Their most iconic moment has to be “Just Like Honey”, a song that still captures their mix of noise and melody perfectly. The song came out of Scotland with this noisy yet soft sound that felt new to everyone. Jim and William Reid kept things simple but bold, mixing feedback with sweet melodies. Some controversy came when fans and venues criticised their loud, chaotic shows, including the time they famously played facing the back of the stage. Critics praise them for creating a fresh, raw sound that influenced countless alternative and indie bands that followed.
Newly remastered 13 track compilation of The Jesus And Mary Chain’s single A-sides and non-album B-sides. Includes their 1984 debut single for Creation Records, “Upside Down“, backed with their cover of Syd Barrett’s “Vegetable Man“, as well as singles from their 1985 debut album, “Psychocandy”.
The Jesus and Mary Chain, > 45s > 84 > 85 < (Rhino) (Red/Black Splatter LP; RSD U.K. exclusive)
Scottish brothers Jim and William Reid helped usher in a new movement in alt-rock in the ’80s as the nucleus of The Jesus and Mary Chain. This new collection showcases all 13 single sides issued before and during the release of their breakthrough 1985 debut “Psychocandy”, including “Upside Down,” “Never Understand,” “You Trip Me Up” and “Just Like Honey.”
This edition comes in limited edition splatter vinyl.
Saturday, April 12th, is certainly one of the most packed Record Store Days in recent memory. Since the list was announced, we drilled down on titles from Craft Recordings, Legacy Recordings, Rhino Records, Universal Music Group, Real Gone Music, Omnivore Recordings, BMG, Cooking Vinyl and Demon Music Group, as well as some notable titles that were getting later general releases on CD.
Well, if you thought that was it, you’re wrong! We poured and poured over the list and are here to share with you more than four dozen one-offs, archival treasures, obscurities and things that’ll only be available outside of American Record Store Day participants. From the ’60s to today, covering every kind of genre imaginable, .
The Blasters, “An American Music Story: The Complete Studio Recordings 1979-1985” (Liberation Hall) (5LP; 1000 copies; RSD U.S. exclusive) Following last year’s release of Live at The Venue, London: The Complete Concert, Liberation Hall returns to the catalogue of The Blasters with this 5LP box containing all four of the band’s studio albums – American Music, The Blasters, Non Fiction and Hard Line– plus an LP of rarities. The box also boasts a 24-page book featuring liner notes by Chris Morris and interviews with the band members as well as rare photos. A poster is also included in this set which is strictly limited to 1000 hand-numbered copies.
Boomtown Rats, “Dawn of the Rats: Demos, B-Sides & Live 1975-1979” (Mercury/UMR) (Green LP; RSD U.K. exclusive) Here’s a collection of early, raw live demos from Bob Geldof and The Boomtown Rats, including the four songs which earned the Rats a recording contract. The live tracks are supplemented by the band’s B-sides, some of which have never appeared on CD or LP.
Alex Chilton, “Set” (Bar/None) (“Sunburst Splash” LP; 950 copies; RSD Regional release) Recorded in New York City in 1999 after a bar gig (and released on CD the following year), “Set” finds the Big Star frontman and his backing trio (bassist Ron Easley and drummer Richard Dworkin) working through a marathon studio session comprised mostly of R&B covers. It’s being released here on vinyl for the first time.
The Colourfield, “Virgins & Philistines (40th Anniversary Edition)” (Chrysalis) (Yellow 2LP; RSD exclusive) The U.K. band fronted by Terry Hall (The Specials, Fun Boy Three) offers a newly-remastered double vinyl edition of their 1985 debut album, “Virgins & Philistines”. The second disc features non-LP singles and B-sides.
The Jesus and Mary Chain, “> 45s > 84 > 85 <” (Rhino) (Red/Black Splatter LP; RSD U.K. exclusive) Scottish brothers Jim and William Reid helped usher in a new movement in alt-rock in the ’80s as the nucleus of The Jesus and Mary Chain. This new collection showcases all 13 single sides issued before and during the release of their breakthrough 1985 debut “Psychocandy”, including “Upside Down,” “Never Understand,” “You Trip Me Up” and “Just Like Honey.”
