Queens of the Stone Age have always remained enduringly, singularly magnetic. It isn't just their sound. It's their spirit. They are provocative in the most essential sense: unafraid to explore the dark, the sexual, the surreal, the absurd. It's art that snarls and seduces in equal measure, and never more so than on the band’s ninth album, 'Perfecth'.

Kintsugi — the Japanese art of repairing broken pottery by filling its cracks with gold — holds that what has been shattered is made more beautiful, not less, by the act of repair. This is the spirit in which 'Perfecth' was made. An album that could only have been made right now thanks to Homme, Troy Van Leeuwen, Michael Shuman, Dean Fertita, and Jon Theodore taking significant evolutionary steps as a collective and arriving at hard-won clarity, its nine songs map different forms of love: of family, friends, and others both significant and insignificant. The loves that break you beyond survival and the loves that put you back together.

Birthed from sessions tracked everywhere from New Orleans to Los Angeles, the music is fearless and boundless, moody and menacing, gentle and strange. Here, Queens have moved a career's worth of jagged pieces into alignment. "Every song sounds like it's from a different world," says Homme. "And that's on purpose, because it's trying to stitch together all these emotions revolving around love, lust, foolishness, and the sort of wisdom that comes as a gift from all that."

The record is called 'Perfecth' because "perfect," as a word, has never been honest. It doesn't exist. So, Homme broke the word and made it "perfecth," a more appropriate spelling for a term that never felt right to begin with. "Nothing in this world is perfect, but everything seems to be 'perfecth'," he explains. "And that title is funny when you're in a group, but it ain't so funny when you're alone.”

TRACK LISTING

1. It's Only Love
2. Insignificant Other
3. Where The Goth Girls At?
4. Mono
5. From the Cliff
6. Sunday
7. Easy Street
8. Phantom Limb
9. Run Away From the Mob

'A Night At The Opera' is the fourth studio album by Queen, released in November 1975. Co-produced by Roy Thomas Baker and Queen, it was the most expensive album ever recorded at the time of its release. A commercial success, 'A Night at the Opera' has been voted by the public and cited by music publications as one of Queen's finest works.

TRACK LISTING

1. Death On Two Legs (Dedicated To...)
2. Lazing On A Sunday Afternoon
3. I'm In Love With My Car
4. You're My Best Friend
5. '39
6. Sweet Lady
7. Seaside Rendezvous
8. The Prophet's Song
9. Love Of My Life
10. Good Company
11. Bohemian Rhapsody
12. God Save the Queen

"If Day at the Races was a sleek, streamlined album, its 1977 successor, 'News of the World', was its polar opposite, an explosion of styles that didn't seem to hold to any particular center. It's front-loaded with two of Queen's biggest anthems -- the stomping, stadium-filling chant 'We Will Rock You' and its triumphant companion, 'We Are the Champions' -- which are quickly followed by the ferocious 'Sheer Heart Attack', a frenzied rocker that hits harder than anything on the album that shares its name (a remarkable achievement in itself). Three songs, three quick shifts in mood, but that's hardly the end of it. As the News rolls on, you're treated to the arch, campy crooning of 'My Melancholy Blues', a shticky blues shuffle in 'Sleeping on the Sidewalk', and breezy Latin rhythms on 'Who Needs You'. Then there's the neo-disco of 'Fight from the Inside', which is eclipsed by the mechanical funk of 'Get Down, Make Love', a dirty grind that's stripped of sensuality. That cold streak on 'Get Down, Make Love' runs through the album as a whole. Despite the explosion of sounds and rhythms, this album doesn't add up to party thanks to that slightly distancing chilly vibe that hangs over the album. Nevertheless, many of these songs work well on their own as entities, so there is plenty to savor here, especially from Brian May. Whether he's doing the strangely subdued eccentric English pop 'All Dead, All Dead' or especially the majestic yet nimble rocker 'It's Late', he turns in work that gives this album some lightness, which it needs. And that's the reason 'News of the World' was a monster hit despite its coldness -- when it works, it's massive, earth-shaking rock & roll, the sound of a band beginning to revel in its superstardom." - Allmusic.

TRACK LISTING

1. We Will Rock You
2. We Are The Champions
3. Sheer Heart Attack
4. All Dead, All Dead
5. Spread Your Wings
6. Fight From The Inside
7. Get Down, Make Love
8. Sleeping On The Sidewalk
9. Who Needs You
10. It's Late
11. My Melancholy Blues

"Queen had long been one of the biggest bands in the world by 1980's 'The Game', but this album was the first time they made a glossy, unabashed pop album, one that was designed to sound exactly like its time. They might be posed in leather jackets on the cover, but they hardly sound tough or menacing -- they rarely rock, at least not in the gonzo fashion that's long been their trademark. Gone are the bombastic orchestras of guitars and with them the charging, relentless rhythms that kept Queen grounded even at their grandest moments. Now, when they rock, they'll haul out a clever rockabilly pastiche, as they do on the tremendous 'Crazy Little Thing Called Love', a sly revival of old-time rock & roll that never sounds moldy, thanks in large part to Freddie Mercury's panache. But even that is an exception to the rule on 'The Game'. Usually, when they want to rock here, they wind up sounding like Boston, as they do on John Deacon's 'Need Your Loving Tonight', or they sound a bit like a new wave-conscious rocker like Billy Squier, as they do on the propulsive 'Coming Soon'. But even those are exceptions to the overall rule on 'The Game', since most of the album is devoted to disco-rock blends -- best heard on the globe-conquering 'Another One Bites the Dust', but also present in the unintentionally kitschy positivity anthem 'Don't Try Suicide' -- and the majestic power ballads that became their calling card in the '80s, as they reworked the surging 'Save Me' and the elegant 'Play the Game' numerous times, often with lesser results. So, 'The Game' winds up as a mixed bag, as many Queen albums often do, but again the striking difference with this album is that it finds Queen turning decidedly, decisively pop, and it's a grand, state-of-the-art circa 1980 pop album that still stands as one of the band's most enjoyable records. But the very fact that it does showcase a band that's turned away from rock and toward pop means that for some Queen fans, it marks the end of the road, and despite the album's charms, it's easy to see why." - Allmusic.

TRACK LISTING

1. Play The Game
2. Dragon Attack
3. Another One Bites The Dust
4. Need Your Loving Tonight
5. Crazy Little Thing Called Love
6. Rock It (Prime Jive)
7. Don't Try Suicide
8. Sail Away Sweet Sister
9. Coming Soon
10. Save Me

Captured at Wembley Stadium on 12 July 1986 during Queen’s triumphant Magic Tour, 'Live At Wembley ’86' documents the band at full stadium-rock power. From Freddie Mercury’s electrifying command of the crowd to towering versions of 'Radio Ga Ga', 'We Are the Champions', 'Bohemian Rhapsody' and 'A Kind of Magic', this essential live set is both a celebration of Queen’s greatest hits and a snapshot of one of their most iconic final-era performances.

TRACK LISTING

1. One Vision
2. Tie Your Mother Down
3. In the Lap of the Gods...Revisited
4. Seven Seas Of Rhye
5. Tear It Up
6. A Kind Of Magic
7. Under Pressure
8. Another One Bites The Dust
9. Who Wants to Live Forever
10. I Want To Break Free
11. Impromptu
12. Brighton Rock Solo
13. Now I'm Here
14. Love of My Life
15. Is This the World We Created?
16. (You're So Square) Baby I Don't Care
17. Hello Mary Lou (Goodbye Heart)
18. Tutti Frutti
19. Gimme Some Lovin'
20. Bohemian Rhapsody
21. Hammer to Fall
22. Crazy Little Thing Called Love
23. Big Spender
24. Radio Ga Ga
25. We Will Rock You
26. Friends Will Be Friends
27. We Are The Champions
28. God Save the Queen

'Made in Heaven' is the fifteenth and final studio album by Queen, released on 6 November 1995 on Parlophone and Hollywood Records. In 1991, months before his death, Freddie Mercury recorded as many vocals as he could, with the instruction to the rest of the band to complete the songs later. Put to tape during this time were primarily 'A Winter's Tale', 'Mother Love' and what would eventually become 'You Don't Fool Me' .Mercury hangs us in the balance between hope and despair. Like in 'Innuendo', Freddie reaches out to society, only here in a more direct way. 'Mother Love' and 'Heaven for everyone' is a critique of modern man, and the lack of true spirituality and morality within our age. But this critique is made far more meaningful in relating it to his own life, a tragic life. Yet despite of all the tragedy and all the pain within society and his own life, there is hope. And in the songs of 'My life has been saved', and 'A Winter's tale' (Freddie's last ever song), he points us towards this hope, a hope that is not found outside in society, but a hope that is found within. Such is the power of this album.

TRACK LISTING

1. It's A Beautiful Day
2. Made In Heaven
3. Let Me Live
4. Mother Love
5. My Life Has Been Saved
6. I Was Born To Love You
7. Heaven For Everyone
8. Too Much Love Will Kill You
9. You Don't Fool Me
10. A Winter's Tale
11. It's A Beautiful Day (Reprise)
12. Yeah
13. Untitled

Reissue of ABBAs 'Dancing Queen' on 10", in celebration of the track's 50th anniversary. Remastered at Abbey Road.

TRACK LISTING

1. Dancing Queen
2. La Reina Del Baile

Alt-pop pioneer Baby Queen releases her highly anticipated second album, 'I Hope You Don’t Remember Me' on Insanity Records. Seeking a radical creative shift, Baby Queen (the artistic moniker of South Africa-born, London-based songwriter Bella Latham) decamped to Los Angeles to make the album with producer Alex Cassnoff. The resulting record combines live instrumentation and synths and features a powerhouse rhythm section boasting legendary bassist Michael Shuman (Queens of the Stone Age) and drummer Carla Azar (PJ Harvey, Jack White).

Driven by the fallout of a seismic, strange romance and written in a period of intense emotional turbulence, the record marks a departure from early EP 'Medicine', 'The Yearbook' mixtape, and Baby Queen’s Top 5 hit debut album, 'Quarter Life Crisis'. Shifting away from her signature sociopolitical commentary, she turns the lens inward, delivering a deeply personal record of heartbreak and self-reckoning

TRACK LISTING

1. Abigail 
2. Feel Something 
3. Permanently Obsessed 
4. That's Fine 
5. Word Vomit
6. Minding The Explanatory Gap
7. The Protagonist
8. Spite 
9. Tongue-Tied
10. Bored Out of My Mind 
11. I Hope You Don't Remember Me

Special edition 1LP Picture Disc (Side A) & Zoetrope (Side B) pressing of 'Kings & Queens', the sophomore studio album by Jamie T. Including, for the first time on vinyl, 2 completely unreleased songs 'Don’t Give Up on Me Yet' and 'Fender Strat' located from Jamie’s personal archive.

