Concord Music Group reissue R.E.M. at the BBC, originally released in 2018, the comprehensive broadcast collection from R.E.M.
R.E.M. grew up with the BBC, and this historic relationship is lovingly celebrated across an incredible collection that beautifully illustrates the career trajectory of one of modern music’s greatest bands. The collection—available as a super-deluxe edition 8-CD/1-DVD box set, as well as 2-CD, 2-LP and digital formats—comprises a treasure trove of rare and unreleased live and studio recordings culled from theBBC and band archives. This is a must-have collection for R.E.M. fans and an authoritative introduction for newcomers.
In-studio performances featured in the 8-CD/1-DVD box set include a John Peel Session…
Category: *editions*
Mercury Falling was released in March 1996. It reached number four in Sting’s native UK and number five in the US, becoming his fifth straight studio album to make the top 5 in both countries. The album features the UK top 40 hits ‘Let Your Soul Be Your Pilot’, ‘You Still Touch Me’ and ‘I Was Brought To My Senses’ and was Sting’s last album to feature the production talents of Hugh Padgham, which underlines the feeling that this record was the end of a certain phase in Sting’s solo career. Supporting musicians on the album include frequent collaborators Dominic Miller on guitar, Kenny Kirkland on keyboards, Vinnie Colaiuta on drums, and Branford Marsalis on tenor and soprano saxophone.
…Mercury Falling (Expanded Edition) adds 19…
Doo Dah Nean is an entirely characteristic release from La Musica records, the murky Japanese underground cassette label that’s been around since the ‘90s, occasionally putting out sonically debased bootlegs of artists’ work to make them fit with the noise aesthetic of label founder Asahito Nanjo. Nean was a mysterious trio, consisting of Naoko (vocals), Yui (bass/electronics) and Non (drums) and this was their only album, released in 1996. Few people, least of all Nean themselves, can have expected a reissue on limited-edition vinyl in a gatefold sleeve 20 years later, but here it is, and it’s so eccentric, such an acquired taste – though not an inaccessible one, by the standards of Japanese underground music – that it’s guaranteed to sell out quickly.
The Environment series originally began as an archive of previously unreleased recordings but Environment Five features thirteen all new songs recorded in the first half of 2014. It includes appearances from Daniel Pemberton (BAFTA nominated / Ivor Novello winning composer), Raven Bush (Syd Arthur) and Riz Maslen (Neotropic).
Environment Five continues the conceptual journey of the Environment series by The Future Sound of London, but this installment stands apart in several important ways. While earlier releases in the series often drew from the duo’s vast archive of unreleased material, Environment Five presents thirteen entirely new compositions recorded during the first half of 2014. The result feels less like a retrospective and more like a fully formed…
Released on handsome red splatter vinyl for its 45th birthday, the 1981 debut by Edinburgh’s finest has lost none of its ferocity with the passing of time and is as divisive now as it was back then. A vital, hardcore-infused re-statement of the uncompromising principles of 1977 or the retrograde acme of cliched and cartoonish punk? Neither point of view is without its merits.
In 1981, there were plenty of reasons to believe that UK punk was indeed dead. Sid, who was punk, was dead while his former colleague John Lydon was releasing experimental records like The Flowers of Romance. The Clash were making funky pop singles and the Damned goth pop ones; even stalwarts Sham 69 had split after the lamentable The Game. Meanwhile, Wattie Buchan…
For Comet Gain, the 2020s have been a decade of consolidation so far. Their recent output on Tapete is a combination of new material and the wider distribution of their older albums, none of which ever got the fair shake they should have from their contemporary audience. Of those, City Fallen Leaves may be the most crucial in their discography, as it separates and clearly identifies two eras of the band. While prior albums found Comet Gain indulging in equal parts twee melodicism and indie-rock fuzz & scuzz, City Fallen Leaves marks where they began to leave the scuzz behind. Yet, despite cleaning up their act, the band don’t completely abandon the depth that their songwriting always had.
Anyone familiar with later-period Comet Gain…
Laputa, a title taken from the fantastical floating island of Gulliver’s Travels is aptly named as ‘The album that never landed’ for, apart from a limited touchdown in Japan, Laputa was never released.
Laputa‘s obscurity was a prime reason Lo Recordings decided on the Skintone retrospective. Falling as it did between The Boy and the Tree on The Leaf Label and our own debut of Symbol. It was something of an audio crime that the album had never been properly explored and discovered.
…Susumu Yokota makes albums that increasingly worry the boundaries of IDM, ambient and sound collage. Yokota has come at abstract music from the origin of being a house DJ in his native Japan, meaning that his sensibilities are not always aligned with those who balk at the cheesy…
…Tentative Decisions includes the baker’s dozen of 1975-1976 demos (plus one live recording and two tracks from The Artistics, an embryonic version of the band) that was released on one clear vinyl LP and 7″ last November, adding an impressive 32 additional demos (taken from an abortive session to audition for CBS Records) and live cuts from early shows performed as a trio of David Byrne, Chris Frantz and Tina Weymouth.