Graham Parker & The Figgs, “The Last Rock ‘N’ Roll Tour” (Iconoclassic) (Pink 2LP; 700 copies; RSD Regional release) Starting in the ’90s, Graham Parker began touring (and eventually recording) with The Figgs, a New York-based rock band briefly signed to Capitol whose energy evoked that of Parker’s most renowned sidemen in The Rumour. This 1996 live club show, released on vinyl for the first time, draws from those early Rumour albums to great effect; it’s been freshly remastered with a slightly rearranged and expanded track order, plus liner notes from Parker and Gent of The Figgs.
Wall of Voodoo, “The Lost Tapes” (Label 51) (2LP; RSD U.K. exclusive) The L.A. rock band – underground favorites who hit it big when 1982’s “Mexican Radio” was picked up by then-fledgling MTV – collects a double album’s worth of rarities.
Emmylou Harris, “Spyboy” (New West) (2LP; 1500 copies; RSD First release) Emmylou’s 1998 live album comes to vinyl for the first time, as a limited edition which adds five previously unreleased bonus tracks to the running order. “Spyboy” captures Harris and her band – Buddy Miller on guitar, Daryl Johnson on bass, and Brady Blade on drums, whose backing band name gave the album its title – performing selections from her 1995 album “Wrecking Ball” and other favourites in concert. The gatefold packaging includes an 11.5″ x 11.5″ insert featuring new reminiscences from Harris and Miller.
Van Morrison, “Be Just and Fear Not” (Orangefield) (10″; RSD U.K. exclusive) “Be Just and Fear Not” is compiled from “three songs that Van initially wanted to keep off his most recent release, “Live at Orangefield”. Van always felt these three tracks worked on their own and not as part of the overall album.” Here they are, as Morrison originally intended.
Tom Waits, Get Behind the Mule (Spiritual) / Get Behind the Mule (Anti-) (7″ Single; 3000 copies; RSD First release) This single features a previously unreleased alternate take of Waits’ “Mule Variations” track “Get Behind the Mule” with the singer accompanied by a Wurlitzer organ. Could an expanded edition of the singer-songwriter’s seminal 1999 album be on the way?
Clarence White, “Melodies from a Byrd in Flyte: 1963-1973” (Liberation Hall) (LP; 1200 copies; RSD First release) This release has 14 tracks (one side acoustic and the other electric) from The Byrds’ ClarenceWhite. Spanning much of White’s too-short career – he died in 1973 at the age of 29 after being killed by a drunk driver – these tracks feature the ground breaking country-rock guitarist supported by a host of guests including Roger McGuinn, The Everly Brothers, Gene Parsons, Skip Battin, Eric Weissberg, and Byron Berline.
The 13th Floor Elevators, “Houston Music Theater, Live 1967” (LMLR) (Blue/Black Marbled LP; 4000 copies; RSD exclusive) This 1967 live set from Texas’ psychedelic pioneers – intended as their sophomore album decades ago – makes its debut appearance in a restored mono mix. Tracks include “Reverberation” and “You’re Gonna Miss Me.”
Heavyweight vinyl is always that much more satisfying to hold, so hats off to Au Pairs and their team for issuing their classic first album in this sought-after format. Opening with the tongue-in-cheek “We’re So Cool,” the Au Pairs’ debut record is a stunner, from Lesley Woods’ scratchy guitar and declamatory vocals to lead guitarist Paul Foad’s brittle soloing. This is an uncompromising, defiant record: gender roles are turned upside down, as are theories about sex and sexuality, and hetero- and homosexual relationships are put under a microscope. Similarly, the tense political situation in Northern Ireland is harrowingly addressed in “Armagh,” which details Tory-sanctioned torture and sexual abuse of wrongly imprisoned Irish women. An unflinching look at the world, “Playing with a Different Sex” is one of the great, and perhaps forgotten, post-punk records.
Musically, Au Pairs were at their most overtly post-punk here, with funky rhythms and scratchy Gang Of Four-esque guitar stylings. ‘We’re So Cool’ sounds like the best that moments of Hanover underground group 39 Clocks; ‘Repetition’ sounds like it could have influenced Goat Girl’s first moves as a band signed to Rough Trade; while ‘Come Again’ is up there with anything by The Slits, and ‘Love Song’ is reminiscent of Entertainment!-era Gang Of Four.
