barkley and Broken Bells. Sparklehorse is the pseudonym of Mark Linkous, a stunningly talented yet often overlooked singer and multi-instrumentalist admired for his intimate melancholic country-folk. Despite Danger Mouse's preferred director-like approach of crafting whole albums of sonic scenery into which collaborators enter, his enthusiasm for Linkous’s output led him to produce just a handful of songs for the fourth Sparklehorse LP, "Dreamt For Light Years In The Belly of A Mountain". The pair became friends and resolved to make an entire album together. They drafted a wish list of singers to appear on their new record, tentatively dubbed Sparklemouse or Dangerhorse, and what would later become "Dark Night Of The Soul" began to evolve.

                                                                                                                                    "Dark Night Of The Soul" opens with a trio of sublime psychedelic rock songs featuring The Flaming Lips on the mournful, melancholic "Revenge", ever-inventive Welshman Gruff Rhys, the album’s only non-US artist, waging a "Just War" and Jason Lytle telling the biographical tale of "Jaykub". The pace and intensity increases with "Little Girl", "Angel's Harp" and "Pain" which feature The Strokes lynchpin Julian Casablancas, Pixies frontman Black Francis and punk pioneer Iggy Pop respectively. Elsewhere, Linkous reunites with Nina Persson, formerly of the Cardigans, and singer-songwriter Vic Chesnutt, both of whom also appear on the 2001 Sparklehorse LP, "It’s A Wonderful Life". New Yorker Suzanne Vega sings "The Man Who Played God" and the industrial tinged "Insane Lullaby" is pregnant with the promise of James Mercer and Danger Mouse’s subsequent Broken Bells project.

                                                                                                                                    Despite the guest vocalists never receiving specific direction, nor hearing any of the other material, Danger Mouse and Sparklehorse observed common themes emerging as the album took shape. The songs were dark, dreamlike and explored war, death, pain, twisted dreams and other haunting subjects. Wanting to investigate a possible visual dimension, Danger Mouse approached iconic director David Lynch whose excitement for the project resulted in a series of original photographs and, remarkably, him contributing two songs; "Star Eyes (I Can't Catch It)" and the title track which christened the project. Lynch's imagery provides a spectacular filmic element to "Dark Night Of The Soul" and has featured in an audio-visual gallery installation, a limited edition art book and will be incorporated into the artwork for this already unique project.

                                                                                                                                    Whilst the official release of "Dark Night Of The Soul" is undoubtedly a cause for celebration, it is also shadowed by sadness following the recent passing of the already much missed Mark Linkous. "Dark Night Of The Soul" now stands as a de facto tribute to this well-loved and brilliantly gifted artist. The album is also dedicated to the memory of Vic Chesnutt.

                                                                                                                                    STAFF COMMENTS

                                                                                                                                    Andy says: So glad it's finally, properly here. Every song's a winner but the Gruff Rhys, James Mercer, Wayne Coyne and Julian Casablanca's ones really stand out. Some strange magic's at large!

                                                                                                                                    Danger Mouse & Sparklehorse

                                                                                                                                    Dark Night Of The Soul - Limited Edition Box Set

                                                                                                                                    "Dark Night Of The Soul" is a beautiful, haunting album by Danger Mouse and Sparklehorse, featuring a remarkable roll call of guests. News of this unparalleled project began to circulate in early 2009 sparking widespread anticipation and excitement, however its music was never made officially available. Now, following months of talks, "Dark Night Of The Soul" has been rescued from 'lost album' status.

                                                                                                                                    Danger Mouse, also know as Brian Burton, is an acclaimed artist and producer thanks to the widescreen musical landscapes he has created for Gorillaz, The Good The Bad & The Queen, The Black Keys, Beck and others, as well as his own artist-led adventures with Gnarls Barkley and Broken Bells. Sparklehorse is the pseudonym of Mark Linkous, a stunningly talented yet often overlooked singer and multi-instrumentalist admired for his intimate melancholic country-folk. Despite Danger Mouse's preferred director-like approach of crafting whole albums of sonic scenery into which collaborators enter, his enthusiasm for Linkous’s output led him to produce just a handful of songs for the fourth Sparklehorse LP, "Dreamt For Light Years In The Belly of A Mountain". The pair became friends and resolved to make an entire album together. They drafted a wish list of singers to appear on their new record, tentatively dubbed Sparklemouse or Dangerhorse, and what would later become "Dark Night Of The Soul" began to evolve.

                                                                                                                                    "Dark Night Of The Soul" opens with a trio of sublime psychedelic rock songs featuring The Flaming Lips on the mournful, melancholic "Revenge", ever-inventive Welshman Gruff Rhys, the album’s only non-US artist, waging a "Just War" and Jason Lytle telling the biographical tale of "Jaykub". The pace and intensity increases with "Little Girl", "Angel's Harp" and "Pain" which feature The Strokes lynchpin Julian Casablancas, Pixies frontman Black Francis and punk pioneer Iggy Pop respectively. Elsewhere, Linkous reunites with Nina Persson, formerly of the Cardigans, and singer-songwriter Vic Chesnutt, both of whom also appear on the 2001 Sparklehorse LP, "It’s A Wonderful Life". New Yorker Suzanne Vega sings "The Man Who Played God" and the industrial tinged "Insane Lullaby" is pregnant with the promise of James Mercer and Danger Mouse’s subsequent Broken Bells project.