Following on from his platinum selling debut album 'Panic Prevention', 'Kings & Queens' was released 7th September 2009 and reached #2 in the UK album charts being certified Gold. The album features fan favourites 'Sticks 'n' Stones', 'Chaka Demus', 'The Man's Machine' and 'Emily's Heart'.

TRACK LISTING

1. 368 
2. Hocus Pocus
3. Sticks'N'Stones
4. The Man's Machine 
5. Emily's Heart 
6. Chaka Demus  
7. Spider's Web
8. Castro Dies 
9. Earth, Wind & Fire 
10. British Intelligence 
11. Jilly Armeen 
12. Don’t Give Up on Me Yet 
13. Fender Strat

 Wolf Parade was founded in 2003 in Montreal, Quebec. After a pair of self-titled EPs, the band - Hadji Bakara (electronic manipulations), Dan Boeckner (guitar, vocals), Spencer Krug (keyboards, vocals), Arlen Thompson (drums) - released 'Apologies to the Queen Mary' to widespread acclaim in September, 2005. The album was recorded by Modest Mouse frontman Isaac Brock and engineer Chris Chandler at Audible Alchemy in Portland, Oregon. 'Apologies to the Queen Mary' barrels headfirst and breathlessly through songs written during Wolf Parade’s early years together as a band. The album’s catchy, energetic urgency immediately established them as one of the defining forces of 2000s indie-rock. It earned a 2006 nomination for Canada’s esteemed Polaris Music Prize; The Guardian raved, “magnificent, all told”; Pitchfork gave it a 9.2 rating, saying, “Wolf Parade's true talent is transforming the everyday into the unprecedented,” and later joined the chorus of critics who placed it among the best albums of the 2000s. Two decades on, 'Apologies to the Queen Mar'y has lost none of its vitality and continues to win over new generations of fans.

TRACK LISTING

1. You Are A Runner And I Am My Father's Son
2. Modern World
3. Grounds For Divorce
4. We Built Another World
5. Fancy Claps
6. Same Ghost Every Night
7. Shine A Light
8. Dear Sons And Daughters Of Hungry Ghosts
9. I'll Believe In Anything
10. It's A Curse
11. Dinner Bells
12. This Heart's On Fire

Over half a century after it set them on the path to superstardom, Queen’s regal second album, 'Queen II', has been remixed and remastered.

Arguably the heaviest Queen album, 'Queen II' was originally released in 1974 and widely heralded as their first true masterpiece. With Brian May and Roger Taylor as executive producers, the album has been stunningly mixed by the team of Justin Shirley-Smith, Joshua J Macrae and Kris Fredriksson.

TRACK LISTING

CD & 1LP Tracklsiting:
1. Procession
2. Father To Son
3. White Queen (As It Began)
4. Some Day One Day
5. The Loser In The End
6. Ogre Battle
7. The Fairy Feller's Master-Stroke
8. Nevermore
9. The March Of The Black Queen
10. Funny How Love Is
11. Seven Seas Of Rhye

Deluxe 2CD Tracklisting:
CD1 - Queen II 2026 Mix:
1. Procession
2. Father To Son
3. White Queen (As It Began)
4. Some Day One Day
5. The Loser In The End
6. Ogre Battle
7. The Fairy Feller's Master-Stroke
8. Nevermore
9. The March Of The Black Queen
10. Funny How Love Is
11. Seven Seas Of Rhye

CD2 - Queen II Sessions:
1. Procession (Stage Intro Tape - April 1973)
2. Father To Son (Takes 4 & 9 - With Guide Vocal)
3. As It Began (Brian's Studio Demo - October 1969)
4. Some Day One Day (Take 1 - With Guide Vocals)
5. The Loser In The End (Roger's First Demo)
6. The Loser In The End (Roger's Second Demo)
7. Ogre Battle (Takes 2 & 6 - With Guide Vocal)
8. The Fairy Feller's Master-Stroke (Takes 4 & 9)
9. Nevermore (Take 6)
10. The March Of The Black Queen (First Section Takes 3 & 5)
11. The March Of The Black Queen (Second Section Take 1)
12. Funny How Love Is (Take 4)
13. Seven Seas Of Rhye (Takes 4, 5 & 6)
14. I Do Like To Be Beside The Seaside (Take 4)
15. See What A Fool I've Been (B-side Version 2026 Mix)
16. Not For Sale (Polar Bear)

2LP & 5CD Boxset Tracklisting:
CD1 - Queen II 2026 Mix:
1. Procession
2. Father To Son
3. White Queen (As It Began)
4. Some Day One Day
5. The Loser In The End
6. Ogre Battle
7. The Fairy Feller's Master-Stroke
8. Nevermore
9. The March Of The Black Queen
10. Funny How Love Is
11. Seven Seas Of Rhye

CD2 - Queen II Sessions:
1. Procession (Stage Intro Tape - April 1973)
2. Father To Son (Takes 4 & 9 - With Guide Vocal)
3. As It Began (Brian's Studio Demo - October 1969)
4. Some Day One Day (Take 1 - With Guide Vocals)
5. The Loser In The End (Roger's First Demo)
6. The Loser In The End (Roger's Second Demo)
7. Ogre Battle (Takes 2 & 6 - With Guide Vocal)
8. The Fairy Feller's Master-Stroke (Takes 4 & 9)
9. Nevermore (Take 6)
10. The March Of The Black Queen (First Section Takes 3 & 5)
11. The March Of The Black Queen (Second Section Take 1)
12. Funny How Love Is (Take 4)
13. Seven Seas Of Rhye (Takes 4, 5 & 6)
14. I Do Like To Be Beside The Seaside (Take 4)
15. See What A Fool I've Been (B-side Version 2026 Mix)
16. Not For Sale (Polar Bear)

CD3 - Queen II Backing Tracks:
1. Procession
2. Father To Son
3. White Queen (As It Began)
4. Some Day One Day
5. The Loser In The End
6. Ogre Battle
7. The Fairy Feller's Master-Stroke
8. Nevermore
9. The March Of The Black Queen
10. Funny How Love Is
11. Seven Seas Of Rhye

CD4 - Queen II At The BBC:
1. See What A Fool I've Been (BBC Session 2 - July 1973 - 2011 Mix)
2. Ogre Battle (BBC Session 3 - December 1973)
3. Nevermore (BBC Session 4 - April 1974)
4. White Queen (As It Began) (BBC Session 4 - April 1974)
5. Procession - Intro Tape (Live At Golders Green Hippodrome - 13th September 1973)
6. Father To Son (Live At Golders Green Hippodrome - 13th September 1973)
7. Son And Daughter (Live At Golders Green Hippodrome - 13th September 1973)
8. Guitar Solo (Live At Golders Green Hippodrome - 13th September 1973)
9. Son And Daughter - Reprise (Live At Golders Green Hippodrome - 13th September 1973)
10. Ogre Battle (Live At Golders Green Hippodrome - 13th September 1973)
11. Liar (Live At Golders Green Hippodrome - 13th September 1973)
12. Jailhouse Rock (Live At Golders Green Hippodrome - 13th September 1973)

CD5 - Queen II Live:
1. Procession - Intro Tape (Live At The Rainbow - March 1974)
2. Father To Son (Live At The Rainbow - March 1974)
3. Ogre Battle (Live At The Rainbow - March 1974)
4. White Queen (As It Began) (Live At The Hammersmith Odeon - December 1975)
5. The March Of The Black Queen (Live At The Rainbow - November 1974)*
6. The Fairy Feller's Master-Stroke (Live At The Rainbow - March 1974)
7. Seven Seas Of Rhye (Live At The Rainbow - March 1974)
8. See What A Fool I've Been (Live At The Rainbow - March 1974)

LP1&2 - Queen II 2026 Mix:
1. Procession
2. Father To Son
3. White Queen (As It Began)
4. Some Day One Day
5. The Loser In The End
6. Ogre Battle
7. The Fairy Feller's Master-Stroke
8. Nevermore
9. The March Of The Black Queen
10. Funny How Love Is
11. Seven Seas Of Rhye

Queen's original live album 'Live Killers', reissued and spread across 2LP’s.

TRACK LISTING

⁠1. We Will Rock You
⁠2. ⁠Let Me Entertain You
⁠3. ⁠Death On Two Legs
⁠4. ⁠Killer Queen
⁠5. ⁠Bicycle Race
⁠6. ⁠I’m In Love With My Car
⁠7. ⁠Get Down, Make Love
⁠8. ⁠You’re My Best Friend
9. ⁠Now I’m Here
10. ⁠Dreamer’s Ball
⁠11. Love Of My Life
⁠12. ’39
⁠13. Keep Yourself Alive
⁠14. Don’t Stop Me Now
⁠15. Bohemian Rhapsody
⁠16. Tie Your Mother Down
17. ⁠Sheer Heart Attack
⁠18. We Will Rock You (Reprise)
⁠19. We Are The Champions
⁠20. God Save The Queen

Presented on this LP are some of Aretha Franklin's greatest recordings from her early years with Columbia Records, recorded between in 1960 and 1962.

Featuring her in small jazz combos (with orchestral backing on some tracks), which included pianist Ray Bryant and bassist Will Lee, these recordings sowed the seeds to Aretha's later success with Atlantic Records and her international endorsement as The Queen Of Soul, and one of the greatest singers of the 20th Century.

Small groups featuring Al Sears or Warren Lucky (tenor sax), Tyree Gleen or Quentin Jackson (trombone), Chauncey "Lord" Westbrook (guitar), Ray Bryant (piano), Bill Lee (bass), Belton "Sticks" Evans or Osie Johnson (drums).

TRACK LISTING

Won't Be Long
Today I Sing The Blues
Rock-A-Bye Your Baby With A Dixie Melody
(Blue) By Myself
Don't Cry, Baby
Sweet Lover
Ac-Cent-Tchu-Ate The Positive
Over The Rainbow
Without The One You Love
Operation Heartbreak
Rough Lover
All Night Long
I'm Wandering
Right Now
It's So Heartbreakin'
I Surrender, Dear
That Lucky Old Sun
Try A Little Tenderness

Marking the golden anniversary of Queen’s most celebrated recording, 'Bohemian Rhapsody' returns on vinyl. Mercury’s operatic masterpiece is paired with Roger Taylor’s roaring fan-favourite 'I’m In Love With My Car'.

TRACK LISTING

1. Bohemian Rhapsody
2. I’m In Love With My Car

On her kaleidoscopic second album, 'The Starrr Of The Queen Of Life', Debby Friday defines success on her own terms. “I want to be a starrr, I can't hide that desire,” she says. “But what I don't want is to live someone else’s dream or to follow a pre-set path.” For the Nigerian-Canadian polymath, to be a starrr is to live at the extremes: public versus private, hubris versus humility, flying versus falling.

