Archive for the ‘CLASSIC ALBUMS’ Category

BULLY – ” Kills to Be Resistant “

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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The 12 new songs on Losing feel like perfect anthems for a generation still learning to harness the power of resistance. With a vocal style that is as pretty as it is powerful, and emotionally resonant lyrics, Alicia channels the loss of innocence and reveals a raw honesty in songs that are distinctly hers. I love Bully the way I love Sebadoh, Dinosaur Jr and the Breeders.  A good reason to be with Sub Pop, who have always been associated with this type of music . Alicia says I feel like all my best work has been born of heartbreak and upheaval; maybe most musicians feel that way. “The title of the record – Losing – kind of says it all,” Alicia says. “After being on the road so long and coming back to Nashville we all had a lot of changes going on in our personal lives that we were trying to deal with / adjust to and that was really the motivation for this one.

“‘Cause what I want with you is none of your business,” Alicia Bognanno sings in a soft bedroom voice, layered above a repeating and driven guitar riff in the opening verse of “Kills to Be Resistant.”

This release off of Bully’s sophomore album, Losing, is not hard to identify with. The drums in this song lay down a foundation, perfectly mirroring Bognanno as she ebbs between gentle verses tip-toeing around the topic, and choruses riddled with gravel, grit and the pain that comes with accepting circumstances as they are. With just drums and bass to hold the words, Bognanno confesses, “When I’m alone, I stare at your picture,” a habit with which most of us are all too familiar. When the guitar riff comes back in for the bridge, it’s an embodiment of that cyclical, anxious thought process that’s attached to facing an end to or a shift in a relationship.

“It won’t stop / Do you feel nothing?” she asks in the chorus leading into an outro that matches the built-up frustration in the lyrics with dissonant chords and skillfully-played drum fills.

This is all anyone could have hoped for when anticipating new music from Bully. The sound is full, but nowhere near overly-complicated. Every necessary element is there, coming together to sound so effortless and raw. The only thing more to ask for is a ticket to a live performance.

Lately Alicia has been lending her voice as an advocate for gun control, women’s rights and speaking out in support of animal rights.

ULRIKA SPACEK – ” Silvertonic “

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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Ulrika Spacek released their second album, Modern English Decoration. Much like their debut album released in early 2016, the band chose to record, produce and mix the entirety of the record in their shared house – a former art gallery called ‘KEN’, so named because of a cryptic inscription found above the front door. The relatively short amount of time between their first and second albums is testament to the band’s self-contained creative environment and the productivity it encourages. There’s a tendency to label this degree of self-reliant creativity ‘DIY’ – and the band do certainly feel emboldened by that ethos – yet to consider Modern English Decoration solely in these terms is a disservice.

Their craft is considered and purposeful, the means of its production reflecting the band’s overall vision  “We enjoy listening to music through the album format and want our records to reflect that”, says Rhys Edwards (guitars, vocals, synthesiser). Ulrika Spacek formed in Berlin in one night, when 14-year-long friends Rhys Edwards and Rhys Williams conceptualised ‘Ulrika Spacek’ and came up with The Album Paranoia as their debut album title. Moving back to London with the intention to record it, they were joined by Joseph Stone (guitars, organ, synths, violin), Ben White (bass) and Callum Brown (drums, percussion), ossifying into the five-piece they are now.

The album was released soon after with little forewarning and was accompanied by a year long, near-monthly club night called Oysterland. Given the lyrics often favour abstraction and the vocals can be more impressionistic than declarative, the album title itself offers perhaps the most telling entry point to the record. With three guitarists in the band guitars were always going to be central to the music, but what is less expected is the dynamic interplay between the trio that suggests a three-headed version of the Verlaine-Lloyd axis at the heart of Television. What’s more, the absence of reverb is integral, in part attributable to the ambience of the studio, but also a conscious decision in order to add focus. And focus is the abiding term: this is an album designed to be just so – a 45 minute commitment, a surrender.