While Talking Heads were one of the most striking acts to come out of New York’s late ’70s punk scene, Tentative Decisions shows they didn’t start there, offering early versions of single “Psycho Killer” and deep cut “Warning Sign” credited to The Artistics, a group frontman Byrne and drummer Frantz formed with bassist…
In 1971 several dozen African American soul, jazz, and gospel artists embarked on a journey that would change the lives of everyone involved. They traveled from New York City to Ghana, West Africa to take part in a 13-hour concert entitled Soul to Soul. The concert was a celebration of 14 years of Ghana’s independence from British rule. For most of these artists it was their first trip to Africa. For the African American musicians, this was a journey about personal roots, the ancestral homeland, history, discovery, loss, pain and joy.
Directed by Academy AwardⓇ winner Denis Sanders and produced by Tom Mosk & Richard Bock, the concert film/documentary had a limited theatrical run in 1971. It now returns restored with the original edit reconstructing each scene…
All Duke Ellington concerts offered music of substance. Audiences listened patiently through the medleys and Tony Watkins’ vocals. Some performances, however, stood apart because they contained material that was fresh — music not yet worn thin by repetition, where both the thinking and playing could still surprise.
Ellington, Billy Strayhorn, and the orchestra toured Asia (the “Far East”) in 1963. Rather than immediately writing new compositions, they deliberately allowed the impressions of the journey to settle, preferring that the process of transformation occur naturally rather than risk producing a mere pastiche.
Ellington’s “The Far East Suite” (RCA 1966) was eventually recorded over three days, from…
Lee “Scratch” Perry Presents Black Man’s Time: The Jamaican Upsetters Singles 1972 Chapter 1 captures a transformative moment in the career of Lee “Scratch” Perry, a year when his productions begin to fully reflect both his radical studio experimentation and his increasingly outspoken personal vision. Released as part of Doctor Bird’s chronological exploration of Perry’s Jamaican output, this collection shines a focused light on 1972 – a year that quietly reshapes the future of reggae and lays crucial groundwork for what soon becomes known as dub.
By this stage in the early 1970s, Perry is no longer just producing songs; he is reconstructing them. His approach to rhythm grows more skeletal and hypnotic, basslines push further to the front…
The Nakibembe Embaire Group’s self-titled debut album was one of the highlights of 2023. Nyege Nyege Tapes captured the disappearing East African tradition of the embaire, a giant wooden xylophone designed to be played by as many as eight musicians at a time. The instrument can be the social center of a village, placed in a deep pit to amplify what is already a powerful sound.
On its own, the embaire ensemble generates a huge amount of energy. Repeating, overlapping figures are a kind of proto-minimalism, Steve Reich without the precise, bookish glaze.
…The result is their live collaboration with Japanese live-sound engineer Naoyuki Uchida, Phantom Keys. Six men do their thing on the embaire, while Uchida applies his live-dub…
Few artists are as closely tied to the foundation of country music as Willie Nelson. Before the outlaw movement, before the braids and bandanas, Nelson was a Nashville songwriter absorbing the work of Hank Williams, Ernest Tubb, and Merle Travis.
Originally released in 2010 and produced by T Bone Burnett, Country Music is his direct salute to that lineage. It was his first album made entirely of country standards, a tribute to the songs that shaped him before he became a household name.
The current reissue from Craft Recordings and HighTone Records gives the album renewed focus. HighTone’s relaunch has centered on core Americana titles, and this record fits squarely within that tradition. Country Music opens with Nelson’s own 1959 single…
…This anniversary release of the band’s first EP includes three additional tracks: remastered demos of “31 Seasons in the Minor Leagues,” previously titled as “Tonight I’m So Down,” and “Lonesome Valley,” recorded at Echo Park Studios in Indiana during the ‘Hard to Love a Man’ sessions, as well as “One Thin Dime,” recorded during the Black Ram sessions at Sound of Music Recording Studios in Richmond, Virginia.
Let’s begin at the end, with the cover of Warren Zevon’s “Werewolves of London” that closes Magnolia Electric Co.‘s Hard to Love a Man EP. Mike “Slo-Mo” Brenner’s always elegant guitar work makes it clear that the song is probably a barnstormer live, probably saved for the first encore so that the band can cut loose…
A blurry Facebook clip posted by salsa enthusiast Jesús Rojas in December of 2023 captures Venezuelan orchestra El Gran Grupo celebrating their 44th anniversary. Three years later the band is still doing what they love most: Playing salsa.
Born in the neighborhood of Petare — one of the largest shanty towns in Latin America — El Gran Grupo began as a sextet called Los Tigres del Ritmo. Dressed in vests and Oxford pants, rocking afros and thick mustaches, they looked a bit like a rock band. But instead of electric guitars, they wielded congas, güiro, and claves. Though they played mostly local gigs, the group caught the attention of well respected composer Orlando Briceño, who already had at least one record out as a salsa bandleader. Briceño saw…
Bring Out the Foos: Live 1996, released by Rhino Records, opens a raw and revealing window into a pivotal moment in Ween’s evolution. Drawn from previously unreleased archival recordings, the album documents Gene and Dean Ween’s 1996 summer run opening for Foo Fighters during Dave Grohl’s first major tour with his then-new band. It captures Ween at their most stripped-down and unpredictable, operating on instinct, chemistry, and sheer nerve.
Historically, this release matters because it preserves the final documented chapter of Ween performing live as a two-piece. Backed primarily by a DAT machine (with occasional live bass), the duo leans hard into the lo-fi chaos and humor that define their early years.