Being a starrr means embracing the apocalyptic hedonism of an all-night rave—finding communion in the “dark room, girls in line for the bathroom” on the buzzing house anthem 'All I Wanna Do Is Party'. It means swapping lines about bottles on ice and getting freaky on the dance floor with Detroit techno prodigies HiTech on 'In The Club'—while admitting that she is, in fact, “barely on the dance floor these days.” It’s the sound of discovering what comes after the kind of success most artists only dream about—how to burn brightly without burning out. Across 11 songs, 'The Starrr Of The Queen Of Life' showcases Friday’s chameleonic vocals. From the sparse, gossamer beauty of the lovelorn 'Leave.' to the locomotive post-punk of 'Darker The Better'.

Winning the Polaris Prize in 2023 for her debut LP, 'GOOD LUCK', only made Debby Friday want to grind harder: “I’m tryna see more/ Man, I want the payoff” she raps over laser-like synths on the effortless copycat kiss-off 'Lipsync'. But life on the razor’s edge can only be sustainable for so long: During a nonstop tour schedule in support of the album, she fell violently ill. The diagnosis? Stress-induced shingles. That experience forced Friday to turn her focus inward. The next year saw a change in management, in her routine and priorities.

To help bring her vision of radical honesty on the dance floor to life, Friday recruited Australian producer Darcy Baylis (Wicca Phase Springs Eternal). Returning to their de-facto homebase in London in between touring, the pair traded ideas in the studio from morning until midnight. Layered with meaning, The Starrr Of The Queen Of Life is brimming with coded, if-you-know-you-know references—weaving love letters and innuendos from the names of it girl perfumes, French cognac, and Hellenistic prophetesses who speak in tongues. It reads like a manifestation of Friday’s pursuit of an experimental pop sound that still feels distinctively hers.

“This album is about the idea of reaching towards something,” she says. “It’s about seeing the signs and following that impulse, always with the potential of either flying into the sun or falling back to earth.” On 'The Starrr Of The Queen Of Life', Debby Friday takes flight, fastening her wings, following the sound of her own voice.

TRACK LISTING

1. 1/17
2. All I Wanna Do Is Party
3. In The Club Featuring HiTech
4. Lipsync
5. Alberta
6. Higher
7. Ppp (Interlude)
8. Arcadia
9. Leave.
10. Bet On Me
11. Darker The Better

‘Queen Dem’ brings together a global selection of all powerful, maverick female artists, all creating new musical forms and re-writing the rules of expression to educate, entertain and empower.

Featured artists include Yaya Bey, Sudan Archives, Yaeji, COUCOU CHLOE, Georgia Anne Muldrow, Miso Extra, Aunty Rayzor, TeeZandos, Queenie, MC Yallah, Dizzy Fae, Vanessa the Finessa, Nira and Warrior Queen.

From Lagos to Brooklyn, London to Hong Kong, these artists’ widely diverse music is connected through an all-encompassing self-awareness of both self and musical identity and a collective fierceness in attitude.

‘Queen Dem’ features multi-talented artists writing, singing, producing and creating new genres of sound. This album offers a snapshot of the current writing of musical history by women who embody confidence and conviction in their art - whether they are firmly-established artists such as Yaya Bey, Yaeji, Dizzy Fae, Sudan Archives, COUCOU CHLOE and Georgia Anne Muldrow, or under the radar rising stars such as Queenie, Aunty Rayzor, Vanessa Tha Finessa, MC Yallah or Nira.

TRACK LISTING

COUCOU CHLOE - Nobody 
Yaeji Featuring Nappy Nina - Money Can’t Buy
TeeZandos - Lioness
Sudan Archives - Selfish Soul
Miso Extra - 1013
Aunty Rayzor - Kuku Corona
Yaya Bey - Meet Me In Brooklyn
COUCOU CHLOE - Pokerface
Queenie - Okay Twin
Yaya Bey - Best Thang
MC Yallah X Debmaster - Kubali
Dizzy Fae - Solo
Vanessa Tha Finessa - Bad Bitch Steppin’
Dubbing Sun & Blue Hill featuring Warrior Queen - Armageddon
Georgia Anne Muldrow - Big Mama Africa Jam
Miso Extra Featuring NAYANA IZ - Great Taste
Nira - Train Of Love

Candid, involving and full of character, Prima Queen’s music has become a world unto itself. The songs of Louise Macphail and Kristin McFadden play like a love letter to the radical power of friendship; to the fans who have reveled in the band’s bitingly charismatic storytelling. Listening to their glorious debut LP 'The Prize', you want to crawl up inside all of its effusive, empathic melodies and bathe in the warmth of the enviable bond at the record’s core.

Described, accurately, by McFadden as an album that “screams empowerment and strength,” 'The Prize' uses the pair’s fateful connection as a North Star for their shared journey towards growth. Tapping into the shimmering pop sensibilities of HAIM and Jenny Lewis, an openness of spirit defines these 12 tracks, partly inspired by the euphoria Prima Queen experienced on stage over the past year while touring with Olivia Dean, Dream Wife and Swim Deep. It’s here where the band establish themselves as astute, refreshingly frank songwriters, articulating supersized feelings with grace and wit.

TRACK LISTING

1. Clickbait (Intro)
2. Mexico
3. The Prize
4. Oats (Ain’t Gonna Beg)
5. Ugly
6. Flying Ant Day
7. Meryl Streep
8. Spaceship
9. Fool
10. Woman And Child
11. Sunshine Song
12. More Credit

Rahim Redcar (fka Christine and the Queens) presents his new album “Hopecore”. Collector Transparent Blue Vinyl. Includes “DEEP HOLES”. 

TRACK LISTING

A Side
A1. Forgive 8888888
A2. Elevate
A3. Ins8de Of Me
A4. Deep Holes
A5. Red Birdman Emergency

B Side
B1. Opera - I Understand
B2. Manuela Danse 

7-inch reissue of this mythical, raw funk rarity by the Miami-based, Cuban rock band, Pearly Queen.

Featuring the hugely sought after, infectious cut 'Quit Jive' In' and a fantastic cover of The Rascals 'Jungle Walk', this is a double header of mid '70s funk fire.

Originally released on Cuban record producer Manuel J. Mato's Sound Triangle Records in 1974, who had emigrated to the US in 1960, this scarce funk gem has long been a prized funk 45 find. DJs and collectors such as Keb Darge and Jazzman Gerald brought this to our attention in the 1990s, with the status of the track amplified by its inclusion on DJ Shadow & Cut Chemist's landmark 7" DJ mix 'Brainfreeze'. DJ Shadow, also used the drums and horns break to masterful effect on his track 'The Number Song' (1996) taken from his infamous 'Endtroducing.....' album on Mo Wax.

Written by Ray Fernandez of Ray & His Court fame, 'Quit Jive' In' is a swaggering funk throwdown, dripping in groove and underpinned by heavy breaks and punchy horns. Whilst on the B side, the rock- funk 'Jungle Walk', is a cover version of The Rascals 1972 original. Penned by the singer, songwriter and guitarist Buzzy Feiten, it wouldn't be out of place as part of the soundtrack to a Tarantino movie.

We can't think of many deep funk tracks we love as much as this beauty. Sadly, for collectors, this original 7" has remained elusive to even some of the most hardened and dedicated diggers, so it feels a fitting release to re-issue for all to savour.

TRACK LISTING

Quit Jive' In
Jungle Walk

Newly revised and updated with cooperation and insight from Brian May and Roger Taylor – and drawing on exclusive interviews with the bandmembers – this book completes the story of the Mercury era and the immediate years after his death.

With numerous extra photographs and a new Foreword from Brian May, Queen – As It Began: Revised and Authorised is an informative and authoritative portrait of Queen’s most fundamental period.

Colombian-born, New York-raised producer and instrumentalist Felipe Quiroz aka Prince of Queens brings his unique synthesis of trans-caribbean culture with house and techno to RNT on his Merida EP. Known for releases on Names You Can Trust and his band Combo Chimbita, this lush and varied EP invites you into a world where vintage tropical sounds and modular synthesizers live side-by-side on the dance floor. With 6 songs stretched across two sides, the record explores a wide range of tempos and electronic Latin vibes, and boasts gorgeous cover art that suits the emotion of the music perfectly. Although he is a seasoned producer, Prince of Queens is still a relatively new name on the club scene…but with this definitive musical statement it’s a name that the heads will remember.

TRACK LISTING

A1. El Tiempo
A2. Que Paso?
A3. Merida
B1. Macaria's Funk
B2. Summer Rain (Dub)
B3. No Hay Na'

The expanded 2011 edition of QOTSA’s self titled album is being made available once again on LP and CD. This ‘definitive version’ of the album comes with original Loose-Groove cover artwork and a number of bonus tracks.

TRACK LISTING

1. Regular John
2. Avon
3. If Only
4. Walkin On The Sidewalks
5. You Would Know
6. The Bronze
7. How To Handle A Rope (A Lesson In The Lariat)
8. Mexicola
9. Hispanic Impressions
10. You Can't Quit Me Baby
11. These Aren't The Droids You're Looking For
12. Give The Mule What He Wants
13. Spiders And Vinegaroons
14. I Was A Teenage Hand Model

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

After forming in 2016, Pillow Queens released a series of singles, honing their craft and working towards their first album, In Waiting (2020). Along the way there has been acclaim from UK and American press, many sold-out gigs and an appearance on James Corden's Late Late Show. After signing with Canada’s Royal Mountain Records, they released a follow-up album, Leave the Light On in 2022, touring the UK, US and Europe extensively, including shows at Austin’s SXSW and supporting Phoebe Bridgers in Glasgow.

Three albums in three years indicates a serious work ethic, for their new album Name Your Sorrow they stuck to a strict schedule. They showed up every day from 9-5, in a windowless Dublin room to just play, swap instruments and experiment. From there, they decamped to a rural retreat in County Clare along the Atlantic coastline of Ireland, to immerse themselves further. “ The palpable shift in sound and tone is possibly the result of working with a new producer, Collin Pastore from Nashville, who has produced boygenius, Lucy Dacus and Illuminati Hotties. The band holed up for three weeks at Analogue Catalogue studio in Newry, and quickly noticed that the change of scene and personnel impacted on the record.

The result of combining new experimentation, heartfelt lyrics and a sound that pinballs from quiet and loud offers a kind of catharsis. Of picking through the shrapnel to find slivers of hope. Previously, the band have road-tested new tracks live, playing them to an audience and reworking them based on the crowd’s reaction. They haven’t done that this time, because the songs already feel fully formed. The band also had to unlearn the process of questioning whether a song sounded like “a Pillow Queens song”. There are definite links to the last two albums, but Name Your Sorrow feels like a triumphant step in another direction.

STAFF COMMENTS

Barry says: Moody post-grunge riffs and soaring distorted guitar swells break into upbeat indie jangles and major-key lifts, all topped with the gothic-leaning vocals that easily switch from morose and solemn into stadium-fillingly grand in the blink of an eye. A wonderfully produced, perfectly written statement from the Pillow Queens.