The most striking cut here, however, is ‘Headache For Michelle’, which sits beautifully in the middle of the album and offers a bit of respite from the generally high-octane rhythms. It’s a dreamy cut, seemingly about drugs and government overreach. The following stinging, bitter lines, delivered with so much heart, bring this epic number from a cracking album to a beautiful close: “They are closing down – communications / They’re taking control – of our situations.”
After gaining over 1 million followers on social media and earning the praise of songwriting greats with his witty and well-crafted folk songs, Jesse Welles made his late-night television debut with an appearance on Jimmy Kimmel Live!
Welles has created a serious buzz churning out timely and topical songs by the dozens. His talent for writing about what he sees going on in the world in a clever and poignant way has garnered the Arkansas-based musician a large following on TikTok, Instagram, and other platforms. Dave Matthews introduced him as “one of the best songwriters I’ve ever heard in my life” before a performance at Farm Aid in 2024, and the New York Times ran a profile calling him “a folk musician that sings the news.”
Jesse Welles performs the song “Horses” on Jimmy Kimmel Live!
He recently released a 63-song album, ‘Under The Powerlines” (April 24 – September 24),’ which features selections from his ongoing stream of social media posts, as well as another, full-band album, ‘Middle,’ that sees him break away from the hyper-specific style of song writing he’s become known for in favour of a broader, more timeless perspective. It was the latter project that Welles drew from for his appearance on Kimmel.
Proud to finally release our 3rd album ‘DOGGOD’ into the world on Friday 4th April 2025. We recorded it far from the sunshine of LA, instead choosing to hole up at the legendary Motobass Studio in Paris, the gothic heart of Europe. L.A. Witch have always exuded an aura of effortless cool, whether it manifested as the Americana noir and laconic back-to-basics rock n’ roll of their self-titled debut or the blistering austere adventurism of their sophomore album “Play With Fire”. The band—comprised of Sade Sanchez (guitar/vocals), Irita Pai (bass), and Ellie English (drums)—began as an informal affair, but the sultry and beguiling reverb-draped songs they created caught on with the public, moving the project beyond the insular space of the band’s friends and peers in Southern California into the broader world.
On their latest album, “DOGGOD”, the trio push their craft beyond their previous creative and geographical confines, “DOGGOD” explores broader swaths of sonic terrain, employs a greater arsenal of tones, and probes larger existential and cosmic themes, all while retaining the band’s signature sense of the forbidden, the forsaken, and the foreboding.
“DOGGOD” is a way of tackling the universal riddle tangled in the spiritual nature of love and devotion. “I feel like I’m some sort of servant or slave to love,” says Sanchez. “There’s a willingness to die for love in the process of serving it or suffering for it or in search of it… just in the way a loyal, devoted servant dog would.” The album title is a palindrome fusing together DOG and GOD—an exaltation of the submissive and a subversion of the divine. It’s a nod to the purity of dogs and an acknowledgement of their unconditional love and protective nature that’s at odds with the various pejoratives associated with the species. “There is this symbolic connection between women and dogs that expresses women’s subordinate position in society,” Sanchez explains. “And anything that embodies such divine characteristics never deserved to be a word used as an insult.”
These conflicted explorations of love and subservience manifest themselves in L.A. Witch’s fusion of their trademark smooth and smoky garage alchemy with a newfound utilization of post-punk’s disciplined reserve and icy instrumentation. Album opener “Icicle” captures the band journeying out of the proto-punk, psychedelia, and gritty riffage of the ‘70s into the chorus-drenched guitars and forlorn minimalism of Joy Division and early The Cure. A parallel is drawn between romantic suicide and martyrdom that carries over into the second song, “Kiss Me Deep.” Here Sanchez describes a love so pure that it transcends time and carries over into multiple lifetimes. It’s a song about passion delivered in the worldly and wounded stoicism of early goth pioneers. From there, the band segues into the lead single “777,” a song about devotion to the point of death. A propulsive beat, a driving distorted riff, and Sanchez’s ethereal vocals come together to create a song that’s both dire in its fatalism and sensual in its faithful passion.
