The Fat Angel Sings

Witness the monumental tour that brought Yes’s most ambitious work to life with this limited 3xLP vinyl breakout of the legendary live performances from the 1973-74 tour of “Tales From Topographic Oceans” era. This set captures the raw, metamorphic energy of the band pushing the edges of the known world, featuring full, soaring live versions of all four epic album sides, including a rare take on “The Remembering“.

When the album came out, it took time for some fans and critics to catch up with the band, as writer Syd Schwartz of Jazz & Coffee recalls in the set’s liner notes. “Consensus was never the point,” he says. “Tales from Topographic Oceans” will continue to be debated, dismissed, defended, and rediscovered. Its resistance to easy categorization is not a failure—it’s the reason it endures. It’s a vast, unknowable ocean of sound and spirit. And it still hasn’t finished revealing itself.”

Schwartz also notes the album would be a turning point for the future Rock and Roll Hall of Fame® inductees and GRAMMY® winners: “Without Tales, there’s no Relayer. No pivot to leaner, sharper structures in the later ’70s. No map gets drawn without first pushing the edges of the known world — and Tales is where YES did exactly that.”

Don’t miss this chance to own a document of the band’s demanding material and live moments of discovery.

FORMAT: LP BOXSET

Fresh off the media and college radio success of his debut EP “Places That Are Gone” in 1984, Tommy Keene took his band back into the studio for his follow-up full-length album. Funded by North Carolina independent label Dolphin Records, Keene enlisted emerging production stars T-Bone Burnett and Don Dixon to record the tracks at Reflection Sound Studios in Charlotte – recently the home of R.E.M. for their “Murmur” and “Reckoning” sessions.

The resulting completed album is presented here for the first time in it’s intended mixes and sequencing. Geffen Records picked up Tommy’s contract (and this album) in 1985, and subsequently shelved these versions and re-recorded the whole project with Geoff Emerick producing.

Released in 1986, that was the only version of “Songs From The Film” available – until now. So, forty years later and for the first time on vinyl, a hidden power pop classic makes it’s debut on Record Store Day 2026.

By the dawn of the 1990’s The Verlaines had parted company with long-time New Zealand indie label Flying Nun. Looking to increase their profile in the Northern Hemisphere (where their previous albums had made an impact through the likes of U.S. College Radio), they signed with Los Angeles based Slash Records.

“Ready To Fly”, was the first of two releases with the label, appearing in 1991. Recorded in Sydney, Australia, Trouser Press praised the albums 12 songs, saying “… throw in Downes’ strongest bunch of guitar-pop tunes and you’ve got the Verlaines’ best LP to date.

Indeed, some of the band’s most enduring material can be found on “Ready To Fly”, in particular “War In My Head”, “Gloom Junky” and the titular track with it’s grand orchestration.

Released for Record Store Day 2026 for the very first time on Blue Jay Opaque coloured vinyl on with remastering by Frank Arkwright at Abbey Road Studios.

This is a 2026 Record Store Day Release.

Hear Joan Jett & the Blackhearts blaze through a set of hits at one of the most exciting times in the band’s career. This New Years Eve show celebrated the totality of 1981- a year that saw the release of Joan Jett & the Blackhearts’ explosive intro record ‘Bad Reputation’ and their unstoppable follow-up ‘I Love Rock ‘n’ Roll.’

Performed live at an East Village staple of concerts and nightlife, experience all these influential no-frills rock’n’roll gems including Bad Reputation,” “Do You Wanna Touch Me (Oh Yeah),” “I Love Rock ‘n’ Roll” and “Crimson and Clover.” RSD 2026 Exclusive Black Vinyl

“LIVE AT THE RITZ NYC 1981”

Lowell George may well be the most underrated and underappreciated figure in the history of rock ’n’ roll. As a writer, guitarist, singer, and producer, his influence spanned genres—rock, R&B, country, blues, and the adventurous rhythms of West Coast jazz—and seemed to know no bounds.

