A landmark recording in British modern jazz. The 50th anniversary of Kaleidoscope of Rainbows by Neil Ardley. Newly remastered with new liner notes by Sid Smith.
This marvellous work completed a trilogy of works composed by Neil Ardley that had begun with The Greek Variations and continued with A Symphony Of Amaranths, works which were based on a sequence of notes that provided the basis for composition and improvisation.
Originally released in 1976, Kaleidoscope Of Rainbows was a series of pieces based on the five note scale of Balinese Gamelan music. The recording sessions featured contributions from such luminaries as Ian Carr (Nucleus), Paul Buckmaster, Barbara Thompson…
Category: remastered
…In addition to a new remaster of the original album, this edition includes 13 previously unissued bonus tracks including demos, alternate takes, and outtakes from the album sessions.
After The Beau Brummels dissolved in 1968 following their swan song, Bradley’s Barn, it was doubtful that we’d ever hear from the band again, despite their individual and collective brilliance. The group did somehow reunite in 1975, however, for this fine and somewhat understated album. The band’s weaving of folk, country, and pop stylings hadn’t really changed that much from their prime in the mid- to late ’60s.
Ron Elliot has several superb songs on here, notably “Tennessee Walker” and the excellent album closer, “Today by Day,” which is sung by…
By 1977, Tony Rice had already established a distinct voice within bluegrass. His guitar playing-precise, fluid, and rhythmically grounded-drew from the tradition while introducing a broader musical vocabulary. His self-titled third album arrived at a moment when that approach was beginning to take clearer shape.
Originally released in 1977, Tony Rice brought together a group of musicians working at a similar edge of the genre. Featuring collaborators including David Grisman, J.D. Crowe, and Jerry Douglas, the album moves between traditional material and contemporary compositions, balancing established forms with a more open, ensemble-driven sound. The album returns June 5, 2026, newly remastered from the original tapes.
One of the more enigmatic bands of the classic 4AD era, Swallow was formed by Louise Trehy and Mike Mason, who met in early 90’s Camberwell, London. both were deeply involved with the independent music scene of the time; Louise co-founded Setanta Records (home of The Divine Comedy, Edwyn Collins and Into Paradise with whom Mike would occasionally play), and Mike traversed between bike courier, video director, and lighting designer for Spacemen 3, Slowdive, Spiritualized, Curve and Chapterhouse. Prompted by Louise, they started writing songs together, drawing inspiration from a healthy mix of sources: CAN, noise, post-punk, and American forces of nature like Captain Beefheart and Butthole Surfers. Their first songs quickly surfaced and were recorded…
Thirst, originally released in 1981 is a stone-cold post-punk classic. While still retaining the sharp experimental edge of their debut, White Souls in Black Suits, Thirst stretches out and offers up some cleaner and more hooky moments as it moves away from pure improvisation. “Between White Souls and Thirst, the guitarist changed from David Hammond to Paul Widger,” explains Newton. “David introduced the perfect guitar sound for DVA, whereas Paul brought in a more rhythmic style more towards early Ry Cooder. The material we were developing was a more defined series of pieces, more structured and exact than the improvised works on White Souls.”
45 years on from its original release (on Fetish), it’s a record from the era that sounds like no other.
Black Editions presents the expanded and definitive edition of White Heaven’s brilliant third album Next to Nothing. Originally released in 1994 by Tokyo’s Noon Disk, the full album was only ever available in a limited vinyl pressing of 250 copies. Since then, it has become one of the most sought after artifacts of the 90’s Japanese underground and is regarded as a highpoint of Japanese psychedelic rock. Led by vocalist, songwriter and conceptualist You Ishihara, the album finds the group in a phase of refinement. Taking a more intricate and open approach, the music is buoyant and light yet at the same time, nocturnal and introspective. Next to Nothing marks the first time guitarists Michio Kurihara and Soichiro Nakamura appear together on record after having separate turns as lead…
…a freshly refurbished and expanded treatment of 2005’s ‘Tommyland: The Ride’, Tommy Lee’s second solo album after his short-lived side project Methods of Mayhem. ‘Tommyland Rides Again’ also introduce a brand-new bonus track, “Stupid World (feat. Chad Tepper).
Released in conjunction with his book of the same name, as well as his new reality television series Tommy Lee Goes to College, Tommyland: The Ride is the Mötley Crüe drummer’s second foray — not including Methods of Mayhem — into faux-solo land. Tommy Lee lends his name, drums, and some vocals to 12 rockers, power ballads, summer anthems, and emo-drenched exercises in futility that employ the voices and guitar playing of pretty much anybody available.