Taken from the album, Modern English Decoration

The SEEDS – ” A Web Of Sound ” Reissue Originally Released in October 1966

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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Big Beat’s second instalment in its much-anticipated upgrade of the catalogue of garage legends the Seeds continues with their second album, “A Web of Sound”, released in October 1966 just as their classic Pushin’ Too Hard 45 began to ascend the US hit parade. Written and recorded during the band’s residencies at Hollywood’s underground haven bido litos, alongside Love and the embryonic Doors in the summer of 1966, A Web of Sound showcased a more mature, developing Seeds sound. The record became notorious for the 14-minute showstopper Up In Her Room, but it also includes some of the group’s signature tunes including Mr Farmer, Tripmaker and A Faded Picture.

2CD – The bulk of the contents of this deluxe two-disc set are new to compact disc, including the original stereo mix, which has not been available since the 1960s. Also featured is the album’s mono incarnation, as well as an unused mono mix of the stop-gap 1967 lp A Full Spoon of Seedy Blues, made in late 1966. A selection of previously unreleased outtakes rounds out the package. As with all Big Beat’s Seeds reissues, A Web of Sound comes as a trifold Digipak with extensive illustrations and fresh commentary from assorted participants on both its contents and the career of these garage rock avatars.

2LP – This definitive 2LP edition features the original stereo mix of A Web Of Sound, unavailable on vinyl since the 1960s. The accompanying bonus album of rarities includes mono mixes and outtakes, such as the cryptic early demo of The Wind Blows Your Hair, with its mildly controversial original lyric. Most are new to vinyl and one cut, an alternate take of Rollin’ Machine, is completely unreleased. As before, the deluxe A Web Of Sound comes in a handsome tip-on style Gatefold sleeve, faithfully reproducing the record’s iconic original artwork. The extensively illustrated eight-page insert features detailed liner notes from compiler Alec Palao on the making of this psych-garage classic.

CAR SEAT HEADREST – ” My Boy (Twin Fantasy) “

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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Car Seat Headrest has unveiled the final single before the release of his new album Twin Fantasy, which is out on the 16th February on Matador Records.

This time it is the album opener My Boy (Twin Fantasy), which kicks off with a sparse, plaintive declaration of “my boy, we don’t see each other much”, and blossoms into a towering sonic climax, with the mantra of “It’ll take some time, but somewhere down the line / We won’t be alone”.

It is our favourite so far from the reimagined version of his album originally released in 2011.

VARIOUS ARTISTS – ” Popkiss TBTCI meets Sarah Records “

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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In this crazy and aggressive world in which we live today, we necessary need more and more love, a little love, love for life, love for people, love, simply love.

And with this feeling that TBTCI and all the wonderful bands present in this project, honor first, the superb and seminal record labeel, Sarah Records, and all the wonderful bands that were part of the cast and its history, bands that live in our heart!

And second, we all want to spread love from the beginning of this new year until the last second of 2018.
Do yourself a favor, love, love without limits !!! . My special thanks to all the bands present on this project and of course all the cool bands that were honored, and obviously thank you Sarah Records.

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RON GALLO – ” Really Nice Guys ” Documentary

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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A documentary film about Ron Gallo, and the creation of ‘Really Nice Guys.’ The new EP is available

Starring: Ron Gallo as “Ron” Dylan Sevey as “Dylan” Joe Bisirri as “Joe” Thank you to the supporting cast: Coco Reilly, Alex Collier, Chris Sunday, New West Records staff, The East Nashville Steak Ramblers, Liz Cooper, William Lee, Dominic Billett, Caroline Bowman.