Born and raised in Hollywood, California, George mastered multiple instruments at an early age. His prodigious talent soon caught the attention of Frank Zappa, leading to a stint with The Mothers of Invention. In 1969, after parting ways with Zappa, George formed Little Feat. With Zappa’s support, the band secured a deal with Warner Bros. Records and quickly became a musicians’ band, revered for its originality and virtuosity. Alongside George were standout players including keyboardist Bill Payne and drummer Richie Hayward, whose combined talents created a sound unlike any other.

Though Little Feat were not immediate chart-toppers for Warner Bros., they inspired fervent loyalty among fans and deep respect from their peers. Over time, their innovative blend of styles found a wider audience, earning the group three gold albums and one platinum award. George’s songwriting left an indelible mark, yielding enduring classics such as “Willin’,” “Dixie Chicken,” and “Sailin’ Shoes.”

Internal pressures ultimately led to the band’s breakup in 1979. George embarked on a solo career and released his only solo album, “Thanks I’ll Eat It Here”, on Warner Bros. Tragically, he passed away that same year at just 34 while touring in support of the album.

It was inevitable that George’s musical friends and admirers would unite to honour his legacy. Originally released in Japan in 1997 (and in the U.S. the following year), “Rock And Roll Doctor: Lowell George Tribute Ablum” brought together some of the biggest names in music to celebrate his extraordinary gifts.

Omnivore Recordings is proud to announce the reissue of this long out-of-print, this special edition features 15 standout tracks from Jackson Browne, Bonnie Raitt, Randy Newman, JD Souther, Eddie Money, and George’s daughter Inara George in collaboration with Van Dyke Parks.

One of my personal highlights is this one here – the ‘Bottle Rockets’ had teamed up with ‘Mr. Polyester’ himself, ace lap steel guitarist David Lindley, for a rousing rendition of “Rocket In My Pocket”.

It also includes a previously unissued rendition of George’s signature song “Willin’,” recorded by Willie Nelson and Emmylou Harris featuring Inara George.

1. Cold, Cold, Cold – Bonnie Raitt and Little Feat
2. Feets Don’t Fail Me Now – Taj Mahal
3. Roll Um Easy – JD Souther
4. Rocket In My Pocket – The Bottle Rockets and David Lindley
5. Sailin’ Shoes – Randy Newman and Valerie Carter
6. I’ve Been The One – Jackson Browne
7. Two Trains – Allen Toussaint and Leo Nocentelli
8. Long Distance Love – Keisuke Kuwata
9. Rock And Roll Doctor – Eddie Money and Buddaheads
10. Straight From The Heart – Chris Hillman and Jennifer Warnes
11. Honest Man – Little Feat
12. Spanish Moon – Phil Perry, Merry Clayton and Ricky Lawson
13. Willin’ – Willie Nelson and Emmylou Harris featuring Inara George
14. Trouble – Inara George
15. Rock And Roll Heaven (Spoken Excerpt) – Lowell George

This collection is a joyous tribute to one of the 1970s’ most original and influential musical voices. Make your appointment now with the Rock And Roll Doctor!

First time on vinyl. Featuring an all-star lineup includes Jackson Browne, Bonnie Raitt, Randy Newman, JD Souther and more! with a Laser-etched art on Side 4.

The landmark 1996 album reconstructed from BBC sessions and live recordings! Suede’s commercial high watermark came in 1996 with ‘Coming Up’. The 1995 addition to the line-up of lead guitarist Richard Oakes and keyboard player Neil Codling had given the band a new impetus and focus. At the very pinnacle of ‘Britpop’ – a scene they’d helped inspire but fiercely operated outside of – roared back with an adrenalin rush of new Suede classics.

The first missive from ‘Coming Up’ was the trailblazing ‘Trash’, which reached No. 3 in the UK chart – a joint career-best for the band. That was followed into the Top 10 over the next twelve months by four more hit singles from the album – ‘Beautiful Ones’, ‘Lazy’, ‘Saturday Night’, and ‘Filmstar’.