The soulful Philly jazz spirit resonates through all of the Visitors’ fourth and final album, 1976’s Motherland. Led by brothers Earl Grubbs (soprano and tenor saxophone) and Carl Grubbs (alto saxophone), the Visitors emerged in their native Philadelphia in the late ’60s, drawing inspiration from John Coltrane, whom they met while he was married to their cousin Juanita “Naima” Grubbs. Signed to Muse, they released four albums that showcased their vibrant saxophone interplay and featured other luminaries, including at various times, Kenny Barron, Buster Williams, Albert “Tootie” Heath, and Stanley Clarke. Produced by Michael Cuscuna, Motherland finds them leading a group with pianist Joe Bonner, bassist John Lee, and drummer Victor Lewis.
Some albums outlive their era, carrying their magic from one generation to the next. The Jerry Garcia Family and Round Records celebrate the 50th anniversary of Reflections, “one of Garcia’s most artistically unified statements of harmony, affirmation, and joy,” with an expanded 3xLP set for Record Store Day on April, 2026. Reflections (50th Anniversary Edition) presents the remastered original studio album – famously described as “really two half-albums in one” – recorded with the Grateful Dead and Jerry Garcia Band, and includes two bonus LPs featuring studio outtakes, jams, and four previously unreleased live recordings.
Originally released in early 1976, Garcia reflected that much of the album’s energy “is really a continuation of…
Released at a pivotal moment in their career, Tensongs remains one of the most fascinating chapters in the catalog of Hubert Kah. Arriving in 1986, the album marked the band’s full transition into English-language material, an ambitious attempt to carry the success of the Neue Deutsche Welle movement into the broader international synthpop market. Forty years later, Tensongs stands not only as a time capsule of mid-80s electronic pop, but also as an underrated artistic reinvention.
Produced by Michael Cretu and Armand Volker, the album wrapped Hubert Kah’s melancholic songwriting in sleek, atmospheric production that clearly aimed beyond Germany’s borders. The influence of sophisticated…
Country boy-in-the-Big Apple, Arthur Russell does folk fusion with his own, peerless verve on a remastered edition of his evergreen 2008 retrospective.
One of the most fascinating, multifaceted, greatest artists of the late C.20th, Arthur Russell is variously known as a disco auteur, virtuoso avant-pop cellist-composer, and bard of the highest order, but maybe less so as a country crooner. Compiled and issued in 2008, Love Is Overtaking Me most ideally framed this lesser-covered aspect of his work with 21 songs recorded under his own name and as part of The Flying Hearts (with Peter Zummo, Rhys Chatham, Jon Gibson, a.o.), plus in duo with Steven Hall as Turbo Sporty, The Flying Hearts, and Bright & Early.
Ain’t nothin’ like it. Full blast and top down. Less than six years after changing the music landscape with its diamond-platinum-certified self-titled debut, Van Halen repeated the creative and commercial feats. Featuring groundbreaking performances, infectious chemistry, and four enormous singles, 1984 witnesses the band incorporating synthesizer elements that guitarist Eddie Van Halen had been championing — as well as seamlessly bridging pop and metal sensibilities into a cohesive melodic whole. A landmark that’s never aged a day, 1984 feels as fresh, fun, and innovative as it did in the Reagan Era.
Sourced from the original analog tapes and housed in mini-LP-style gatefold packaging, Mobile Fidelity’s numbered-edition…
Seelie Court – the world’s premier label for rare and previously unreleased archive recordings of underground folk, rock, proto-metal, and psychedelic music presents Too Many Late Nights.
Showcasing The Great Crash’s more experimental and progressive side, these studio sessions emphasise long-form, intelligent art rock compositions, pairing shifting structures with witty, 10CC-like subject matter and a distinctly British sense of irony.
The material impressed John Peel, leading to a BBC Peel Session and placing The Great Crash among the more adventurous voices of the early-1970s UK underground. Formed around the songwriting of drummer and lyricist Piers Geddes, the group blended piano-led…
Looking back on her career in the early 90s, Stevie Nicks described the first track of Rock a Little as “the most exciting song that I had ever heard.” This coming from a superstar who was already closely affiliated with several bajillion-selling Fleetwood Mac albums – to say nothing of her own benchmark solo debut. Her remarks attest to the enthusiasm and effort she invested in her third record, a 1985 work that quickly furthered Nicks’ profile and cemented itself as a piece of 80s pop lore.