TRACK LISTING

Side 1
1. February 8th
2. Suffer
3. Like A Lesson
4. Blew Up The World
5. Friend Of Mine
6. The Bar's Closed
Side 2
1. So Kind
2. Heavy Pour
3. One Night
4. Love II
5. Notes On Worth

The third single off her seminal 1989 debut album, "Ladies' First" remains one of Queen Latifah's signature songs

Featuring Monie Love, "Ladies' First" became an anthem of women's empowerment. This 7" also includes a B-side of "Come Into My House," originally released in 1990 as the fourth single.

TRACK LISTING

Ladies First (feat. Monie Love) [Radio Edit]
Come Into My House

Grammy nominated DJ and production mastermind Paul Woolford steps up to deliver a timeless house reworking of Gabriels 'Angels & Queens'.

The title track from the trio's debut album (part 1) that took 2022 by storm. Endeared by the masses and critically acclaimed Gabriels set out a refreshing new take on soul that the world was subconsciously crying out for - an antidote to over produced pop - providing a deeper, more meaningful and heartfelt cause at its centre.

Tantalising from the outset, Woolford steps up to the plate with a hard-hitting remix that drives in straight to your centre. Punchy TR-909 drums combine with thundering bass tones and his archetypal, rising piano hooks. A combination that brings Jacob Lusk's inimitable vocals to new heights.

After a feverish reception to Paul's Instagram tease of the track, we've been itching to release this remix into the wild. It's a big one, don't miss it!

'Three supremely talented artists simply excelling at what they do' - Paul Woolford

Gerd Janson - 'Gabriels!!! - Total madness at Panorama Bar. Like it was made for the room'

TRACK LISTING

A1. Paul Woolford's Special Request Mix
B1. Original Version
B2. Paul Woolford's Special Request Radio Edit

Angels & Queens - Part I was released back in September, picking up widespread acclaim across the globe. Its release was governed by the band’s desire to push through the release of new recordings this year, and release the record in two distinct chapters. The second chapter now concludes the full album’s tracklisting for a Spring 2023 release.

Angels & Queens incorporates a brand new recording of the band’s seminal debut single, Love & Hate In A Different Time, and songs that have already become staples of the band’s live set; Offering, Glory, and Great Wind.

A Deluxe CD version will also be made available with eight additional recordings, featuring four tracks from the band’s seminal Glastonbury set earlier in the Summer, a BBC Maida Vale session recording of Spanish Harlem, and a Greg Wilson and Che Wilson remix of Love and Hate in A Different Time.

TRACK LISTING

CD / Vinyl
1. Offering
2. The Blind
3. Angels & Queens
4. Taboo
5. To The Moon And Back
6. Professional
7. We Will Remember
8. Remember Me
9. If You Only Knew
10. Love And Hate In A Different Time
11. Glory
12. Great Wind
13.Mama

Deluxe CD Additional Tracks:
14.Love And Hate In A Different Time (Greg Wilson & Che Wilson Remix)
15. Blame (Live At Glastonbury)
16. Great Wind (Live At Glastonbury)
17. Professional (Live At Glastonbury)
18. We Will Remember (Live At Glastonbury)
19. Spanish Harlem (Live From Maida Vale)
20. Bloodline
21. Loyalty Ft. Ashley Sade

Queens of the Stone Age have announced their long-awaited 8th studio album, In Times New Roman… 

In Times New Roman... is raw, at times brutal and not recommended for the faint of heart. And yet, it’s perhaps the most beautiful and definitely the most rewarding album in their epic discography. Founder Joshua Homme's most acerbic lyrics to date are buoyed by the instantly identifiable QOTSA sonic signature, expanded and embellished with new and unprecedented twists in virtually every song. With In Times New Roman… we see that sometimes one needs to look beneath scars and scabs to see beauty, and sometimes the scabs and scars are the beauty.

Feeling a bit out of place, and having difficulty finding music they could relate to, the members of QOTSA did as they are wont to do: In Times New Roman… is the sound of a band creating the music its own members want to hear, while giving the rest of us a sonic forum in which to congregate. “The world’s gonna end in a month or two," sings Homme, begging the question: What do you want to do to with the time you’ve got left? Homme, Troy Van Leeuwen, Dean Fertita, Michael Shuman and Jon Theodore may not be able to save us, but they’re giving us a place to ride it out.

In Times New Roman… was recorded and mixed at Homme’s own Pink Duck (RIP), with additional recording at Shangri-La. The album was produced by Queens of the Stone Age and mixed by Mark Rankin.

Artwork and double LP gatefold packaging designed by long time collaborator Boneface.

STAFF COMMENTS

Barry says: QOTSA return for their most cathartic outing yet, dealing with Homme's cancer treatment, the loss of friends and the 'new normal' we find ourselves in. It's a quintessentially QOTSA LP, but pushed to 11, with the quiet moments all the more menancing, and the loud interludes (of which there are many) all the more incendiary. Superb.

TRACK LISTING

Obscenery
Paper Machete
Negative Space
Time & Place
Made To Parade
Carnavoyeur
What The Peephole Say
Sicily
Emotion Sickness
Straight Jacket Fitting

Christine and the Queens return with new album PARANOÏA, ANGELS, TRUE LOVE, released on 9 June via Because Music.

The record’s first single, ‘To be honest’ is an ethereal, synth-driven first glimpse into the French phenomenon’s most personal and ambitious album to date. PARANOÏA, ANGELS, TRUE LOVE is written, performed and produced by Christine and the Queens, with co-production by Mike Dean (Lana Del Rey, Beyonce) and guest appearances from 070 Shake and Madonna.

TRACK LISTING

180 GRAMS VINYL EDITION
A1 Tears Can Be So Soft
A2 Marvin Descending
A3 A Day In The Water
A4 Angels Crying In My Bed (Feat. Madonna)
A5 Flowery Days
B1 True Love (Feat. 070 Shake)
B2 Aimer, Puis Vivre
B3 Lick The Light Out (Feat. Madonna)
B4 To Be Honest

1CD EDITION
1 Tears Can Be So Soft
2 Marvin Descending
3 A Day In The Water
4 Angels Crying In My Bed (Feat. Madonna)
5 Flowery Days
6 True Love (Feat. 070 Shake)
7 Aimer, Puis Vivre
8 Lick The Light Out (Feat. Madonna)
9 To Be Honest

Prima Queen's highly anticipated debut EP 'Not The Baby', demonstrates this band's remarkable ability to straddle genres and embrace heartfelt topics, starting with lead single Back Row, a soaring, horns-led pop song about the heartbreak of breaking someone else's heart.

TRACK LISTING

1. Back Row
2. Crow
3. Dylan
4. Hydroplane

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

Queen Talk: Live at the Left Bank is an official never-before-seen concert recording from one of the greatest female jazz organists of all-time, Shirley Scott

With George Coleman on tenor saxophone and Bobby Durham on drums completing a powerhouse trio, this hand-numbered (to 3,000), double LP set was transferred from the original tape reels and is pressed on 180- gram vinyl. It features 100 minutes of music and is packaged in a gatefold sleeve with an extensive booklet containing liner notes by acclaimed music writer A. Scott Galloway, rare photos by Don Schlitten and Raymond Ross, and memorabilia from the Left Bank archives.

Jazz heads can also find interviews with jazz organ icon Joey DeFrancesco, Scott’s former bandmate saxophonist Tim Warfield, and pianist Monty reminiscing about drummer Bobby Durham. The set is co- produced by label owner musician Cory Weeds and renowned archival recording producer Zev Feldman.

The show was recorded at the Famous Ballroom in Baltimore Maryland on August 20, 1972 and hasn’t ever been previously available. Philadelphia- born Scott rose to fame in the late 1950s playing the Hammond B-3 organ influenced by blues and gospel evolving into '60s soul jazz. She recorded numerous albums for Prestige, Impulse!, Atlantic, Cadet and Candid performing with countless jazz legends including Stanley Turrentine, Oliver Nelson and Eddie “Lockjaw” Davis.

Hiding in Place, the new EP from Philadelphia’s Queen of Jeans, opens with the springy pluck of a single note on electric guitar, like a ping from a satellite waiting for a response in a long, quiet expanse. Then, Miri Devora’s voice atop guitar and drums: “Hiding in place, conjure your face/Don’t wanna lose my mind.”

This is the title track’s invitation to a four-song study of loneliness, alienation, and the unraveling that comes with those states, but it’s also bookended with moments of levity: joy and romance burst through on second track “Why Hide,” a response of sorts to the title track’s cloistered anxiety. Devora wrote the songs at the start of the pandemic in March 2020 when she had just been laid off from her job of almost 10 years. Her partner, guitarist Mattie Glass, worked 11 hour shifts at a grocery store, so Devora was alone in their apartment for months on end. When they were written, these weren’t intended to be pandemic-specific.

“While these aren’t ‘pandemic songs,’ they carry that weight,” says Devora. “There’s that sense of loneliness and even longing that I think for many have gone hand-in-hand with the pandemic. Hiding in Place is like hiding within these walls that we were confined to, but it’s also about hiding within yourself and not being able to necessarily express any kind of fears or desires you have.”

This is part of what makes Hiding in Place such an apt collection for this moment: with this EP, which follows the band’s 2019 LP If you’re not afraid, I’m not afraid, hiding can be a safe release or a painful suppression, depending on the context. That duality—and the complicated nuance of lived experience that it suggests—defines our lives now.

This 12” EP features Hiding in Place in Full as well as the entirety of Queen of Jeans’ 2021 Covers EP, including a bombastic cover of Wheatus’ now viral “Teenage Dirtbag.”

TRACK LISTING

Side A
1. Hiding In Place
2. Why Hide
3. Was I Ever
4. The Wait Is Over
Side B
1. Teenage Dirtbag
2. I’m The Only One
3. Actor Out Of Work

Describing herself simply as a ' modern English musician', Eliza Carthy is
one of the most recognisable faces in British folk.

From the purest unaccompanied traditional songs to original music incorporating myriad infuences, she has moved through English folk music like a force of nature, both stirring it up & putting it back on the map, and as a member of big bands The Imagined Village, and the musical force- of- nature that was The Wayward Band she has headlined main stages at festivals around the world. With a wealth of musical & life experience under her belt, Eliza's talent has matured and is fourishing. She continues to bring new audiences to English folk through well-judged recordings, performances, and collaborations with the likes of Paul Weller, Jools Holland, Patrick Wolf, and Kae Tempest. 2022 sees Eliza celebrating an incredible 30 years in the music business with album Queen Of The Whirl, featuring new interpretations of fan- selected favourites from her previous albums, recorded with her band Eliza Carthy & The Restitution.

TRACK LISTING

1. Whirly Whorl
2. The Snow It Melts The Soonest
3. The Company Of Men
4. Jacky Tar
5. Stumbling On
6. Mohair
7. Mr Magnifco
8. My Father's Mansions
9. Space Girl / Two Tears
10. Blood On My Boots
11. Pretty Ploughboy
12. In London So Fair
13. Accordion Song
14. Good Morning Mr Walker

Redcar is only the beginning. This is all an opera.