                                                                                                                                    Despite the guest vocalists never receiving specific direction, nor hearing any of the other material, Danger Mouse and Sparklehorse observed common themes emerging as the album took shape. The songs were dark, dreamlike and explored war, death, pain, twisted dreams and other haunting subjects. Wanting to investigate a possible visual dimension, Danger Mouse approached iconic director David Lynch whose excitement for the project resulted in a series of original photographs and, remarkably, him contributing two songs; "Star Eyes (I Can't Catch It)" and the title track which christened the project. Lynch's imagery provides a spectacular filmic element to "Dark Night Of The Soul" and has featured in an audio-visual gallery installation, a limited edition art book and will be incorporated into the artwork for this already unique project.

                                                                                                                                    Whilst the official release of "Dark Night Of The Soul" is undoubtedly a cause for celebration, it is also shadowed by sadness following the recent passing of the already much missed Mark Linkous. "Dark Night Of The Soul" now stands as a de facto tribute to this well-loved and brilliantly gifted artist. The album is also dedicated to the memory of Vic Chesnutt.

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    Box set Info: Limited to 5k worldwide, includes: double gatefold LP, double CD - complete album and complete instrumentals, 3 x lobby cards, 1 x poster, 1 x photo print, 1 x 12" booklet with David Lynch photography.

                                                                                                                                    The Chemical Brothers

                                                                                                                                    Further - Special Edition CD/DVD

                                                                                                                                    From the first squeezed-out notes, those analogue dots and dashes that flash and spark from the speakers, "Further" sounds like a record that is trying to break out of its confines. Like an alien Morse code transmission, it pulses like an Earth bound signal that’s been bounced off the side of orbiting space debris. Snatches of voices found out in the ether cut through the machine fog, drifting across burbling analogue equipment lovingly kept working long after supposed sell-by date. By the time the click and thump of snare and bass drum arrive, the sounds are all encompassing, swirling around you with dizzying, disorientating effect. Noise is untethered by constraints of volume, seemingly leaping from left to right to middle with a life of its own. For a band used to dealing in psychedelics, this time round The Chemical Brothers have really pushed the envelope.

                                                                                                                                    Further is The Chemical Brothers’ seventh studio album, an eight track masterpiece of modern psychedelia. Effortlessly fusing freefrom analogue wig-outs to juggernaut dancefloor dynamics on the album’s first single, "Escape Velocity" - arguably the most unrelenting 12 minutes of music ever to pick up serious national radio support in the UK - the record sees Tom Rowlands and Ed Simons explore the boundless possibilities of their sound. Taking a trip through four decades of electronic noise, Tom & Ed have taken the template set up with their occasional "Electronic Battle Weapon" releases and allowed them to mutate gloriously into an entire album. Vocal samples are woven through tracks to create a record that ebbs and flows like one of the band’s legendary live sets. Here, the West Coast power pop harmonies of "Dissolve" sit beside German Motorik rhythms of "K+D+B" while Valentines-esque sonic manipulations plane across the top of early house basslines ("Swoon"). Further is the culmination of nearly two decades of psychedelic exploration, an immersive collection that sees The Chemical Brothers at their least-restrained and most-melodic best.

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    2xCD/DVD Info: Limited double CD edition in hardback book style packaging with booklet and 8 track DVD collection.

                                                                                                                                    Danger Mouse & Sparklehorse

                                                                                                                                    Just War


                                                                                                                                      Limited to 1000, Dinked 7” Vinyl with retro sleeve

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      Ltd 7" Info: ############## RECORD STORE DAY EXCLUSIVE! ############### ONE PER PERSON!

                                                                                                                                      Eliza Doolittle

                                                                                                                                      Pack Up

                                                                                                                                        Limited to 300, Dinked Vinyl with retro sleeve

                                                                                                                                        FORMAT INFORMATION

                                                                                                                                        Ltd 7" Info: ############## RECORD STORE DAY EXCLUSIVE! ############### ONE PER PERSON!

                                                                                                                                        The Beatles

                                                                                                                                        The Beatles (Stereo USB)

                                                                                                                                          Following the September 9 (9-9-09) debut of The Beatles’ digitally re-mastered catalogue on CD, Apple Corps Ltd. and EMI Music announce the worldwide release of a limited edition of only 30,000 Beatles Stereo USB apples on December 7.

                                                                                                                                          The exquisitely crafted, apple-shaped USB drive is loaded with the critically acclaimed re-mastered audio for The Beatles’ 14 stereo titles, as well as all of the re-mastered CDs’ visual elements, including 13 mini-documentary films about the studio albums, replicated original UK album art, rare photos and expanded liner notes. A specially designed Flash interface has been installed, and the 16GB USB’s audio and visual contents will be provided in FLAC 44.1 Khz 24 bit and MP3 320 Kbps formats, fully compatible with PC and Mac.

                                                                                                                                          The Beatles

                                                                                                                                          Please Please Me - Enhanced Edition

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

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

                                                                                                                                            The Beatles

                                                                                                                                            With The Beatles - Enhanced Edition

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

                                                                                                                                              Tracklisting
                                                                                                                                              1. It Won't Be Long
                                                                                                                                              2. All I've Got To Do
                                                                                                                                              3. All My Loving
                                                                                                                                              4. Don't Bother Me
                                                                                                                                              5. Little Child
                                                                                                                                              6. Till There Was You
                                                                                                                                              7. Please Mr Postman
                                                                                                                                              8. Roll Over Beethoven
                                                                                                                                              9. Hold Me Tight
                                                                                                                                              10 You Really Got A Hold On Me
                                                                                                                                              11 I Wanna Be Your Man
                                                                                                                                              12. Devil In Her Heart
                                                                                                                                              13. Not A Second Time
                                                                                                                                              14. Money (That's What I Want)
                                                                                                                                              15. With The Beatles Documentary

                                                                                                                                              The Beatles

                                                                                                                                              A Hard Days Night - Enhanced Edition

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


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

                                                                                                                                                The Beatles

                                                                                                                                                Beatles For Sale - Enhanced Edition

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

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


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