Mastered at MoFi’s California studio, strictly limited to 3,000 numbered copies, and housed in mini-LP-style gatefold packaging, Mobile Fidelity’s hybrid SACD presents Rock a Little in audiophile sound for its 40th anniversary. Helmed by a cadre of producers and engineers, and recorded…
Eleventh Dream Day created a monster of an album where ferocious guitar rock collided with ramshackle cowpunk, neatly held together by the irresistible vocal harmonies of Rick Rizzo and Janet Beveridge Bean – think John Doe and Exene Cervenka of X. There’s a blistering, untamed energy hovering over Lived to Tell, perfectly exemplified by one of several standouts, “It’s Not My World.
Lived to Tell, the middle record of Eleventh Dream Day’s three album run with Atlantic Records, is back in business! While critically acclaimed at the time of its 1991 release, the band was never satisfied with the mastered sound of the original record. This new issue of Lived to Tell, which will also be coming out on vinyl later this year, is remastered by Carl Saff from the original DAT archives…
There’s a reason Greg Lake deemed Trilogy “such an accurate record” when looking back at it decades later. Emerson, Lake & Palmer’s third studio album teems with exacting arrangements, copious overdubs, and multi-hued colors that showcase the band’s willingness to experiment and desire to put everything in its proper place without becoming too self-serious. Expanding by distilling the ferocious power of its debut and epic leanings of the preceding Tarkus into a more accessible whole, Trilogy stands as the most representative example of the ensemble’s trademark styles.
Mastered at MoFi’s California studio and housed in a mini-LP-type gatefold sleeve, Mobile Fidelity’s numbered-edition hybrid SACD of Trilogy presents the gold-certified effort in audiophile sound.
Founded in 1961 by George Kooymans and Rinus Gerritsen, Dutch rock band Golden Earring (or Golden Earrings, until 1969) started off as a beat band, experimented as a psychedelic quartet and finally became a heavy rock group. Their ninth album Moontan (1973) – including their classic track Radar Love – hit the international album charts and is the band’s most successful album in the United States, being the only Golden Earring album to be certified Gold by the RIAA.
Golden Earring is the sixth, self-titled album that is also known as ‘Wall Of Dolls’ because of the cover photo. The record, released in September 1970, marks the debut of drummer Cesar Zuiderwijk with Golden Earring and is the first in a series of progressively oriented…
Keith Forsey is often remembered for writing Don’t You (Forget About Me) for Simple Minds, and – ironically – for little else. That hit song from a memorable 1985 movie (The Breakfast Club) is by no means something you’d want others to forget, and yet there are many other blockbuster moments of note in a blistering career.
Survey the producer, songwriter and drummer’s many credits – running into several thousand contributions over half a century – and you will discover a Zelig-like figure who was present and often instrumental in the creation of assorted epoch-defining music. If his name is rarely mentioned, then you suspect he likes it that way.
You’ll not find interviews with him should you go searching on the internet.
Continuing the acclaimed series of UFO reissues, The Wild, The Willing & The Innocent returns in a stunning 2026 remastered deluxe edition.
Originally released in 1981, this pivotal album captures the band at a creative high point, blending soaring melodies, powerful performances, and Phil Mogg’s unmistakable voice.
Newly remastered from the original tape transfers, the album now sounds more dynamic and detailed than ever, reaffirming its place as one of UFO’s most accomplished works.
This deluxe edition also includes a brand-new mix of the previously unreleased Live at the Hammersmith Odeon, recorded on 29th January 1981, by Brian Kehew, offering an electrifying snapshot of UFO’s energy on stage.
Deluxe double LP reissue of The Head And The Heart’s debut album. Featuring the original album remastered on the first LP, plus seven bonus tracks on the second LP. The bonus tracks are a combination of previously unreleased demos and live tracks, plus one live track available for the first time physically, and one previously unreleased studio track. The Head and the Heart is the self-titled debut album from Seattle folk-rock band The Head and the Heart, originally self-released in 2010 before being picked up and re-issued by Sub Pop in 2011. Built around harmonious vocals, piano, violin, and folk-rock instrumentation, the album captures themes of connection, wanderlust, and introspection across tracks like “Lost in My Mind,” “Down in the Valley,” and “Rivers and Roads.”