Across the entirety of “DOGGOD”, L.A. Witch never strays from their muse. On “I Hunt You Pray,” Pai lays down a hypnotic bass throb while English employs a cyclical krautrock groove and Sanchez paints a picture of an abandoned dog on the roadside, alone in the night, living as both the hunter and the hunted. On “Eyes of Love,” the band harnesses the meditative mid-tempo repetition, deconstructed chords, and esoteric ruminations on love, death, and spirituality that made Lungfish such a beloved entity. It reinforces the parallel between the unwavering love seen in the eyes of a dog and the self-sacrifice of a savior. On “The Lines,” the band takes the propulsive pulse of post-punk and adds an extra dose of chorus to the mix. “Chorus is a modern effect that comes from the idea of replicating the slight pitch discrepancies of a choir. There is a shimmering quality which ties us back into this spiritual godly feel,” Sanchez explains. Coupled with the addition of organ and applied to a brooding minor-key melody, the song simultaneously conjures both the holy and the sacrilegious. The title track “DOGGOD” bears perhaps the strongest resemblance to the material found on the previous album “Play With Fire”, pitting lean and mean guitars against a scrappy rhythm section and dreamy vocals. But whereas their previous album was a rallying cry to carving one’s own path, “DOGGOD” adheres to the album’s “til death do us part” theme, going so far as to describe a level of submission that crosses over into dangerous and unhealthy places, with Sanchez singing “hang me on a leash / ‘til I wait for my release.”
Ultimately, “DOGGOD” is a perfect encapsulation of L.A. Witch’s approach. It’s simultaneously romantic and menacing, reverent and profane, a celebration and a lament. It finds the thread between the past and present, taking familiar sounds and revamping them for the modern age. But it also heralds a new era for the band, looking beyond the Kodachrome memories of midcentury America and digging deeper into the medieval and gothic energies of Paris and beyond, all while probing inward at a sullied heart. Suicide Squeeze is proud to release “DOGGOD” to the world on April 4th, 2025.
Sade Sanchez – Vocals/Guitar/Synth Irita Pai – Bass Ellie English – Drums
Things were very different in early 1995 when Spiritualized’s magnificent second album “Pure Phase” came out at the height of Britpop, reaching number 20 in the charts. But as Jason Pierce shows this evening, not much has changed in his world. Seven albums and 30 years later, J Spaceman’s vision remains essentially the same as he channels the heavy cosmic blues and raw Americana that has come to define the Spiritualized sound through a 15-piece ensemble for this special anniversary performance. The 1995 fan favourite “Pure Phase” gets the transcendent live treatment it always deserved
This is the band’s second night at the Barbican as part of a run of shows this year celebrating “Pure Phase“, the Spiritualized album that tends to get overlooked in favour of its follow-up “Ladies And Gentleman We Are Floating In Space“, but which many fans consider to be the perfect distillation of Pierce’s musical genius.
It moved the band on from their more delicate debut “Lazer Guided Melodies” by bringing in some of Pierce’s most immediate pop songs – “Medication”, “Lay Back In The Sun” – and introducing the soulful gospel tropes he’d explore in rich detail later on, while retaining the electronic tones and harmonious drones that always suggested he was tuned to a celestial frequency only he could hear – a result of his fastidious production and mixing methods.
Pure Phase also gave the band some personality and helped to solidify their approach. Back then, Pierce played up to his spaced-out image by wearing an astronaut suit and posing vacantly for press shots in a T-shirt with the slogan “Drugs Not Jobs”, arm in arm with his partner at the time, Kate Radley.
This evening, Pierce is the only person on stage not wearing black as he stands to the right in a pale shirt, shades and silver trainers with his band arranged in a semi-circle around the stage, leaving a large empty space in the centre. The eye lands on the rhythm section anchored in the middle, Starsailor’s James Stelfox on bass and long-time Spiritualized drummer Kevin Bales. Above them, a huge moon is projected on the backdrop – maybe we will be floating in space? – and the room is bathed in swirling green light, reflecting the colour of the “Pure Phase” reissue in 2021.