Really Nice Guys is a concept mini album by Thyme Magazine’s ‘Man Of The Year’, Ron Gallo. The release is another thought provoking and inspired instalment, extending an already prolific calendar year by Gallo which saw the release of the critically acclaimed full length album Heavy Meta, as well as the 7” singles, Temporary Slave and Sorry Not Everybody Is You. Really Nice Guys finds Gallo exploring new sonic frontiers and instrumentation in the form of what might be called a conceptual art piece. Whatever you call it is wholly original and Gallo continues to melt faces and free minds. For fans of Parquet Courts, Ty Segall, Courtney Barnett, Mac Demarco etc.

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DARLINGSIDE – ” Audiotree Live Session “

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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Darlingside is a Massachusetts-based ensemble gearing up to release their sophomore album Extralife on February 23rd. In this group, there is no lead singer, but a complete blending of all four voices, sharing lyrics that were written as a “group stream of consciousness.” We can feel the collective heart of the group in this song as they reflect on the past, all while so gracefully moving forward.

HOOKWORMS – ” Microshift ” Best Albums Of 2018

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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It was  just like being in a disaster movie.” That’s how Hookworms singer Matthew “MJ” Johnson remembers Boxing Day in 2015, when the river Aire burst its banks, engulfing the band’s studio and rehearsal space. He was having lunch at his parents’ house several miles away at the time. The moment he heard the emergency flood alert, Johnson abandoned the meal and drove through rising water to the studio, which was soon five feet under. “The electricity was off and there was an eerie calm,” he says. “It was genuinely scary. I’ve got strong legs through cycling but I kept getting knocked over.”

Because the building, in the Kirkstall area of Leeds, was on a flood plain, he’d been unable to get insurance (even though the last flood had occurred in 1866). By the time he went back two days later to assess the damage, the waters had taken his car, much of the band’s back catalogue, their new recordings and – since he ran the place as a commercial studio – his livelihood. “I looked around,” he says, “and there was nothing left.”

Two years on, the studio has been rebuilt, courtesy of crowdfunding, friends and other bands who rallied round. Hookworms have now poured their frustrations into Microshift, a glorious, electronic-psychedelic third album with motorik grooves and euphoric choruses. After two previous albums of brain-scrambling, fuzzy psych-rock, it is being widely heralded as a triumph. The Guardian called it “their most accessible work and their most intense”, while the Times, in another five-star review, hailed it as “an instant classic” comparable to such benchmarks as the Jesus and Mary Chain’s Psychocandy and Spiritualized’s Ladies and Gentlemen We Are Floating in Space.

Not that the down-to-earth quintet are getting carried away. “The album got three stars in Crack magazine,” laughs Matthew “MB” Benn, the band’s synth player (an audiologist by day). They’ve learned to not take anything for granted. Microshift has a hymnal, giddy energy, akin to the ecstasy that can follow agony, which feels very appropriate – because floods aren’t all they’ve had to deal with.

“So much has gone on that I think there is a Hookworms curse,” says Benn. “We’d had such a terrible few years. So we wanted the music to be upbeat, uplifting.”

When the group formed amid the bustling Leeds DIY scene in 2009, lady luck initially smiled. The Brudenell Social Club booked Hookworms to support Wooden Shjips before they’d even heard a note. Then Alex Turner of Arctic Monkeys started saying how much he liked Wooden Shjips. “So,” recalls Benn, “we played our first ever gig to a sold-out venue.”

Almost immediately afterwards, things started going wrong. Equipment was lost or malfunctioned, cars broke down, the band’s bank account was defrauded and a former booking agent sent them an abusive letter declaring: “You will never be successful.” Incredibly, Johnson’s first studio – a place in Armley he rented after quitting his office job to chase a childhood dream – also flooded. “The roof collapsed,” he says. “And it turned out the landlord hadn’t told anyone I was there, because the building had already been declared uninhabitable.”

None of this stopped Hookworms becoming the most promising Leeds band since the heady days of Kaiser Chiefs. But when their 2013 debut, Pearl Mystic, was acclaimed as a masterpiece, Johnson was horrified, having fully expected to end up with hundreds of unsold copies under his bed. “I had impostor syndrome,” he says. “If we were making perfect records, where could we go from there? And I didn’t think it was perfect.”