It will take some time to unveil, the same way it is unveiling to Redcar, as he acknowledges his crazy freedom. Angels and stars, the sovereign verb, the heart at its center.

Redcar is not really there to affirm anything but the need to say who we are and what we pray for every day.

STAFF COMMENTS

Barry says: I've always been a big fan of Christine And The Queens, and Redcar is surprisingly, an even more accomplished number than the nigh-perfect 'Chris'. Eminently melodic and rich with groove, Letissier is the quintessential pop-electronic producer.

TRACK LISTING

1. Ma Bien Aimée Bye Bye
2. Tu Sais Ce Qu'il Me Faut
3. La Chanson Du Chevalier
4. Rien Dire
5. La Clairefontaine
6. Les étoiles
7. Mémoire Des Ailes
8. Looking For Love
9. My Birdman
10. Combien De Temps
11. Je Te Vois Enfin
12. Angelus
13. Les âmes Amantes

Hot off the back of their self-titled debut single – the energetic five piece made up of Joel Douglas (vox/guitar), Tom Butler (vox/bass), Robbie Cottom (keys), Mike Hendry (guitar) + George Thompson (drum/percussion) follow it up with the provocatively titled ‘Your God Owes You Money.’

For those unacquainted with the band’s brand of esoteric eclectic pop - The Queen's Head are a five piece from South London making alternative music about modern anxieties. Blending elements of post-punk, noise-rock, disco and modern dance music, wrapped in a familiar verse-chorus pop structure, the resulting sound is simultaneously enchanting and terrifying.

Ordering this giddy chaos are the dual vocals of childhood friends Joel Douglas and Tom Butler. Together they combine cutting, spoken word narratives and growling melodies which take form as vigorous, traumatised calls to arms, scriptures not as much sung but bellowed and preached to the audience. It’s a sermon.

‘It did feel like that’ recounts Speedy co-runner Pierre Hall who put them on at one of Speedy’s ‘Homecoming’ nights at The Social at the end of lockdown. ‘From the second they came on to the second they finished – everyone was completely entranced. You were sucked in. It was powerful. Scary, intense, confrontational. But powerful nonetheless. I was hooked.’

On the resulting track – a heady mix of post-punk influences crossed with everything from The Clash to The Specials via Daniel Avery and Charlie XCX, the band say: ’We are a band interested in world-building, with our process normally meticulous, pouring over tiny production and song-writing details. Taking 'Your God Owes You Money' into Dan Carey's space and method was a deliberate attempt to disrupt our complacencies. We played live, welcomed error and followed improvised ideas, under Dan's guiding hand. The version of this song we produced in just a day hopefully captures the rage and range of our live show - a direct glimpse into the band, what we believe and our frailties as self-confessed performers. An honour, a privilege and a wholly enjoyable day amidst Dan's Aladdin's cave.’ The genie is out of the lamp.

New album by Aimee Mann. Aimee Mann returns with new album Queens Of The Summer Hotel out November 5th. This LP has 15 songs inspired by the book " Girl Interrupted" written by Susannah Kaysen Tracklisting

TRACK LISTING

1. You Fall
2. Suicide Is Murder
3. You Could Have Been A Roosevelt
4. Robert Lowell And Sylvia Plath
5. Give Me Fifteen
6. Burn It Out
7. In Mexico
8. At The Frick Museum
9. Home By Now
10. Check (reprise)
11. You're Lost
12. Checks
13. Little Chameleon
14. I See You
15. You Don't Have The Room

Leave the Light On is an exploration of the uncertainty of emotions as they are in process, and an intuitive outpouring of ideas as they form. It’s about being intimately honest with yourself, and as a band. It’s about trusting that this state of vulnerability can be held as it emerges, by you, by us.

What do queer dream blues sound like? More importantly, what do they feel like? Leaving home at night, driving through the black back roads until the tungsten light starts to glow. “Uaigneas an chaldaigh”, the Irish sense of loneliness experienced on the shore. The confusion and discombobulation of waking and feeling unfamiliar.

The liminal space between dreaming and being conscious. The unmooring that happens when a sense of self is being explored and sometimes slipping away.

But gravitating towards the unknown and the ambiguous can often yield the kinds of sounds and feelings that provide creative certainty, where the art is coming to you, as much as you going to it. Leave the Light On fills vast new sonic plains for Pillow Queens. It’s an album that encourages duality; to be soft and hard, delicate, and muscular, intimate and anthemic, alone and together. Collaborating on lyrics, a shared emotional experience fills these songs of hope and home, insecurity and estrangement, songs that track time passing and a sense of reflection grows deeper every day.

When real movement is stillness, when to be stationary feels transitionary, and when the most vital journey in life is to go within, then it’s time to leave the light on, and open up.

TRACK LISTING

Be By Your Side
The Wedding Band
Hearts & Minds
House That Sailed Away
Delivered
Well Kept Wife
No Good Woman
Historian
My Body Moves
Try Try Try

Grace Cummings is an actor and musician from Melbourne, Australia.Grace learned piano as a child and took up the guitar as a young adult, but only began to write and perform music in 2018.

She went from a debut gig at Melbourne’s Old Bar to a breakthrough performance at Boogie Festival in the space of six months, pickingup support slots with J Mascis and Evan Dando along the way. With buzz building around her powerhouse live show, Grace grabbed the attention of Flightless Records (King Gizzard and The Lizard Wizard), who released her debut album, Refuge Cove, in late 2019.

Refuge Cove won praise from publications around the world, including Pitchfork and All Music, and Grace was tapped for support slots with Weyes Blood, Cash Savage, Teskey Brothers and Allah-Lahs. In 2020, Grace recorded the single Sweet Matilda for Mexican Summer’s Through the Looking Glass series before landing a worldwide deal with indie powerhouse ATO Records (Alabama Shakes, My Morning Jacket, King Gizzard and the Lizard Wizard) and a distribution deal with Caroline Australia.

Her sophomore album, Storm Queen, is set for release early in 2022.

STAFF COMMENTS

Barry says: Part way between widescreen Americana or electric country and soulful lounge music, Grace Cummings presents a distinctive and evocative suite both confident and athletic. Her vocals shine with emotion and skilfully dominate the beautifully laid backdrop. An exciting and bracing journey.

TRACK LISTING

1 Heaven
2 Always New Days Always
3 Dreams
4 Up In Flames
5 Freak
6 Here Is The Rose
7 Raglan
8 Two Little Birds
9 This Day In May
10 Storm Queen
11 Fly A Kite

Songwriter, composer, director and visual artist Dev Hynes - best known under his moniker Blood Orange - releases the original motion picture score for the highly accoladed ‘Queen & Slim. ‘Queen & Slim’ is a 2019 American romantic crime drama film that follows two African-Americans on the run after killing a police officer in self-defence during a traffic stop. Directed by Melina Matsoukas (Beyonce’s Formation) and written by Lena Waithe (Master of None and Ready Player One), the film stars Daniel Kaluuya (Get Out), Jodie Turner- Smith, Bokeem Woodbine, Chloë Sevigny, Flea, Sturgill Simpson and Indya Moore.

The release of the ‘Queen & Slim’ score marks an incredible couple of years for Hynes, who recently wrapped up a tour opening for Tyler, The Creator in arenas across America. As Blood Orange, he released the mixtape Angel’s Pulse this past summer, in addition to directing a video for Beck, writing a collection of classical music with Third Coast Percussion, directing and releasing a series of his own videos and being called one of the Fast Company’s 100 Most Creative People For 2019

TRACK LISTING

Kids
Hair
Slim Lets Go
Opening
This Is A Safe Place
Bed
A Couple Deer
Slim’s Haircut
What’s Next
Love Theme (Dance)
Slim’s Horse
Slim Calls Home
Uncle’s House
Love Theme
(Photograph)
Get Upstairs
The Sheriff
Start The Car
Sneak Out
Arrival
Kissed All Your Scars

Queens of the Stone Age's 2005 release Lullabies to Paralyze debuted at No. 5 on the Billboard album charts. Along with the hits "Little Sister" and "Burn the Witch," Lullabies to Paralyze features guest appearances by Jack Black, ZZ Top's Billy Gibbons, Shirley Manson of Garbage and Jesse Hughes of the Eagles of Death Metal.

The new vinyl release of Lullabies to Paralyze features a gatefold jacket with the album's original album art in the U.S. for the first time, and includes the original three vinyl bonus tracks: "Infinity," "Like A Drug" and "Precious And Grace."

TRACK LISTING

This Lullaby
Medication
Everybody Knows That You Are Insane
Tangled Up In Plaid
Burn The Witch
In My Head
Little Sister
I Never Came
Someone’s In The Wolf
Infinity *vinyl Bonus Track
The Blood Is Love
Like A Drug *vinyl Bonus Track
Skin On Skin
Broken Box
Precious And Grace *vinyl Bonus Track
“you Got A Killer Scene There, Man…”
Long Slow Goodbye

2007's Era Vulgaris finds QOTSA touching on a variety of styles, incorporating electronic and acoustic textures alongside the band's trademark heavy rock crunch. The album includes such fan favorites as "Sick, Sick, Sick," "3's & 7's" and "Make It Wit Chu," with guest appearances by Julian Casablancas of The Strokes and frequent QOTSA collaborator Mark Lanegan.

The previous LP edition was on 3x 10” LPs, this LP edition marks the first-ever release of Era Vulgaris on 12" vinyl.

TRACK LISTING

Turnin’ On The Screw
Sick, Sick, Sick
I’m Designer
Into The Hollow
Misfit Love
Running Joke *exclusive Vinyl Track
Battery Acid
Make It Wit Chu
3’s & 7’s
Suture Up Your Future
River In The Road
Run, Pig, Run

2002's Songs For The Deaf became QOTSA's first Gold album in the U.S. and their first platinum seller in Britain and Canada, spawning the hits "No One Knows," "Go with the Flow" and "First It Giveth." The musical cast includes guest drummer Dave Grohl, who put his own band Foo Fighters on temporary hold to record and tour with Queens of the Stone Age.

Songs For The Deaf's new vinyl edition is a two-LP set with a gatefold jacket and a 12"x12" insert, with the album's original red background and black graphics/text art making its first-ever LP appearance. 

TRACK LISTING

You Think I Ain’t Worth A Dollar, But I Feel Like A Millionaire
No One Knows
First It Giveth
Song For The Dead
The Sky Is Fallin’
Six Shooter
Hangin’ Tree
Go With The Flow
Gonna Leave You
Do It Again
God Is In The Radio
Another Love Song
Song For The Deaf
Mosquito Song

In 2000, Queens of the Stone Age achieved a creative and commercial breakthrough with their major-label debut Rated R, featuring the breakout tracks "The Lost Art of Keeping A Secret" and "Feel Good Hit of the Summer."