During ‘Coming Up’s’ album and singles lifespan of more than a year the band toured almost constantly – taking in the USA, Japan, Europe and right across the UK. The culmination of a year’s precision-tooling of the material in the live arena came 22nd August 1997 and a triumphant headlining slot at Reading Festival.

Collected here are selected recordings from the Reading gig, broadcast on BBC Radio 1, plus some previously unreleased studio takes of the album’s tracks recorded for the station’s Evening Session and Mark Radcliffe shows. Cherrypicked by the band as the best possible ‘Coming Up’ BBC recordings, they’ve been sequenced for ‘Coming Up At The BBC’ in the same order as the original studio album.

Note: Because no contemporary or BBC versions of the album’s penultimate song, ‘The Chemistry Between Us’ exists, Suede have kindly donated a previously unreleased 1999 live version recorded by the same line up at that year’s Roskilde Festival.

Propeller Sound Recordings presents The dB’s: “Cycles Per Second: US Tour 2024″ as a Record Store Day 2026 exclusive First. From the sold-out 2024 U.S. reunion tour – 13 songs, 4 original members, one unforgettable return. Long hailed as pioneers of American power pop and the early indie era, The dB’s reunited to celebrate the 2024 Propeller Sound Recordings reissues of their seminal albums “Stands for deciBels” (1981) and “Repercussion” (1982).

The dozen U.S. shows that followed were triumphant sell-outs, with fans and critics alike celebrating a once-in-a-generation reunion that captured both nostalgia and newfound vitality. New indie-pop artists like the Lemon Twigs, Real Estate and The Beths owe a lot to the dB’s jangle-pop style. “Cycles Per Second” documents that moment.

Mixed and compiled by the band’s own Chris Stamey, the 13-track set brings together performances from across the tour, featuring all four original members – Peter Holsapple, Chris Stamey, Will Rigby, and Gene Holder – joined by keyboardist Wes Lachot. The release marks the first live album ever by The dB’s, making it an essential artifact for collectors, fans, and students of alternative rock history.

The LP will be pressed on RSD- exclusive colored vinyl, limited to 1,500 copies, and feature a full-colour insert of tour photos.

“Warmer Than Gold”, the new album from Ben Cook’s project GUV, is a document of a life in music, a critical and celebratory travelogue, an attempt to transcend the homogeneous and status-obsessed conditions of the contemporary world through the use of big beats, big choruses, and distortion. It’s a record made on the go that makes sense anywhere. And most of all, with its expanded sonic palette and emphasis on breakbeats, it ushers in the newest era of an artist who has never stopped growing.

Cook, who grew up moving between Toronto and England, boasts anglo bonafides that separate him from the growing pack of hardcore kids sporting windbreakers and bowl cuts. Two of the first shows he attended, at the age of 12, were Oasis and Neil Young. After the show, he remembers thinking, “Yeah, I’m gonna do music forever.” Not long after he discovered hardcore and punk, and it was off to the races, first with his beloved hardcore band, No Warning (who he continues to play with to this day), then as a member of punk experimentalists, Fucked Up, from 2007 to 2021–and all the while building a deep and impressive catalogue of solo work first as Young Governor, then Young Guv, and now simply, GUV (“I’m not so young anymore, three letter band names are cool, and I’m tired of being mistaken for a rapper,” Cook notes).

“Warmer Than Gold” is the widescreen culmination of all of these threads. The album’s music retains the hooky spirit of Cook’s previous records, like the acclaimed double albums “GUVI” and “II” and “GUV III” and “IV,” but it adds a decidedly rhythmic element informed by classic Madchester and Britpop. It smears and soars, it feels like bolting down the M1 Motorway at midnight, propelled by an urgency unseen in Cook’s other work.

What is retained from those earlier power pop releases, though, is the artist’s sharp ear for hooks; now combined with a recharged production sensibility inspired by everyone from the Beastie Boys to The Field Mice to Primal Scream, Cook is able to musically support the core lyrical themes that run throughout the project: the global flattening of culture, the passage of time in the material world, and the artist’s role within all of it.