Category: *editions*


…This edition of ‘Ramshackled’ has been newly remastered from the original master tapes and features the single versions of ‘Ooh Baby (Goin’ to Pieces)’ and ‘One Way Rag’ as two bonus tracks (issued on CD for the first time).
It’s worth remembering that between the release of 1971’s Fragile and 1974’s Relayer, Yes had steadily risen from plucky progressive rock hopefuls to become bona fide superstars, selling millions of albums around the globe and effortlessly filling arenas around North America and Europe.
With relationships souring due to clashing egos and the financial imperative to keep the cash-cow rolling, the idea of enabling every band member to record a solo album could be viewed either as a cunning managerial sleight of hand,…

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…includes 25 never-before-released cues.
When Halloween Kills appeared in the midst of John Carpenter‘s renaissance in the 2010s and 2020s, it was clear that the creative juices between him, his son Cody Carpenter, and godson Daniel Davies were in full flow. As with their soundtrack to Halloween [2018], which kicked off a new trilogy of films in the venerable horror movie franchise, the music for the second installment is classic Carpenter, albeit fuller and richer-sounding than it was on 1978’s original Halloween.
Carpenter and his team find even more ways to reinterpret Halloween’s classic theme, whether piling mountains of synths on it (“Halloween Kills Main Title”), setting it to a four-on-the-floor beat (“Halloween Kills End Titles”), and…

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Gazelle Twin has become a prolific scorer in the past few years; her latest project is written for the Welsh procedural drama Mudtown (Ar y Ffin). Viewing the trailer, one can tell that there’s a great deal of tension in the show; suffice it to say that the producers hired the right person for the job.
The title track, which we assume is played over the opening credits, is awash in bell-toned percussion, innocent at first, then savaged by a deep electronic drone. One can already sense the ways in which the plot may turn. Many of the pieces here are similarly short, but contain some segment of inner transition, refusing to be incidental music.
“Take the Hit” is the first piece to launch right into the listener. The drums are hard and harsh, the implication that something mean is…

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Bruce Springsteen began headlining arenas in the northeast as far back as October 1976 when he gigged two nights at the Spectrum in Philadelphia. He returned there for four concerts on the Darkness tour, and hit Madison Square Garden and Nassau Coliseum, too, then yet again in late 1980 on the River tour along with various regional Gardens and Civic Centers.
However, Springsteen wouldn’t play an arena show in his home state of New Jersey until July 1981 because, until then it didn’t have one. When the Brendan Byrne Arena opened in East Rutherford, Bruce and the E Street Band christened the future home of the Nets and Devils with a sold-out, six-show stand.
The new building already made this summer…

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Samia…includes three discs consisting of the original album, live tracks from Samia’s NPR Tiny Desk Concert, the band version of “Is There Something in the Movies?” and tracks from her cover/remix album project titled ‘The Baby Reimagined’.
A native New Yorker and daughter of professional performers, Samia Finnerty had acted off-Broadway and appeared on prime-time TV by the time she released her first angsty guitar and piano songs as a 20-year-old in 2017. After rising through the touring ranks with opening slots for the likes of Cold War Kids and Soccer Mommy on the strength of early songs, Samia makes her full-length and Grand Jury label debut with The Baby.
Recorded with a trio of producers, including members of Hippo Campus, the album…

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… includes three previously unreleased covers, including her take on Otis Redding’s ‘The Happy Song (Dum Dum)’, recorded during the original sessions.
The second solo long-player from the Canadian folk-pop songstress and former Be Good Tanya, Indian Ocean finds Frazey Ford enlisting the help of the legendary Hi Rhythm Section, who were Al Green’s not-so-secret weapons and the prime architects of the Memphis soul sound during the Stax era, and kicking out a warm, breezy, and not surprisingly soulful set of R&B-kissed country-pop confections that sound as timeless as they do of a particular era. Falling somewhere between Cat Power, Carole King, and Linda Ronstadt, Ford’s sophomore outing dials back on…

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Remastered by Mark Beazley.
Multi-talented producer Susumu Yokota returns to the ambient realm with the beautiful and diverse Sakura. When he indulges his fondness for pop hooks with his dancefloor material, Yokota’s melodic choices are glossy and extroverted, but his music for home listening is focused, controlled, and deeply internal. His knack for blending traditional instruments like guitar and piano with simple electronics harks back to ambient music’s birth in the mid-’70s; at times Sakura recalls the work of pioneers like Brian Eno, Cluster, and Manuel Göttsching. The icy “Saku” sets the meditative tone on Sakura, with gentle, winding guitar lines, relaxed synthesizer oscillations, and plenty of breathing space for the minimal…

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Craft Recordings commemorates the 60th anniversary of Joan Baez’s bestselling sixth studio album, Farewell, Angelina, with its first wide vinyl reissue in nearly four decades. A pivotal release in Baez’s catalog, the album blends traditional folk standards with contemporary covers, marking a notable stylistic evolution-including the singer-songwriter’s first use of electric guitar.
Set for release on October 3rd, Farewell, Angelina returns with all-analog mastering by Kevin Gray at Cohearent Audio and is pressed on 180-gram vinyl (via Fidelity Record Pressing). An old-school style tip-on jacket, meanwhile, replicates the LP’s original cover. Singer, songwriter and activist Joan Baez (b.1941) is one of modern music’s most influential and enduring voices…