The frontman has battled “chronic depression” since his teens and was thoroughly unprepared when a comment in a press release he hadn’t expected many people to read (about a “half-hearted suicide attempt”) went viral. All he will say about the incident now is that it was “a cry for help”. Deep down, he says, “all my songs are about mental health”.

After rushing their second album, 2014’s The Hum, the band resolved to take their time with the third, spending the label advance on electronics to take their sound in a new direction. But during recording, the sound engineer – a close friend – died. He had loved their track Negative Space, having heard it in its early stages on one of the last occasions they were together. It is now Microshift’s surging opening song – and all about him. It hinges on the euphoric line: “I always see you when I’m down.” Says Johnson: “Soon after he died, I was in the supermarket and saw him. Then you realise it’s not that person.”

Ullswater, a frenzied electro shimmer of a track, refers to the Lake District beauty spot where Johnson’s father used to take him before he developed Alzheimer’s. “My dad was – is – into poetry,” he says. “When I was very young, he introduced me to Dylan Thomas, Sylvia Plath and then Neil Young. A lot of those things went on to really shape my life, so it was important to get the lyrics right. Alzheimer’s is talked of with shame, in the way cancer was in the 1960s. But that absolutely needs to change, because it’s going to affect so many of us.”

Other songs on Microshift address male anxiety, body image and – on Opener – toxic masculinity. Given its subject matter, why does Opener sound so joyous? “I’m arguing that it’s OK for males to admit to failings. Even now, there’s still this notion that the man is the breadwinner – this 1950s, 60s culture that I find really weird.”

These are refreshing subjects for pop, but Johnson is keen to let it be known he despises the notion of the tortured artist: he says he writes some of his best songs when he’s happy. “There’s a certain type of man who reads Bukowski and wants bad things to happen to him so he can write terrible, deep lyrics. Personally, I’d rather be totally sane and stable and never have made any music than be depressed and make music that people like.”

The band members have yet to give up their day jobs, and feel grounded by their employment (pub work, teaching, Citizens Advice). Nor do they have a manager. Benn has taken over the role, answering emails and booking hotels. “We were being ripped off by promoters,” he says. “I was naive. It’s been a steep learning curve.” He’s not the only one doubling up: bassist Johnny “JW” Wilkinson looks after graphic design, while guitarist Sam “SS” Shjipstone keeps the books.

It’s rare to see a pop act have such a disregard for careerism, but Johnson points out that making records at their own pace – without management or label pressure – means they can carry on for as long as they want. “I never want to have to do gigs all month to pay the rent,” he says. “We can make a record like Microshift – but then our next one might be incredibly difficult and uncommercial. And that doesn’t matter. That’s really important to us.”

Two years after the flood, Johnson remains in “a ton” of debt but has enjoyed rebuilding the studio. “I taught myself joinery,” he says proudly. “I’d never done anything like that before.”

Hookworms suddenly seem to have a lot to look forward to. Do they think Microshift is lifting the curse? “It’s hard to see what else could go wrong,” says Benn. “I’d better not tempt fate.”

THIS WEEKS ESSENTIAL NEW RELEASES Friday 9th February 2018

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC, THIS WEEKS ESSENTIAL PURCHASES
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There are some storming new release’s tomorrow. There’s albums out from Franz Ferdinand, Ezra Furman, Joan As Police Woman, Brigid Mae Power, MGMT, Son Lux,GoGo Penguin, Fu Manchu, Susanna and a ‘Best Of’ from Bring Me The Horizon (with a very limited red vinyl version still available). Reissues? Of course! How about coloured vinyl from Lords Of The Underground ,Or the first three Ramones albums? Or a fantastic compilation of Nina Simone early recordings?. 

