Damaged Goods is proud to present re-issues of one of thee great collaborations of our times…
Thee Headcoats Sect is the inevitable intersection of two generations of mad-hatted Punk R & B misfits with musical and philosophical lineage that can be traced back over more than 30 years. The Downliners Sect were among the country’s foremost rhythm and blues groups, their most prolific period being the years from 1964 to 1966. As is often the case, they were denied the sort of success they deserved – they were outcasts, too young, too uncouth, and just a tad too eccentric to be accepted by their peers. As the Melody Maker said of their debut album in 1964: ‘forget this one if you want a Happy Christmas, and don’t want to drive all the guests away from your party’.
Category: *editions*
…includes two bonus tracks “Sittin’ Here (Karizma DJs Dub) and “Sittin’ Here (Peacey Remix).
Coming 15 years after he dazzled the world with his jazz-house album Tourist, Ludovic Navarre returned to his St. Germain moniker with this self-titled 2015 effort, the self-titling being a signal that the project was reborn. It is, at least partially, as rare groove jazz has been replaced by music from Mali, West Africa, along with blues and funky jazz guitars from around the world.
In the case of the highlight “Real Blues,” it is a Lightnin’ Hopkins sample that supplies the blues, while Navarre does his usual — and intoxicating — light house shuffle underneath. Many of the cuts here sound like an Amadou & Mariam release that’s constantly segueing into…
Jan Akkerman in a live setting is a beautiful thing to behold, and on his new record, My Focus: Live Under the Rainbow, you can absorb his technical mastery and tone, where it was born to live – on stage.
Live music needs to offer you something that you cannot get on a studio recording. It’s the sense of freedom and intimacy, wondering how the songs will be played and what the reaction will be. Live concerts give you the tingle where the hair stands up on the back of your neck. “Live audiences give you the tension and responsibility to be creative, for me that’s the challenge I like,” says the iconic Dutch guitarist. After all of these years, you ponder what keeps Jan going out there, night after night. “It’s my love to play for people all around…
Old Rock Stars never die, and judging by Lost In Hollywood Again, they never fade away either. A 77 year old Graham Bonnet is testament to that. Recorded in the legendary Whisky A Go Go, on Hollywood’s Sunset Strip, in August last year, Bonnet and band give it their all.
Raw and raucous, you can taste the sweat as it drips from the venue’s ceiling. You can hear every voice in the crowd whooping and hollering as they give it up for each song. Bonnet is clearly welcome here. In reality it’s unvarnished proof of Graham Bonnet’s phenomenal voice. Ok, it’s lost a little of its lustre over the years. But he still climbs the upper slopes and delivers with vigour and indeed, soul. More than that, every note is weighted with a flinty edge of “Look, I’m still here” defiance.
The reissue expands the original 8-track album to 20 tracks in total, including never-before-heard material discovered in White’s personal archives after his death in 2018.
Forty-five years ago, Tony Joe White released an album of what he called “swamp rock” (an amalgam of southern rock, country and blues roots music), and he called it The Real Thang. It was only released on vinyl, it only had eight tracks, and it was not very successful in terms of sales; in fact, it did not gain much attention at all. It was perhaps because White, after some success with well-balanced country blues albums in the ’70s (Homemade Ice Cream, for example), decided to ramp up his songs with a disco beat (that was pretty popular at the time), overlaying…
…features 25 bonus tracks — nine studio rarities and 16 live recordings captured by bootlegger Mike Millard at Pink Floyd’s Los Angeles Sports Arena concert on April 26 1975, now receiving its first official release. The live audio has been restored and remastered by Steven Wilson.
…It’s a considerable trove of audiovisual material chronicling the British band’s Herculean task of following up the commercial success of 1973’s The Dark Side of the Moon, which was in the early stages of a staggering multi-year run on the Billboard charts. After mooting a conceptual piece involving “household objects” (heard on the bonus track “Wine Glasses”), Wish You Were Here largely deals with the numbness of absence. “Welcome to the Machine” and “Have a Cigar”…
By the mid-’60s, European touring had become a routine familiar to many of jazz’s most well-known practitioners. Thelonious Monk was already over two decades into his career when he began to visit Europe in earnest. Europeans were excited to experience Monk and his storied personality, often focusing as much on his appearance and idiosyncratic behavior ahead of the music.
The release of Bremen 1965 finds the legend on his second tour to feature stops in Germany with his seasoned quartet featuring his longtime saxophone foil, Charlie Rouse, along with bassist Larry Gales and drummer Ben Riley. Bremen, Germany was the second stop on the quartet’s world tour, which would include much of Europe, Australia, and Japan. The recording was made on…
Konk If You’re Lonely: Fat White Family live at Konk Studios is the latest instalment in the Domino Documents series, an album featuring Fat White Family’s most incendiary moments recorded live in one day at London’s Konk Studios. The Fat White Family cast has forever been a revolving door of interesting and lively characters, each iteration brilliant in its own right, but they have never sounded better than on the 13 career-spanning tracks that make up Konk If You’re Lonely.
Fresh off the back of the trio of triumphant “Counter-Vortex 360°” shows at London’s Colour Factory in December 2024, the band decamped to Konk Studios to get the set down for posterity’s sake. What emerges is a document of a band at the top of their game, oozing swagger…
Beggars Banquet has opened the archive once again, letting a familiar duststorm roll through the room as Fields of the Nephilim’s Dawnrazor rides again.