This new LP edition marks Rated R's first U.S. vinyl pressing, and is the first vinyl edition worldwide to feature the album's original blue artwork. This LP augments the original album with the international bonus track “Ode To Clarissa," as well as a unique 12"x24" insert.

TRACK LISTING

Feel Good Hit Of The Summer
The Lost Art Of Keeping A Secret
Leg Of Lamb
Auto Pilot
Better Living Through Chemistry
Monsters In The Parasol
Quick And To The Pointless
In The Fade
Tension Head
Lightning Song
I Think I Lost My Headache
Ode To Clarissa *intl Vinyl Bonus Track

On her third album, Little Scream offers a reflection on class and poverty in America. Speed Queen began as bits of prose written while touring her last album across North America—observing the slow entropy of the US, ruminating on her own low-income upbringing in a flyover state, and, as she says, “taking it all in from the privileged position of being a new Canadian.” In “Privileged Child,” she reminds wealthy people who like to adopt the style of the poor and working class that “poverty’s a feeling money just can’t buy.” On “Dear Leader,” she reminds those opposing migration that “when the waters rise, it’s gonna be you, Miami,” warning them that when they’re needing help, “…you will ask your God, but he’ll be busy getting risen, and the rich will be too busy buying stock in private prisons— that’s where they’ll send you for talking about socialism.”

The biting commentary served with a sense of humour softens its presentation but doesn’t detract from its power. This is a theme throughout Speed Queen, where humour and warm heartedness prevail despite some of the darker subjects touched upon. Montreal-based Laurel Sprengelmeyer has been playing music under the moniker Little Scream since 2008. In 2011, she released The Golden Record, which Pitchfork dubbed “a stellar debut” and NPR called “an absolutely captivating record.” It was included in NPR’s Best Albums of 2011 list, and the New York Times evoked its “hints of the divine.” Her second album and Merge debut Cult Following featured guests including Sufjan Stevens, Mary Margaret O’Hara, and Sharon Van Etten. Little Scream is using the release of first single “Dear Leader” to raise awareness about the 1000 Cities initiative. “If 1000 cities adopt Paris climate accord standards, the world can still meet its global emissions targets,” Little Scream explains. “Most of us feel disenfranchised from international agreements. But all of us can get our heads around local involvement.” That kind of optimism in the face of harsh reality is a theme that has always run through Little Scream’s work, whether personal or political. Speed Queen is a powerful reflection of that hard-won hope. 

TRACK LISTING

1. Dear Leader
2 One Lost Time
3. Switchblade
4. Disco Ball
5. Still Life
6. Forces Of Spring
7. No More Saturday Night
8. Speed Queen 
9. Don’t Wait For It 
10. Privileged Child.

Having already made a name for himself in Nollywood (the Nigerian film industry) and in the sweatiest of London’s sweaty clubs. Ekiti Sound fuses Chicago house, Detroit techno and African poly rhythms with deviant electro synth patterns and a sub bass so deep you can hear the speakers rattling from Manchester. Throw in some cowbell, (what sounds like, to my uneducated ears anyway) arabic vocal and you have a dark, brooding, wall shaking, floor filling Lagos via London bomb.

TRACK LISTING

A1. Area 10k Boys Riddim
B1. Area 10k Boys Riddim (Flightmode Remix)
B2. Area 10K Boys Riddim (Radio Edit)

November sees the release of MERRIE LAND, the second album from The Good, The Bad & The Queen, a band comprising of Damon Albarn, Paul Simonon, Tony Allen and Simon Tong. The Good, The Bad & The Queen began life as the acclaimed 2007 album of the same name, a heartfelt tribute to London described by The Observer in a 5 star review as –“One of the most surprising and magical records for which Damon Albarn has ever been responsible”.

The record traced a journey from the English music hall tradition to West Africa and Afrobeat, zigzagging through the West Indies and its reggae and dub, back to England and London's punk scene, all the while taking in a strand of British beat music from the '50s right through to Britpop. The result was a record specific to a place and mood but with a background that was geographically wide-ranging.

Now the four musical storytellers are back with a new studio album titled ‘Merrie Land’.

Produced by Tony Visconti and The Good, The Bad & The Queen was completed in London and Wales this year, during the current ongoing period in which the UK is preparing to leave the European Union, ‘Merrie Land ’is a questioning good-bye letter, a series of observations and reflections on Britishness in 2018. Even though it has been over 10 years since the band last released a record, the timing could not be more apt – there could not be a more perfect band to untangle the optimism, disorientation and confusion in the atmosphere today.

With ‘Merrie Land’, the band taps into a creative symbiosis of past and future, drawing inspiration from their shared glittering musical histories and wrapping the hybrid results in a brilliantly postmodern yet thoroughly British package.

The album sees the band’s focus move beyond London with a beautiful and hopeful paean to the Britain of today - an inclusive Britain - and the possibilities of the future. In the band’s own words, Merrie Land is a ten song lament of Anglo-Saxosentialism marking the reluctant end of a relationship, and about picking up the pieces and seeing what can be salvaged. The band set a beautifully muted palette and lustrous finish to bring out a mood that is bruised yet unapologetically defiant and optimistic, and carries the underlying message: we will survive.

In times of metaphysical trauma, the people need to forge ahead and wear armour. Here it is, set to the mood music of a nation about to be broken yet undefeated.

TRACK LISTING

1. Introduction
2. Merrie Land
3. Gun To The Head
4. Nineteen Seventeen
5. The Great Fire
6. Lady Boston
7. Drifters & Trawlers
8. The Truce Of Twilight
9. Ribbons
10. The Last Man To Leave
11. The Poison Tree

Christine and The Queens announces her eagerly anticipated second album. Titled Chris, the record will be released by Because Music in digital and physical formats, including double CD and vinyl versions, as well as limited edition boxset, There are two versions of the album; one sung exclusively in English and one sung exclusively in French.

Chris was written, arranged and performed by Christine and the Queens. It is the follow up to her already-iconic debut record Chaleur Humaine, released to near-universal acclaim in France in 2014 and the UK in 2016, and selling more than 1.3 million copies to date.

TRACK LISTING

Side A
A1. Comme Si
A2. Girlfriend Feat. Dâm-Funk
A3. The Walker
Side B
B1. Doesn't Matter
B2. 5 Dollars
B3. Goya Soda
Side C
C1. Damn (what Must A Woman Do)
C2. What's-her-face
Side D
D1. Feel So Good
D2. Make Some Sense
D3. The Stranger

CD – English Version
1. Comme Si
2. Girlfriend Feat. Dâm-Funk
3. The Walker
4. Doesn't Matter
5. 5 Dollars
6. Goya Soda
7. Damn (what Must A Woman Do)
8. What's-her-face
9. Feel So Good
10. Make Some Sense
11. The Stranger

Arguably the most varied of the P&P related labels, Queen Constance was responsible for the release of some of the hottest shit NYC had to offer during the seventies and eighties, so rejoice when I tell you a reissue program is underway. High Fidelity will be the first in a series of Queen Constance rarities to be reissued, an extremely rare and coveted record that can change hands on the second hand market for big big money, so avoid those low rent bootlegs that are out there and cop this fully licensed repress.

The group's self-titled sole long-player is a fantastic 6 track set of gritty, soulful and uplifting funky Disco with a DIY edge. Not too much is known about the artists themselves, or even when the record was performed, recorded or released but it certainly sounds like a group who knew their craft inside out. The energy is high across the record and the group sound like they're on fire, just check the outrageously funkified 'Magic Carpet' and you'll see what we mean. Amazing. The whole project has that enchanting lo-fi, back-street feel to it in terms of production and the mind boggles as to how such a record would have come off had it been recorded at a Motown or any other 'big' studio, but no matter as this release is perfect the way it is, an essential piece of street-level NYC Disco straight from the underground.

TRACK LISTING

A1 - Life Time
A2 - Dedicated
A3 - Love Champ
B1 - From Us To You
B2 - Destiny
B3 - Magic Carpet

Jeremy Enigk performed with legendary indie rock band Sunny Day Real Estate from 1993 to 2000. He was their singer, songwriter, and one of their guitarists. In 1996, following Sunny Day Real Estate’s first breakup (which lasted from 1995 to 1997), Enigk released his first solo album, Return of the Frog Queen.

Return of the Frog Queen represents a major shift from the sound of Sunny Day Real Estate. The album features a 21-piece orchestra backing Enigk as he performs striking, dramatic, chamber-pop compositions that demonstrate the full breadth of Enigk’s talents as a singer, musician, and songwriter. The album was produced by Greg Williamson, who also produced Sunny Day Real Estate’s 1998 comeback album, How it Feels to Be Something On.

Return of the Frog Queen has been out of print since its original 1996 pressing. This reissue includes the original album, remastered in 2018, plus digital bonus tracks from Enigk’s 1996 live session on Seattle radio station The End.

TRACK LISTING

Abegail Anne
Return Of The Frog Queen
Lewis Hollow
Lizard
Carnival
Call Me Steam
Explain
Shade And The Black Hat
Fallen Heart
Abegal Anne (The End Sessions) *digital-only Bonus Track
Return Of The Frog Queen (The End Sessions) *digital-only Bonus Track
Lizard (The End Sessions) *digital-only Bonus Track
Carnival (The End Sessions) *digital-only Bonus Track
Explain (The End Sessions) *digital-only Bonus Track

On Sons of Kemet’s third studio album, and first under the impulse! label, Shabaka Hutchings and his band incorporate sounds of global jazz all while keeping a consistent and pulsing groove throughout the record. Shabaka Hutchings is a saxophonist, composer, and band leader based in the UK. He is the newest signing to the impulse! label, and he is in three prominent jazz outfits – Sons of Kemet, Shabaka & The Ancestors, and The Comet Is Coming. Sons of Kemet is the iconoclastic mix of tenor sax, tuba and double drums.

On this third studio album, they bring a genre defying approach that celebrates the restless exploration of identity within the Caribbean diaspora within the U.K. Your Queen is a Reptile was recorded in London with a host of guests spanning the breadth of the U.K. scene including jungle legend Congo Natty and poet Joshua Idehen. Sonically, this album stretches from New Orleans to the Caribbean to London to the Middle East. With the instrumentation of tuba, drums and sax, it has a second-line quality that marches into the Caribbean diaspora. There is spoken word, rap, and elements of dub, further emphasizing jazz’s place in today’s hip-hop world.

TRACK LISTING

My Queen Is Ada Eastman
My Queen Is Mamie Phipps Clark
My Queen Is Harriet Tubman
My Queen Is Anna Julia Cooper
My Queen Is Angela Davis
My Queen Is Nanny Of The Maroons
My Queen Is Yaaasantewaa
My Queen Is Albertina Sisulu
My Queen Is Doreen Laurence

Widely considered to be both The Smiths’ finest work and one of the greatest albums ever made, ‘The Queen Is Dead’ has cast a significant influence over subsequent generations since it was first released in the summer of 1986.