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Brian Fallon – Sleepwalkers

SLEEPWALKERS sees Brian Fallon once again pushing timeless rock ‘n’ roll into the modern era, recasting British Invasion rock, first generation UK punk, and American pop and soul into a near irresistible sound he’s dubbed – with a nod and a wink towards The Who – as “Heavy R&B.”

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Ezra Furman  –  Transangelic Exodus

Transangelic Exodus Ezra Furman’s second album for Bella Union, is a new landmark for the American singer-songwriter: “not a concept record, but almost a novel, or a cluster of stories on a theme, a combination of fiction and a half-true memoir,” according to its author. “A personal companion for a paranoid road trip. A queer outlaw saga.” The music is as much of an intense, dramatic event, full of brilliant hooks, with an equally evolved approach to recorded sound to match Furman’s narrative vision. In honour of this shift, his backing band has been newly christened: The Boy-Friends are dead, long live The Visions. In other words, the man who embodies the title of his last album Perpetual Motion People is still on the move… Or in the vernacular of the new album, on the run. His musical DNA remains intact – a thrilling, literate form of garage-punk rooted in The Velvet Underground, Jonathan Richman and ‘50s rock’n’roll.
Standout tracks include the album’s lead single Driving Down To LA, a sparse, but explosive, mix of doo-wop and digital crunch. Another is the haunting Compulsive Liar. Transangelic Exodus addresses another kind of coming out, as Furman addresses his Jewish faith on record much more openly than before, from the shivery ballad God Lifts Up the Lowly (which includes a verse in Hebrew) to the exquisite Psalm 151 and the line “I believe in God but I don’t believe we’re getting out of this one” in Come Here Get Away From Me, a heady blend of rock’n’roll rumble and ghostly clarinet. Crossing between love, gender, sexuality and religion, and singing in solidarity with the innocent, persecuted, oppressed and threatened, Ezra Furman has soundtracked the current fear and loathing across America like no other, while pushing ahead with his own agenda, always on the move.

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Jay Som –  Jay Som

Jay Som is the moniker of San Francisco-based musician Melina Duterte who, at 22, has already self-released a debut album: a collection of finished & unfinished songs titled “Turn Into”, signed to Polyvinyl Records, and is opening for Mitski across the US and Canada. “Turn Into” sees a wide release this July via Polyvinyl (and vinyl/CD later this year). “Turn Into” was recently described by Pitchfork as “deceivingly textured and intricate pop songs—flush with nimbly intertwined guitar melodies and distressed fidelity”. While Gold Flake Paint said of Duerte: “Melina Duerte is a wizard. Quite how she manages to eek such lustrous, iridescent wonder out of a collection of scraps (“finished and unfinished songs”) is proof that what lies in her songwriting is something mystical, an intangible force of feeling that floods the rooms and walls within which it finds itself”.

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MGMT – Little Dark Age 

MGMT release their fourth album Little Dark Age – the follow-up to their 2013 self-titled album is released via Columbia. It features production from Patrick Wimberly (formerly of Chairlift) and Dave Fridmann (Flaming Lips, Spoon, Tame Impala). MGMT are back and more creative, robust, toned and energised in years. The best songs have that eccentric edge but with the pop layer of 2008 debut Oracular Spectacular. Opener She Works Out is a mangled, sunshine pop take on Air’s Sexy Boy whilst You’re Small is an Alice in Wonderland take on the Beatles Across the Universe. It’s a record that embodies a whole world of vulnerability, confusion and unsteadiness without losing shape. Little Dark Age is back to MGMT’s crowd pleasing best.

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Twin Peaks – Sweet ’17 Singles

Throughout the second half of 2017, Chicago’s Twin Peaks released a run of a half dozen limited-edition 7″ singles the band affectionately dubbed Sweet ’17. Only 300 copies of each 7″ were made, and subscriptions sold out almost immediately. But due to popular demand, Twin Peaks have compiled all of the songs from the series onto a LP release. Sweet ’17 Singles follows in the footsteps of Down In Heaven, the band’s 2016 full-length release, which expanded on the garage-inspired sounds of 2014’s Wild Onion.