The timing feels almost fated: the UK band will soon carry their peculiar strain of Gothic Americana and occultism back into the West for the first time in years, appearing in Houston for Dark Ceremony in April 2026. For a group whose entire aesthetic grew out of Sergio Leone’s Spaghetti Westerns—that widescreen collision of dust, danger, and myth, their return out West lands like a vision completing its long arc. With that rare appearance on the horizon, this remaster sharpens the album’s grain, tension, and frontier grandeur back into present focus.
The remastered 20th-anniversary edition includes the original 16 songs plus five archival bonus tracks, featuring session tracks, rarities, and B-sides, some receiving their first official release.
No dead baby jokes about Pete Doherty‘s so-called shambles; no talk of coke-habits and skin-and-bones supermodel girlfriends (except as back-up vocalists): Down in Albion is the opposite of Up the Bracket, and not just for prepositional reasons. Departing from the Libertines’ work by slowing-down, shaping-up, Down in Albion doesn’t out-do Up the Bracket‘s gritty unruliness (and the less said about the self-titled follow-up the better), but doesn’t flop as self-indulgently/destructively as it could, either.
Doherty appropriates William Blake’s Albion…
…remixed and remastered 10th-anniversary re-release of 2015 album, ‘Compromised’.
Having been around now for 38 years, while he’s never attained the superstar level of early predictions (only his first two albums ever registered in the UK Top 75, peaking at #54 and only three of his 15 studio releases have made the Billboard Top 100), Steve Forbert has maintained a substantial and loyal audience to the point where he can now pretty much record what he likes knowing he’ll have a certain level of sales.
And this sounds very much like he’s doing just that. Reuniting with John Simon, who produced his most successful album, 1979’s Jackrabbit Slim (which made #20), it’s unmistakably Forbert (that voice couldn’t be anyone else) while…
…remastered by Geoff Pesche at Abbey Road.
After breaking through to massive U.K. fame with his 1979 album The Pleasure Principle, and its chart-topping new wave isolationist anthem “Cars,” Gary Numan got darker, more intense, and more solemn on his second proper solo album, 1980’s Telekon. The shifts in his work were happening quickly, with both Replicas (the last of two albums Numan made with his punkier group Tubeway Army) and The Pleasure Principle being released in 1979, and the songs for Telekon being written and recorded by the end of that year, but held back for a release in September of 1980 as not to flood the market. Telekon was, in part, Numan’s response to overnight success, with songs that alluded cryptically to conclusions and…
The new Gillan 7-CD box set offers a comprehensive collection of the band’s work during the years from 1978 to 1982, when they rose to prominence in the New Wave of British Heavy Metal (NWOBHM) scene.
The set includes seven albums from this era, featuring studio recordings, a live album, and a wealth of B-sides and bonus material. The albums featured in this set are as follows: Gillan (The Japanese Album) – Originally released in September 1978, this was the debut of the band formed by Ian Gillan after leaving the Ian Gillan Band. It marked a shift away from jazz fusion to a heavier rock sound. Mr. Universe – Released in 1979, this was a key album that solidified their success, featuring a mix of hard rock and NWOBHM influences.
M83 release new original soundtrack for the science-fiction film Resurrection, the visionary new drama from acclaimed Chinese director Bi Gan. Resurrection premiered in competition at the 2025 Cannes Film Festival on 22 May, where it received the Prix Spécial from the jury. The soundtrack is released on Other Suns.
Written and directed by Bi Gan, Resurrection continues the filmmaker’s reputation for audacious, reality-bending cinema. The film is set in a distant future where humanity has exchanged the ability to dream for the promise of immortality. The film follows Miss Shu (Shu Qi) as she discovers a mysterious, inhuman creature (Jackson Yee) still capable of dreaming. Venturing into its visions-hallucinated, nightmarish, and achingly…
Live at the Bayou showcases some of the earliest live performances from Bad Brains, and pre-dates the band’s 1982 self-titled debut. A snapshot of the band’s burgeoning beginnings, these previously unreleased recordings from 1980 and 1981 recorded at The Bayou in Washington DC, were captured between the band being unofficially “banned in DC” and relocating to NYC – a historically significant time in the band’s career. This is the first non-jazz release by the newly formed Time Traveler Recordings.
Record Store Day habitues have known and loved producer-archivist Zev Feldman for the almost exclusively jazz projects he has drawn out of secret archives for Resonance and other labels focused on that genre. But he’s always sworn he was…
Peals — the Baltimore-based ambient duo comprising William Cashion (Future Islands) and Bruce Willen (Double Dagger) — released the digital reissue of Seltzer, a rarity previously available only as a 2015 limited-edition cassette. Far removed from the high-energy bombast of their primary rock outfits, Peals focuses on intimacy, loops, and texture. Seltzer serves as a time capsule of the duo’s prolific 2013–2014 period, capturing the “fermentation of improvisation” that would eventually lead to their sophomore LP, Honey.
The release is structurally fascinating. While Side B, “Before and After,” acts as a seamless mixtape of home experiments, Side A documents a unique site-specific collaboration with multimedia artist Zoe Friedman inside Baltimore’s…