This reissue represents the first time that The Smiths’ back catalogue has been revisited in such a way. The album features several of the band’s finest moments including the title track and ‘There Is A Light That Never Goes Out’, as well as the iconic singles ‘The Boy With The Thorn In His Side’ and ‘Bigmouth Strikes Again’.

‘The Queen Is Dead’ will be released on digital and streaming formats as well as the following physical formats – all of which feature the 2017 master of the original album:

5LP box – featuring the 2017 master of the album, additional recordings and the ‘Live In Boston’ recording. Housed in lift-off box with 2 double gatefolds and 1 single sleeve pressed on 180g heavy weight vinyl.

Deluxe 3CD / 1 DVD box set – features the 2017 master of the album; additional recordings featuring demos, b-sides and alternative versions; the ‘Live In Boston’ album recorded at the Great Woods Center For The Performing Arts on 5th August 1986; and a DVD featuring the 2017 master of album in 96kHz / 24-bit PCM stereo and ‘The Queen Is Dead – A Film By Derek Jarman’.

2CD – features the 2017 master of the album; additional recordings featuring demos, b-sides and alternative versions.

TRACK LISTING

VINYL BOX SET TRACKLISTING:
LP 1 – Original Album: 2017 Master
Side A:
1. ‘The Queen Is Dead’
2. ‘Frankly, Mr. Shankly’
3. ‘I Know It’s Over’
4. ‘Never Had No One Ever’
5. ‘Cemetry Gates’

Side B:
6. ‘Bigmouth Strikes Again’
7. ‘The Boy With The Thorn In His Side’
8. ‘Vicar In A Tutu’
9. ‘There Is A Light That Never Goes Out’
10. ‘Some Girls Are Bigger Than Others’

LP 2 & 3 – Additional Recordings
Side A:
1. ‘The Queen Is Dead’ (full Version)
2. ‘Frankly, Mr. Shankly’ (demo)
3. ‘I Know It’s Over’ (demo)

Side B:
4. ‘Never Had No One Ever’ (demo)
5. ‘Cemetry Gates’ (demo)
6. ‘Bigmouth Strikes Again’ (demo)

Side C:
7. ‘Some Girls Are Bigger Than Others’ (demo)
8. ‘The Boy With The Thorn In His Side’ (demo Mix)
9. ‘There Is A Light That Never Goes Out’ (take 1)

Side D:
10. ‘Rubber Ring’ (b-side)
11. ‘Asleep’ (b-side)
12. ‘Money Changes Everything’ (b-side)
13. ‘Unloveable’ (b-side)

Tracks 1-7 And 9 Are Previously Unreleased.
Track 8 Was Released On 7” For Record Store Day.
Tracks 10 And 11 Are 2017 Masters Of B-sides From ‘The Boy With The Thorn In His Side’.
Tracks 12 And 13 Are 2017 Masters Of B-sides From ‘Bigmouth Strikes Again’.

LP 4 & 5 – ‘Live In Boston’ – Previously Unreleased
Side A:
1. ‘How Soon Is Now?’ (5.25)
2. ‘Hand In Glove’ (2.58)
3. ‘I Want The One I Can’t Have’ (3.24)
4. ‘Never Had No One Ever’ (3.29)

Side B:
5. ‘Stretch Out And Wait’ (3.09)
6. ‘The Boy With The Thorn In His Side’ (3.34)
7. ‘Cemetry Gates’ (3.01)
8. ‘Rubber Ring/What She Said/Rubber Ring’ (4.17)

Side C:
9. ‘Is It Really So Strange?’ (3.23)
10. ‘There Is A Light That Never Goes Out’ (4.09)
11. ‘That Joke Isn't Funny Anymore’ (4.51)

Side D:
12. ‘The Queen Is Dead’ (5.08)
13. ‘I Know It's Over’ (7.39)

Recorded At The Great Woods Center For The Performing Arts On 5th August 1986.

DELUXE 3CD / 1 DVD BOX SET TRACKLISTING: 
CD1 – Original Album: 2017 Master
1. ‘The Queen Is Dead’
2. ‘Frankly, Mr. Shankly’
3. ‘I Know It’s Over’
4. ‘Never Had No One Ever’
5. ‘Cemetry Gates’
6. ‘Bigmouth Strikes Again’
7. ‘The Boy With The Thorn In His Side’
8. ‘Vicar In A Tutu’
9. ‘There Is A Light That Never Goes Out’
10. ‘Some Girls Are Bigger Than Others’

CD2 – Additional Recordings
1. ‘The Queen Is Dead’ (full Version)
2. ‘Frankly, Mr. Shankly’ (demo)
3. ‘I Know It’s Over’ (demo)
4. ‘Never Had No One Ever’ (demo)
5. ‘Cemetry Gates’ (demo)
6. ‘Bigmouth Strikes Again’ (demo)
7. ‘Some Girls Are Bigger Than Others’ (demo)
8. ‘The Boy With The Thorn In His Side’ (demo Mix)
9. ‘There Is A Light That Never Goes Out’ (take 1)
10. ‘Rubber Ring’ (b-side)
11. ‘Asleep’ (b-side)
12. ‘Money Changes Everything’ (b-side)
13. ‘Unloveable’ (b-side)

Tracks 1-7 And 9 Are Previously Unreleased.
Track 8 Was Released On 7” For Record Store Day.
Tracks 10 And 11 Are 2017 Masters Of B-sides From ‘The Boy With The Thorn In His Side’.
Tracks 12 And 13 Are 2017 Masters Of B-sides From ‘Bigmouth Strikes Again’.

CD3 – ‘Live In Boston’ – Previously Unreleased
1. ‘How Soon Is Now?’ (5.25)
2. ‘Hand In Glove’ (2.58)
3. ‘I Want The One I Can’t Have’ (3.24)
4. ‘Never Had No One Ever’ (3.29)
5. ‘Stretch Out And Wait’ (3.09)
6. ‘The Boy With The Thorn In His Side’ (3.34)
7. ‘Cemetry Gates’ (3.01)
8. ‘Rubber Ring/What She Said/Rubber Ring’ (4.17)
9. ‘Is It Really So Strange?’ (3.23)
10. ‘There Is A Light That Never Goes Out’ (4.09)
11. ‘That Joke Isn't Funny Anymore’ (4.51)
12. ‘The Queen Is Dead’ (5.08)
13. ‘I Know It's Over’ (7.39)

Recorded At The Great Woods Center For The Performing Arts On 5th August 1986.

DVD:
‘The Queen Is Dead’ On 96kHz / 24-bit PCM Stereo.
‘The Queen Is Dead – A Film By Derek Jarman’.

2CD TRACKLISTING:
CD1 – Original Album: 2017 Master
1. ‘The Queen Is Dead’
2. ‘Frankly, Mr. Shankly’
3. ‘I Know It’s Over’
4. ‘Never Had No One Ever’
5. ‘Cemetry Gates’
6. ‘Bigmouth Strikes Again’
7. ‘The Boy With The Thorn In His Side’
8. ‘Vicar In A Tutu’
9. ‘There Is A Light That Never Goes Out’
10. ‘Some Girls Are Bigger Than Others’

CD2 – Additional Recordings
1. ‘The Queen Is Dead’ (full Version)
2. ‘Frankly, Mr. Shankly’ (demo)
3. ‘I Know It’s Over’ (demo)
4. ‘Never Had No One Ever’ (demo)
5. ‘Cemetry Gates’ (demo)
6. ‘Bigmouth Strikes Again’ (demo)
7. ‘Some Girls Are Bigger Than Others’ (demo)
8. ‘The Boy With The Thorn In His Side’ (demo Mix)
9. ‘There Is A Light That Never Goes Out’ (take 1)
10. ‘Rubber Ring’ (b-side)
11. ‘Asleep’ (b-side)
12. ‘Money Changes Everything’ (b-side)
13. ‘Unloveable’ (b-side)

Tracks 1-7 And 9 Are Previously Unreleased.
Track 8 Was Released On 7” For Record Store Day.
Tracks 10 And 11 Are 2017 Masters Of B-sides From ‘The Boy With The Thorn In His Side’.
Tracks 12 And 13 Are 2017 Masters Of B-sides From ‘Bigmouth Strikes Again’.

“The title Villains isn’t a political statement. It has nothing to do with Trump or any of that shit. It’s simply 1) a word that looks fantastic and 2) a comment on the three versions of every scenario: yours, mine and what actually happened… Everyone needs someone or something to rail against—their villain—same as it ever was. You can’t control that. The only thing you can really control is when you let go."—Joshua Homme

Hundreds of epic shows, memory lapses, unexplained injuries, one yearlong detour with Iggy Pop and multiple Grammy nominations later, Queens Of The Stone Age re-emerge from the desert newly scarred and somehow strangely prettier with lucky seventh album, Villains.

Produced by Mark Ronson and co-produced by Mark Rankin and mixed by Alan Moulder, Villains is the first full album offering from Queens Of The Stone Age since 2013’s …Like Clockwork gave the band its first #1 album in the U.S. Like the stunning artwork of returning illustrator Boneface, the sonic signatures of the line-up that took …Like Clockwork around the world and back are as unmistakable as ever, though coexisting with sufficient new twists to induce recurring double takes. As Homme himself puts it, “The most important aspect of making this record was redefining our sound, asking and answering the question 'what do we sound like now?' If you can’t make a great first record, you should just stop—but if you can make a great record but you keep making records and your sound doesn’t evolve, you become a parody of that original sound."

Of his role working within such a closed and confident ecosystem as Queens Of The Stone Age, Ronson says, "Queens are and have always been my favourite rock n roll band ever since I walked into Tower on Sunset and bought Rated R in the summer of 2000, so it was incredibly surreal to be welcomed into their secret, pirate clan—or the ‘jacuzzi’ as Josh likes to call it. There were moments during the making of the album in which I was aware I was watching my musical heroes craft something that was sure to become one of my moments on any Queens album. And to have some part in that felt like being in a dream--a very heavy, dark, wonderful dream.”

Long-time Queens cohort co-producer Mark Rankin added, "After the baptism of fire that was …Like Clockwork, I was excited to get into the studio again with the challenge of pushing the sound for this record, especially with the addition of Ronson into the creative mix… What we’ve made is forward looking yet unmistakably Queens."

STAFF COMMENTS

Darryl says: ‘Villains’ finds the QOTSA boys in fine rockin’ form. Heavy sonic riffage with an added groove appeal too, no doubt courtesy of Mark Ronson in the producer’s chair.

TRACK LISTING

Feet Don’t Fail Me
The Way You Used To Do
Domesticated Animals
Fortress
Head Like A Haunted House
Un-Reborn Again
Hideaway
The Evil Has Landed
Villains Of Circumstance

The first Greatest Hits album by the legendary Queen. Originally released in 1981, this compilation album contains all of Queens best selling singles since their first chart appearance in 1974.