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Bat Fangs –  Bat Fangs

NC/DC superghouls Bat Fangs pick up where Roky & the Aliens blasted off — cranking acid-soaked ’80s hard rock for the living and the dead. Making heady heavy music for third eyes and stiff upper lips, Betsy Wright (Ex Hex) shreds ‘n’ howls over Laura King’s (Fleshwounds, The Moaners) deep-thunder drums. Let the Bat Fangs sink in!

Ron Wood & Ronnie Lane – Mahonneys Last Stand OST

What do two Faces do when their lead singer (bon vivant Rod Stewart) doesn’t show up for the Ooh La La recording sessions? They work on a soundtrack for an obscure film by actor and friend Alexis Kanner (most famous for his guest roles on the late-’60s TV series The Prisoner), and draft the uppermost rank of British rock royalty to play on it!

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Franz Ferdinand – Always Ascending

Always Ascending’ is nothing short of a rebirth. The album’s ten songs are a triumphant recasting of one of everyone’s favourite groups, bursting with fresh ideas and vigorous sonic experimentation. Always Ascending is the new album from Franz Ferdinand. the album’s 10 songs are a triumphant recasting of the group, bursting with fresh ideas and vigorous sonic experimentation. Always Ascending recorded at RAK Studios, London and Motorbass in Paris, with the help of French producer extraordinaire Philippe Zdar (Cassius, Phoenix, The Beastie Boys), the mutual affection between band and producer seeping into every dazzling groove. Always Ascending shows Franz Ferdinand broadening their palate, as exuberant as it is euphoric, creating a sound that singer, Alex Kapranos, refers to as “simultaneously futuristic and naturalistic.”

Joan As Police Woman – Damned Devotion

A new album from Joan As Police Woman, which sees a return to the darker, sensual sound of her celebrated early releases. ‘Damned Devotion’ finds Joan Wasser at her rawest yet. Brand new album from Joan As Police Woman, which sees a return to the darker, sensual sound of her celebrated early releases. A beautiful soul-searching record and the one that Joan has spent her whole life building up to.

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Various Artists Revolutionary Spirit – The Sound of Liverpool 1976 – 1988

Extensive 5CD / book set exploring the ‘second wave’ of music on Merseyside, from 1976-1988 Features classics, rarities, album tracks and previously unreleased gems from Echo And The Bunnymen, Teardrop Explodes, OMD, The La’s, Frankie Goes To Hollywood, Dead Or Alive, China Crisis, A Flock Of Seagulls, Wild Swans, Big In Japan and many more. 5CD and 56 page A5 book format contains many artists’ own sleeve-notes, previously unseen photographs and essays from key observers and participants in the city’s music scene – Bernie Connor, Mike Badger, Yorkie and Joe McKechnie. Curated and designed by the people who brought you Scared To Get Happy, Still In A Dream, Manchester – North Of England, Silhouettes And Statues and many more extensive box sets. A remarkable journey through the music of a generation inspired and enabled by punk rock to step out from behind the shadow to the Fab Four. Packed with first-hand artist sleeve-notes, insightful essays, imagery and brilliant, essential music, this is a story long in need of telling.

Robert Plant – Live At David Lynch’s FESTIVAL OF DISRUPTION (DVD)

Eagle Rock Entertainment release Robert Plant & The Sensational Space Shifters Live At David Lynch’s Festival of Disruption. Filmed as part of one of Los Angeles’s most anticipated cultural events, David Lynch’s inaugural Festival of Disruption took place at the Ace Hotel Theatre, LA in October 2016, raising funds for The David Lynch Foundation.