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2025 remaster
Opting not to fix what broke them, You Could Have It So Much Better serves up more of the stylish, angular sound that worked so well on Franz Ferdinand’s debut. After years of rehearsing in abandoned Glasgow warehouses and playing in relatively obscure groups like the Yummy Fur, it’s perfectly understandable why the band chose not to mess with a good thing — and why they chose to follow up the breakthrough success of Franz Ferdinand so quickly. But, after a year and a half of near-instant acclaim and constant touring, Franz Ferdinand return with songs that just aren’t as consistently good as the album that made them so successful in the first place. A lot of You Could Have It So Much Better feels like…

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…The new edition has been fully remastered and includes unreleased live tracks, plus the lost single ‘Don’t Leave Me Alone’.
Supergrass have a hard time coming down from their musical highs. Every time they release a giddy, irresistible pop album, they repent on the next record, crafting a moodier response. This happened with their 1995 debut, I Should Coco, which engendered two hangover records: the sprawling, ambitious, yet thrilling In It for the Money and its hazy, unfocused 1999 Supergrass, which, despite the instant glitter classic “Pumping on Your Stereo,” was so scattered it sounded as if the guys weren’t sure if they wanted to be a band at all anymore. They sprung back with 2002’s Life on Other Planets, a truly wonderful pop album…

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…feature a remastered edition of ‘Z’, plus 14 key outtakes, previously unreleased songs and demos.
In 2004, a dreamy cover of “Rocket Man” concluded My Morning Jacket‘s first volume of rarities. Which was prescient, because it’s Elton John that Jim James’ songs for 2005’s Z first bring to mind. From the wistful recollection of “Goodbye Yellow Brick Road” to Honky Chateau’s melodic and genre explorations, John’s ability to mesh styles and take detours within his sturdy pop songwriting applies to James here, particularly in the expansive opener, “Wordless Chorus,” or the initial happy-go-lucky lilt of “Off the Record.”
Z is My Morning Jacket’s fourth full-length (and second for ATO), and it’s the one that might finally jump-start the reaction that James’…

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…The British rock icons offer a slightly expanded edition of 1995’s (What’s the Story) Morning Glory?, pairing a 2014 remaster of the album (which initially came with additional bonus material) with a bonus EP of new unplugged mixes of four of the album’s tracks (plus a non-album B-side, “Acquiesce.” The group’s songwriter/guitarist Noel Gallagher and Callum Marinho built these new versions from the original multitrack recordings in Noel’s London studio.
After the much-hyped blockbuster Definitely Maybe (1994) established the Manchester band (led by the volatile brothers Noel and vocalist Liam Gallagher) as England’s hottest new rock outfit, Oasis sought to go even bigger with Morning Glory, swinging for the fences with their songcraft…

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Expanded reissue of the 1988 EP Hammer now includes a newly compiled “Echo” side of lost recordings. Out on vinyl, CD and digital with liner notes by Tom Cheek, and rare archival material. In 1988, Athens, Georgia’s Kilkenny Cats released Hammer, a fierce and atmospheric EP that captured the moody heart of the late-’80s Southern underground. More than three decades later, this cult classic returns in expanded form as Hammer + Echo. Remastered and featuring unreleased recordings, unseen photos, and liner notes that reframe the story of a band that never quite fit the mold. Out September on Propeller Sound Recordings, Hammer + Echo includes the original six-track Hammer EP one side, remastered from the original tapes, and a newly assembled…

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This album is the full award-winning Edinburgh Fringe live show recorded at the Jazz Bar. Running to almost an hour, it includes all the chat and banter and all the jokes. The other CD and the LP focus on the music with a couple of bootlegs involved, but this is the core live show.
58 Fordwych Road (Flat 5) was the home of Roy and Mocy Harper in swingin’ 60s London. It was an open house for many a waif and stray and a hang out for budding musicians of the day. They would come round and play games and swap songs and spliffs. What they learnt from each other – at the start of their own voyages of discovery – led to so many treasures. When I think about this I realise that for such a humble little two room home, it had an outsize impact on the music scene in London…

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Over the past decade, European archival label Flee has been unearthing some of the globe’s most distinctive sounds. Reissuing out-of-print rarities along with new interpretations from contemporary artists, their albums have included 2017’s exploration of Kenyan Benga music, a 2021 recording of the oral traditions of Gulf pearl divers and most recently a catalogue of Greek orthodox singing from the monastery on Mount Athos. Their latest edition is equally specific, delving into both archival and new French-language Creole music from Louisiana.
Influenced by the birth of jazz in New Orleans, as well as early blues, rock’n’roll and French colonial legacy, this largely African American folk music of the 1950s to the 1980s veers from…

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“Forest and the Shore” by Keith Christmas is remarkable. In his essay for Gather in the Mushrooms, compiler, author and Saint Etienne member Bob Stanley says it is “as evocative as its title. The song has a deeply wooded sound, like a cross between Serge Gainsbourg’s “Ballade de Melody Nelson” and Ralph Vaughan Williams.” To this can be added the brooding, dramatic melancholy of Scott Walker’s “The Seventh Seal.”
Despite the grandeur of “Forest and the Shore” – and the astounding Richard Thompson-esque, Tom Verlaine-predicting guitar solo taking it to its close – Gather in the Mushrooms: The British Folk Underground 1969-1975 is ostensibly an 18-track collection of British folk recordings. Or, more accurately, folk-rooted or…

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