House, techno, and garage were respectively invented in Chicago, Detroit, and New York, but the U.K. embraced them and took underground club sounds into the pop charts during the 1980s and ’90s. Burn It Up: The Rise of British Dance Music 1986-1991 explores some of the many developments that took place during the era, from the U.K.’s first attempts at acid house to early rave anthems. Like other Cherry Red anthologies, this one casts a wide net and tries to tell a comprehensive history of its subject, making room for established classics as well as rarities, curiosities, and inclusions that might be kind of a stretch, but hear them out anyway.
The collection starts with Coldcut’s “Beats + Pieces (Mo Bass Remix),” representing…
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In late 1967, the BBC launched Radio 1 as an attempt to fill the void created by the banning of the pirate radio stations that had been beaming pop music into homes around the nation. Leaving the more experimental sounds to John Peel at night, the DJs played a bright and sunny mix of pop music, something that the minds behind Grapefruit’s 2025 collection 
As the name implies, 
Julee Cruise was a remarkable enough talent in her own right that it seems a shame to emphasize her links with David Lynch, but he’s an inescapable presence on this 2-CD set. That’s because 
The 12″ single redefined music and the way we move to it, something that’s celebrated on the fantastic new four-CD collection from Cherry Red Records, 
Kim Wilde released her brilliant and critically acclaimed brand new album 
The blues have been around nearly as long as America has had music to call its own, but it was when the music went electric in the wake of World War II that it began to attract a real audience outside of the Black community, albeit through a circuitous route. By the ’50s, every major American city had clubs where blues artists played for eager audiences, and small record companies made their music available to take home. It was the twin phenomena of rock & roll (initially a new name for blues and R&B tunes good for dancing that were sold to teenagers by radio hosts like Alan Freed and Dewey Phillips) and the obsessive British blues fans who collected the records and formed bands to replicate their sounds that gradually took the blues to a younger pop audience.
British reggae artist 
The grunge explosion that took over the world in the early ’90s exists in iceberg form, with ubiquitously popular bands like Nirvana, Alice in Chains, Soundgarden, and Pearl Jam as the most visible examples of the sound. As with any iceberg, these bands are just what’s most apparent sitting atop a mass of other active and influential but less immediately traceable players. You’re No Big Deal explores the grunge iceberg extensively, collecting over 80 tracks of heavy, ragged, and righteous noise recorded between 1984 and 1994 by some of the most- and least-known acts in and around the grunge movement. The tracks here were curated with help from Mark Arm, whose late-‘80s band Green River starts things off with the crude and metallic “Come On Down.”
Extensive seven-CD box set following the career of English singer-songwriter Thea Gilmore. Covering her recordings from 2008 to 2015.
‘Leftovers (1970-1988)’ compiles the “accidental” Leftovers trilogy of limited edition Record Store Day-exclusive vinyl releases, ‘Leftovers Again?!’, ‘Leftovers Again?! AGAIN?!’, and ‘Leftovers Again?! Again!?! (Again)’ (released between 2021 and 2025) into a two disc pREServed CD collection.
Chameleon: The Very Best of Toyah is the first career-spanning collection to encompass Toyah Willcox’s full recording history.
Andromeda was a psychedelic/progressive rock trio formed by singer-guitarist John Cann (also known as John Du Cann), formerly of the psychedelic garage band the Attack, Mick Hawksworth (bass, vocals), and Ian McClane (drums, vocals). The group performed in various London venues including Middle Earth and the Marquee Club. Cann’s guitar was the dominant instrument, leading listeners through classically based psychedelic and progressive directions and creative dissonances, contributing to the trio’s impressive live sets. Andromeda combined their own original writing with elements appropriated out of familiar classical material. They were signed to RCA in 1969 but before that they’d appeared live on the BBC’s Top Gear program in 1968, and in…
…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).
As the late ’60s rolled unsteadily into the early ’70s, the U.K. music scene was in understandable flux. The last stages of psychedelia were burning out, and musicians were looking for new sounds to fill the void. Some turned to the freedoms of jazz, others looked to the countryside for laid-back vibes, while some rocked up the blues or started heading in the direction of prog. A few intrepid explorers even tried to meld it all together into something new and magical, though most bands just seemed happy to be free of the influence of the Beatles and Carnaby Street.
72-track / 3 CD box set containing four hours of both groove-laden and downright rocking music from the (mostly London) Pub Rock scene’s heyday of the mid ’70s through to the early ’80s. Every track expertly and lovingly remastered by renowned studio wizard Tim Turan.
Unique among the 1960s pop landscape, and facilitated by his own home studio set-up, Joe Meek pursued and expressed a passion for his countless hobbies through his hit records and studio productions. From the legendary ‘I Hear A New World’ sonic landscapes and the Tornados’ global hit ‘Telstar!’ to several successful horror-themed records with Screaming Lord Sutch and his smash hit laments to both Buddy Holly and Eddie Cochran, Meek’s fascinations were never far from his thoughts, often resulting in wildly imaginative and way ahead of their time recordings.
By the summer of 1971, Lee ‘Scratch’ Perry was widely recognised as Jamaica’s most creative music-maker. Since launching his career as an independent producer in 1968, his experimentations with sound and style had resulted in some of the most exciting and popular works to see issue during reggae’s formative years. Now, primarily employing one of the island’s most accomplished band, The Now Generation as his regular session crew, the sound of Perry’s output from the latter half of 1971 contrasted strongly with the more rugged style the epitomised many of his earlier productions.
If the 1970s were when power pop was invented and made into one of the more exciting styles of music around, and even occasionally very popular, the ’80s were when the style permeated the music scene as it split into multiple tendrils of guitar-based pop. Following up on their excellent collection