You usually know what you’re getting with a Spiritualized show, but this evening you really do because “Pure Phase” is played in sequence. Pierce’s regular five-piece band is joined by strings, brass and four backing singers, which allows him to deliver maximalist versions of each song, perhaps presenting “Pure Phase” in its entirety for the first time in the way he’d always imagined it (budget permitting).
Somehow Pierce turns 60 this year, and for all the garlands tossed at his most recent album “Everything Was Beautiful“, he has effectively been writing versions of “Medication” for the last 30 years. “Every night I stay up late and make my state more desperate,” he sings, slightly crumpled, on this transcendent junkie prayer that opens the show, but by the end he’s come alive as the brass rings out: “Makes me feel so good – leaves me fucked up inside!” This leads into the sweeter “The Slide Song” and gentler “All Of My Tears” before the audience is vaporised by the pulsating sax-and-strobe overload of “These Blues”.
Everything that makes Spiritualized such a compelling live experience is contained in “Pure Phase” – even the sinuous electronic passages seem to glow as if beamed in from another dimension. And yet the 20-minute encore of “Cop Shoot Cop”, that deep-fried acid-rock gospel trip from “Ladies And Gentleman…“, immediately illustrates the leap Pierce took for his next album. That one turns 30 in two years – start queuing for tickets now.
Set list: medication the slide song electric phase all of my tears these blues let it flow take good care of it born, never asked [laurie anderson] electric mainline lay back in the sun good times pure phase spread your wings feel like goin’ home cop shoot cop…
This double album showcases Led Zeppelin’s electrifying concert at theForum, in Inglewood, California, on 4th September 1970, during their summer 1970 North American Tour.
Featured here, are a multitude of Zeppelin classics the set is dominated by three outstanding folk/blues rock medleys: “From the Midnight Sun” (later titled “Immigrant Song”) and “Heartbreaker”; “Communication Breakdown,” “Good Times Bad Times,” “For What It’s Worth” and (not listed) “I Saw Her Standing There,” and Zeppelin’s signature blues rock medley comprised of “Whole Lotta Love,” “Let that Boy Boogie Woogie,” “I’m Movin’ On,” “Think It Over,” and “Lemon Song.” The bass and guitar transitions between the tunes on “Communication Breakdown” medley are funky, and the explosive renditions of Stephen Stills’ “For What It’s Worth” and Lennon/McCartney’s “I Saw Her Standing There” are priceless in their inventive approach. “Live on Blueberry Hill” also features fresh performances of “What Is and What Should Never Be” (with a pleasantly coarse Page guitar), an exhilarating, ultimately exhausting “Moby Dick,” and John Paul Jones’ freaky “Organ Improvisation.” “Since I’ve Been Loving You” is the peak performance of the evening. In the course of eight minutes, Plant’s wails and screams, Page’s raw electric guitar, and Bonham’s deep, thundering drums generate music that could accompany the damned to hell. Originally a bootleg recording of the English rock group Led Zeppelin’s performance at the Los Angeles Forum on September 4th, 1970, which took place during their summer 1970 North American Tour.
The audience recording is one of the first Led Zeppelin bootlegs, and one of the first ever rock and roll bootlegs. It was released on the Blimp label. The album was reissued on the Trademark of Quality label and shipped to England. The album sold so many copies that many fans thought it was a legal release. The sleeve notes describe it as “One hundred and six minutes and fifty three seconds of pure alive rock.” Led Zeppelin perform a powerful set of songs (prior to recording “Zeppelin III“) comprised of heavy blues numbers and a dense onslaught of rock & roll. While the sound clarity is adequate at times, at other moments the sound is faint and simply flat — common flaws in bootleg recordings from this era. Still, the music on “Blueberry Hill” packs a punch.
“Live on Blueberry Hill” derives its name from Zeppelin’s performance of Fats Domino’s “Blueberry Hill” as a final encore. The bootleg also features one of the few known live performances of “Out on the Tiles”, from the group’s third album, plus “Bron-Yr-Aur”, which would not be released officially until five years later, on “Physical Graffiti”.