Performing with The Sensational Space Shifters since 2012, Robert Plant continues to shift the musical goalposts, blurring the lines between rock, blues, folk & world music and finding new life in exotic beats and African rhythms. With a set including a new take on beloved Led Zeppelin classics, stripped down versions of ‘Black Dog’ and ‘Whole Lotta Love’ are met with a rapturous response from the packed theatre audience, with whom Plant enjoys a genuine rapport. Also included are ‘Babe, I’m Gonna Leave You’ and ‘Going to California’, alongside solo standouts ‘Turn It Up’, ‘The Enchanter/Rainbow’ and ‘Little Maggie’. This is a rare opportunity for fans to witness the legendary frontman as they’ve never seen or heard him before. This David Lynch curated event aims to feature artists with ‘knowledge and mystery’, undoubtedly Robert Plant has an abundance of both

9th February
Bring Me The Horizon – ‘2004-2013’ limited vinyl 2LP
Bring Me The Horizon – ‘2004-2013’ 2LP
Don Broco – ‘Technology’ limited picture disc 2LP & CD box set
Europe – ‘Out Of This World’ limited blue vinyl LP reissue
Brian Fallon – ‘Sleepwalkers’ 2LP
Franz Ferdinand – ‘Always Ascending’ limited coloured vinyl LP
Fu Manchu – ‘Clone Of The Universe’ LP
Ezra Furman – ‘Transangelic Exodus’ coloured vinyl LP
Gogo Penguin – ‘A Humdrum Star’ limited coloured vinyl 2LP
Holy Motors – ‘Slow Sundown’ LP
Joan As Police Woman – ‘Damned Devotion’ limited pink vinyl LP
Brigid Mae Power – ‘The Two Worlds’ LP
MGMT – ‘Little Dark Age’ LP
OST – ‘Three Days Of The Condor’ limited gold vinyl LP reissue
Ramones – ‘Ramones’ remastered LP reissue
Ramones – ‘Leave Home’ remastered LP reissue
Ramones – ‘Rocket To Russia’ remastered LP reissue
Nina Simone – ‘Mood Indigo: The Complete Bethlehem Singles’ LP & 7″
Son Lux – ‘Brighter Wounds’ limited coloured vinyl LP
Susanna – ‘Go Dig My Grave’ LP
The Wombats – ‘Beautiful People Will Ruin Your Life’ LP
Betty Wright – ‘I Love The Way You Love’ LP reissue

Ron Wood & Ronnie Lane – Mahoney’s last Stand OST CD

Toto – 40 Trips Around The Sun CD, 2LP

Johnny Greenwood – Phantom Thread CD
Chicane – Chicane – Sun:Sets 2018 2CD
Robert Plant And The Sensational Space Shifters – 
Live At David Lynch’s Festival Of Disruption DVD

VARIOUS ARTISTS – ” Revolutionary Spirit The Sound of Liverpool 1976-1988 “

Posted: February 9, 2018 in CLASSIC ALBUMS, MUSIC
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Cherry Red celebrates the post-Beatles spirit of Liverpool on this 5-CD book-style box set featuring hits and rarities from artists including Echo and the Bunnymen, The La’s, Frankie Goes to Hollywood, A Flock of Seagulls, and more.  The extensive book features rare photos, artists’ own memories, and essays reflecting on this creatively fertile period for the famed musical city.

Extensive 5CD/book set exploring the ‘second wave’ of music on Merseyside, from 1976-1988

Features classics, rarities, album tracks and previously unreleased gems from Echo And The Bunnymen, Teardrop Explodes, OMD, The La’s, Frankie Goes To Hollywood, Dead Or Alive, China Crisis, A Flock Of Seagulls, Wild Swans, Big In Japan and many more.

5CD + 56pp A5 book format contains many artists’ own sleeve-notes, previously unseen photographs and essays from key observers and participants in the city’s music scene – Bernie Connor, Mike Badger, Yorkie and Joe McKechnie.

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