TRACK LISTING

1. Bohemian Rhapsody
2. Another One Bites The Dust
3. Killer Queen
4. Fat Bottomed Girls
5. Bicycle Race
6. You're My Best Friend
7. Don't Stop Me Now
8. Save Me
9. Crazy Little Thing Called Love
10. Somebody To Love
11. Now I'm Here
12. Good Old-Fashioned Lover Boy
13. Play The Game
14. Flash
15. Seven Seas Of Rhye
16. We Will Rock You
17. We Are The Champions

"Following the disappointing commercial performance of the dance-oriented Hot Space in 1982, Queen took 1983 off to get refocused and work on a follow-up that would put the band back on track. While the songwriting had definitely improved on the resulting The Works in 1984, the album sonically lacked the punch of such earlier releases as News of the World and The Game (strangely, Hot Space even had a better overall sound). Although the album only peaked at number 23 on the U.S. album charts, it was a Top Ten hit in just about every other area of the world, producing the huge single "Radio Ga Ga." Three other tracks were hits in Queen's native England -- the uplifting "I Want to Break Free," the love song "It's a Hard Life," and the politically conscious rocker "Hammer to Fall," which dealt with the danger of nuclear weapons. Other highlights included the '50s-sounding "Man on the Prowl," the electronic experiment "Machines," the thunderous "Tear It Up," and a touching acoustic ballad, "Is This the World We Created...?"" - Allmusic.

"Queen had long been one of the biggest bands in the world by 1980's The Game, but this album was the first time they made a glossy, unabashed pop album, one that was designed to sound exactly like its time. They might be posed in leather jackets on the cover, but they hardly sound tough or menacing -- they rarely rock, at least not in the gonzo fashion that's long been their trademark. Gone are the bombastic orchestras of guitars and with them the charging, relentless rhythms that kept Queen grounded even at their grandest moments. Now, when they rock, they'll haul out a clever rockabilly pastiche, as they do on the tremendous "Crazy Little Thing Called Love," a sly revival of old-time rock & roll that never sounds moldy, thanks in large part to Freddie Mercury's panache. But even that is an exception to the rule on The Game. Usually, when they want to rock here, they wind up sounding like Boston, as they do on John Deacon's "Need Your Loving Tonight," or they sound a bit like a new wave-conscious rocker like Billy Squier, as they do on the propulsive "Coming Soon." But even those are exceptions to the overall rule on The Game, since most of the album is devoted to disco-rock blends -- best heard on the globe-conquering "Another One Bites the Dust," but also present in the unintentionally kitschy positivity anthem "Don't Try Suicide" -- and the majestic power ballads that became their calling card in the '80s, as they reworked the surging "Save Me" and the elegant "Play the Game" numerous times, often with lesser results. So, The Game winds up as a mixed bag, as many Queen albums often do, but again the striking difference with this album is that it finds Queen turning decidedly, decisively pop, and it's a grand, state-of-the-art circa 1980 pop album that still stands as one of the band's most enjoyable records. But the very fact that it does showcase a band that's turned away from rock and toward pop means that for some Queen fans, it marks the end of the road, and despite the album's charms, it's easy to see why." - Allmusic.

"If Day at the Races was a sleek, streamlined album, its 1977 successor, News of the World, was its polar opposite, an explosion of styles that didn't seem to hold to any particular center. It's front-loaded with two of Queen's biggest anthems -- the stomping, stadium-filling chant "We Will Rock You" and its triumphant companion, "We Are the Champions" -- which are quickly followed by the ferocious "Sheer Heart Attack," a frenzied rocker that hits harder than anything on the album that shares its name (a remarkable achievement in itself). Three songs, three quick shifts in mood, but that's hardly the end of it. As the News rolls on, you're treated to the arch, campy crooning of "My Melancholy Blues," a shticky blues shuffle in "Sleeping on the Sidewalk," and breezy Latin rhythms on "Who Needs You." Then there's the neo-disco of "Fight from the Inside," which is eclipsed by the mechanical funk of "Get Down, Make Love," a dirty grind that's stripped of sensuality. That cold streak on "Get Down, Make Love" runs through the album as a whole. Despite the explosion of sounds and rhythms, this album doesn't add up to party thanks to that slightly distancing chilly vibe that hangs over the album. Nevertheless, many of these songs work well on their own as entities, so there is plenty to savor here, especially from Brian May. Whether he's doing the strangely subdued eccentric English pop "All Dead, All Dead" or especially the majestic yet nimble rocker "It's Late," he turns in work that gives this album some lightness, which it needs. And that's the reason News of the World was a monster hit despite its coldness -- when it works, it's massive, earth-shaking rock & roll, the sound of a band beginning to revel in its superstardom." - Allmusic.

"In every sense, A Day at the Races is an unapologetic sequel to A Night at the Opera, the 1975 breakthrough that established Queen as rock & roll royalty. The band never attempts to hide that the record is a sequel -- the two albums boast the same variation on the same cover art, the titles are both taken from old Marx Brothers films and serve as counterpoints to each other. But even though the two albums look the same, they don't quite sound the same, A Day at the Races is a bit tighter than its predecessor, yet tighter doesn't necessarily mean better for a band as extravagant as Queen. One of the great things about A Night at the Opera is that the lingering elements of early Queen -- the pastoral folk of "39," the metallic menace of "Death on Two Legs" -- dovetailed with an indulgence of camp and a truly, well, operatic scale. Here, the eccentricities are trimmed back somewhat -- they still bubble up on "The Millionaire Waltz," an example of the music hall pop that dominated Night, the pro-Native American saga "White Man" is undercut somewhat by the cowboys 'n' indians rhythms -- in favor of a driving, purposeful hard rock that still could have some slyly hidden perversities (or in the case of the opening "Tie Your Mother Down," some not-so-hidden perversity) but this is exquisitely detailed hard rock, dense with minutiae but never lush or fussy. In a sense, it could even function as the bridge between Sheer Heart Attack and Night at the Opera -- it's every bit as hard as the former and nearly as florid as the latter -- but its sleek, streamlined finish is the biggest indication that Queen has entered a new phase, where they're globe-conquering titans instead of underdogs on the make." - Allmusic.

"Queen were straining at the boundaries of hard rock and heavy metal on Sheer Heart Attack, but they broke down all the barricades on A Night at the Opera, a self-consciously ridiculous and overblown hard rock masterpiece. Using the multi-layered guitars of its predecessor as a foundation, A Night at the Opera encompasses metal ("Death on Two Legs," "Sweet Lady"), pop (the lovely, shimmering "You're My Best Friend"), campy British music hall ("Lazing on a Sunday Afternoon," "Seaside Rendezvous"), and mystical prog rock ("'39," "The Prophet's Song"), eventually bringing it all together on the pseudo-operatic "Bohemian Rhapsody." In short, it's a lot like Queen's own version of Led Zeppelin IV, but where Zep find dark menace in bombast, Queen celebrate their own pomposity. No one in the band takes anything too seriously, otherwise the arrangements wouldn't be as ludicrously exaggerated as they are. But the appeal -- and the influence -- of A Night at the Opera is in its detailed, meticulous productions. It's prog rock with a sense of humor as well as dynamics, and Queen never bettered their approach anywhere else." Allmusic.

Queens Of The Stone Age announce their sixth studio album, ‘...Like Clockwork’, on Matador Records. The band have also unveiled the new album’s stunning artwork by UK artist Boneface.

Described by Queens principal Joshua Homme as “an audio documentary of a manic year,” ‘...Like Clockwork’ is the band’s first full length collection of all new material since 2007’s ‘Era Vulgaris’, as well as the band’s debut release on new label partner Matador.

‘...Like Clockwork’ was produced by Joshua Homme and QOTSA, and recorded by Mark Rankin with additional engineering by Justin Smith, at Josh’s Pink Duck studio in Burbank, California.

TRACK LISTING

1 Keep Your Eyes Peeled 
2 I Sat By The Ocean 
3 The Vampyre Of Time And Memory 
4 If I Had A Tail
5 My God Is The Sun 
6 Kalopsia 
7 Fairweather Friends 
8 Smooth Sailing 
9 I Appear Missing 
10 ...Like Clockwork

One of the greatest albums of all time, but then you don't need me to tell you that! Again there were surprises: the sprawling power of the title track, the vaudevillian jokiness and throwaway lightness of "Frankly Mr. Shankly" and "Vicar In a Tutu" respectively, the swaying poise and drama of "I Know It's Over" and the murky psychedelia of "Never Had No-one Never". These tunes rung the changes but the remaining 5 were world classics: "Bigmouth Strikes Again", "Cemetry Gates", "The Boy with the Thorn in his Side", "Some Girls Are Bigger Than Others" and, of course "There is a Light That Never Goes Out". The whole thing was perfectly sequenced to take you on a proper musical journey. A truly beautiful record.

"Era Vulgaris" sees Queens Of The Stone Age return to their deepest, darkest roots, with shadowy riffs reminiscent of the desert sounds of the Kyuss days combined with multi layered industrial power guitar and organ blasts of a new era. It was produced by long time Queens production cohort Chris Goss and Josh Homme himself at their hideaway in the dunes of Joshua Tree. Julian Casablancas from The Strokes and Mark Lanegan appear as guests on various tracks.

The Good, The Bad and The Queen is a new album featuring Damon Albarn (Blur / Gorillaz), Paul Simonon (The Clash), Tony Allen (Africa 70 / Fela Kuti) and Simon Tong (The Verve) which began life in the Aphrodisia Studios in Nigeria in 2004: Damon Albarn and guitarist Simon Tong had travelled to Lagos to record with veteran drummer and Afro-beat pioneer Tony Allen. Working with local musicians, the trio recorded an album's worth of rough material. Back in England, Damon was finishing off Gorillaz' "Demon Days" album and the project went on the back burner. When he came back to the tracks Damon began writing lyrics about his West London neighbourhood and why he thinks it's such a special place to live, then gave the recordings to producer Brian 'Danger Mouse' Burton and the album began to take shape. The final collaborator to come in to the studio was Clash bassist – and West London native – Paul Simonon. Sessions for the album proper took place in Damon's studio just off the Golborne Road, and in Devon, and were finished by early summer 2006. The result is a record specific to a place and a time but with a background that is geographically wide-ranging and stretches far back into a glittering musical past. "The Good, The Bad & The Queen" traces a journey from the English music hall tradition, over to West Africa for Afro-beat, zig-zagging through the West Indies and its reggae and dub, back to England and London's punk scene, all the while taking in a strand of British beat music from the 50s right through to Britpop.

Mary Gauthier (pronounced Go-Shay) is another rare find from the label that discovered Johnny Dowd and her downbeat lyrics are similarly hard hitting, whether they tell of drag queens, execution in Texas, drinking, strippers and inhabitants of the darker side of country: the kind of people Gauthier has been around, those Bohemian spirits that abound on "Drag Queens In Limousines" along with her wry vision and vocal directness.