From the 1980s the bootleg became available on CD as a two-disc set, often under the titles “Blueberry Hill” and The Final Statements. “I actually prefer …Blueberry Hill to [pioneering Zeppelin bootleg] Pb,” remarked photographer (and Jimmy Page’s friend) Ross Halfin, “even though it isn’t such good sound quality, but because it includes the whole show.” In 2017, the Empress Valley bootleg label released the nine-CD, “Live On Blueberry Hill: The Complete 1970 L.A. Forum Tapes”, which includes five different source recordings of the concert.
2025 marks the 30th anniversary of the release of our second record “King!” It seems both an impossibly long time ago, yet somehow also like it was only yesterday… We are thrilled to announce that 4AD is honouring “King’s” 30th with a limited-edition, remastered vinyl reissue for Record Store Day 2025 on April 12th! Pressed on limited green vinyl, remastered by Kevin Vanbergen, and featuring original sleeve design by Chris Bigg (v23).
Belly’s second album, “King”, celebrates its 30th anniversary with a special vinyl pressing on Record Store Day 2025. Belly found themselves at something of a crossroads when it came to following up their 1993 debut album “Star” – a wildly successful record that earned the band two GRAMMY nominations including the coveted Best New Artist award
With bassist Gail Greenwood having joined the ranks in between, she plus the trio of Tanya Donelly and brothers Chris and Tom Gorman rented a house in rural Rhode Island to write collaboratively before heading to Nassau in the Bahamas to record in Island Records founder Chris Blackwell’s legendary studio Compass Point (a place famed for where AC/DC, Grace Jones, Tom Tom Club, and countless others recorded major works)
Away from industry pressure and guided by veteran producer Glyn Johns (Led Zeppelin, The Rolling Stones, The Who), they made the most of the relaxed surroundings, recording live in the room and minimising overdubs so to capture as much of the band’s chemistry on tape as they could. Featuring singles “Now They’ll Sleep”, “Seal My Fate”, and “Super-Connected”, the resultant “King” was a step on, a deceptively complex album where the quartet had chosen artistic growth over commerciality
Their lyrics took more of a political and personal bent, while musically it was heavier, in part due to Gail’s muscular playing style and more deft guitar interplay between Tanya and Tom
Keeping its original sleeve design by Chris Bigg (v23), this long demanded repress is coming on limited green vinyl with the album having been remastered by Kevin Vanbergen.S
We are also excited to announce we’ll be playing a limited run of fall 2025 shows to honour “King’s” Anniversary, performing the entire album (plus some other songs, of course). Dates, cities and ticket links coming soon!
SPIN Magazine saying at the time that it marked their evolution from “indie darlings to rock contenders.” Having been out of print on vinyl since its release 30 years ago, 4AD are delighted to be working with both the band and Rhino in North America to finally put it back on the shelves on Record Store Day 2025
Camper Van Beethoven’s ground breaking debut album, “Telephone Free Landslide Victory“, is back on vinyl for the first time since the 1980s. This Record Store Day release is pressed on limited edition clear and orange marbled vinyl, making it a must-have for fans and collectors. Featuring the cult classic “Take the Skinheads Bowling”, the album showcases Camper Van Beethoven’s unique blend of folk, punk, ska, and absurdist wit.
Beloved for its playful, offbeat charm and eclectic instrumentation, “Telephone Free Landslide Victory” cemented the band’s status as pioneers of alternative music. The sleeve design has been recreated to match the original 1980s pressings, complete with a kraftpak board cover.
The band’s line-up at the time of recording was David Lowery (lead vocals, rhythm guitar), Jonathan Segel (violin, keyboards, guitar, backing vocals), Chris Molla (guitar, backing vocals), Victor Krummenacher (bass, backing vocals), and Anthony Guess (drums). The album is the only Camper Van Beethoven record not to feature guitarist Greg Lisher. Lisher is actually listed in the album credits as a band member, but he did not join the band until after the album was recorded.
The reunited Camper Van Beethoven frequently features several of the album’s songs in their set lists, including “Take the Skinheads Bowling”, the countrified Black Flag cover “Wasted”, the hardcore send-up “Club Med Sucks”, “The Day That Lassie Went to the Moon”, “Ambiguity Song”, and several of the instrumentals.
The band originally intended the album to be titled “Telephone Tree Landslide Victory”, but a friend who was producing advance copies of the LP on cassette mistakenly replaced “Tree” with “Free”
The Fat Angel Sings 