Posts Tagged ‘Box Set’

Trad-arr opportunists with freeform tendencies, Trees’ in-concert freakouts often left their cut-crystal-voiced singer Celia Humphris at a loose end. “I used to ‘wiggle’, or dance on the spot, during the long breaks,” she remembers in the sleeve notes to this 4CD anthology of the band’s brief career. “But when we played at Wellington College Boys’ School, one of the masters asked me to stop wiggling as it was ‘upsetting’ the boys. That was when I started to lie down on stage instead.” It was a novel way of shifting the focus to her bandmates, but one fraught with pitfalls: one live extemporisation on the traditional “Streets Of Derry” proved so enthralling that Humphris actually fell asleep.

Enthusiastic – often to a fault – Trees blundered excitably into the new Anglo-weirdy terrain cleared by Fairport Convention’s Liege & Lief, an album that fused a profound knowledge of traditional English folk song with an appreciation for the newly electrified roots sounds of The Byrds, Buffalo Springfield and The Band. Trees, by contrast, were all instinct; they had a cursory flick through the Child Ballads, turned everything up to 11 and exploded into the moment. Founded after guitarists David Costa and Barry Clarke met in 1969, Trees accumulated members quickly; bassist and songwriter Bias Boshell was Clarke’s housemate; drummer Unwin Brown was a Bedales school chum of Boshell’sHumphris was the sister of one of Costa’s workmates. A drama student who had studied opera, she didn’t know much about folk music, but with a piercing voice that could pass as Sandy Denny-ish, she made the grade anyway. By the end of that summer, Trees had a two-album contract with CBS.

Evidently recorded before most of it was written, their debut album The Garden Of Jane Delawney feels like a musical blind date, Trees getting to know each other in real time, and not always getting on. Humphris’ consumptive keen and Clarke’s strident guitar trip over each other as they battle for centre stage on opener “Nothing Special”, while Costa and Clarke deliver competing guitar solos on the trad-arr “Lady Margaret” with Brown absent-mindedly auditioning for Traffic somewhere in the background.

The lyrics to the séance-like title track came to Boshell during his school days, its ‘nothing is real’ sentiment (“The ground you walk upon might as well not be there”) and Genesis-like evocation of toxic Victoriana earning cover versions from Françoise Hardy and ’80s goth softies All About Eve. However, the tinkling harpsichords and sparing accompaniment are atypical of a band that – at this stage – didn’t really do restraint. Their kiss-off “Snail’s Lament” rustles up a collegiate getting-it-together-in-the-country vibe (“Everybody’s got to build a house,” sings Humphris, finding the bottom end of her register) but still fades out with every member trying to snatch the last word.

The Garden Of Jane Delawney was released in April 1970, but Trees were back in the studio to record the follow-up within five months, the intervening time seemingly spent listening to Steeleye Span’s debut album Hark! The Village Wait (released that June) and – at least occasionally – to each other. Having jostled for position a little inelegantly over the course of the first record, Trees benefited from a Bedford-van boot camp, gigging giving them a better command of group dynamics. All Phil Manzanera acid flash on the first album, Clarke’s contributions take on a more measured, Quicksilver Messenger Service tone, his guitar flickering around the edges of songs rather than screaming into centre stage. Humphris also finds a new range, and if she cannot do traditional warhorses like “Polly On The Shore” and “Geordie” with the same conviction as a Shirley Collins or an Anne Briggs, she no longer sounds like she is just impersonating a folk singer

Her two-layered vocal helps make “Murdoch” by far the best of Trees’ self-written songs. Boshell reckons his tale of a mysterious awful up in the mountains came to him in a dream. With a subtle, insistent guitar and keyboard refrain, it’s certainly a piece that burrows into the subconscious, Trees discovering the passage behind the cupboard that leads from After Bathing At Baxter’s-era Jefferson Airplane into Stevie Nicks-age Fleetwood Mac.

However, if their compositions are tighter (opener “Soldiers Three” is a stylish fake medieval round), Trees still yearned to stretch out; their take on Cyril Tawney’s “Sally Free And Easy” bursts its banks to become a 10-minute guitar sprawl, but it’s a mark of their new-found unity that Costa and Clarke queue up in an orderly fashion to decorate “Streets Of Derry”, another spectacular journey from rustic inner space to the wild West Coast.

Thanks in part to its creepy Hipgnosis sleeve, genre perverts tend to rate On The Shore as Trees’ defining statement, but it doesn’t always wear its sophistication lightly; Tolpuddle Martyrs tribute “While The Iron Is Hot” sounds a bit Les Misérables in hindsight, while the inelegantly countrified “Little Sadie” still draws winces from band members five decades on.

Contemporaries, meanwhile, seldom discussed whether On The Shore was a better record than The Garden Of Jane Delawney, CBS unable to drum up much interest in either. Never given another opportunity to record their own songs, Trees soldiered on and off until finally expiring in 1973. Costa stayed in the business as an art director while Boshell found success with the Kiki Dee Band, writing their 1974 hit “I’ve Got The Music In Me” before joining latter-day line-ups of the Moody Blues and Barclay James Harvest. Humphris, for her part, was a big hit on the underground, voicing pre-recorded announcements on the Northern Line.

However, if the individual Trees had more tangible successes later in life, their juvenilia is compelling still. Like the equally ill-starred Mighty Baby, Trees absent-mindedly fashioned a fusion of folk-rock and San Francisco psychedelia. Unsure of whether to be Fairport Convention or the Grateful Dead, they contrived to be both at once: earthy, adventurous, loud. Their more excessive moments may have tested Humphris’ patience, but this is music that makes sense in large, languid doses. Lie back. Think of England. Enjoy.

Extras: 7/10. A hitherto unheard demo of “Streets Of Derry” (with a rather abrupt ending) represents a nice bonus, along with live recordings from Costa and Boshell’s 2018 return to the stage as the On The Shore Band. Other ‘rarities’ are more familiar, though the otherwise unreleased “Forest Fire” – seemingly salvaged from a home recording of a 1970 BBC session – and the more whimsical 1969 demo “Little Black Cloud” are significant additions to Trees’ small canon. Another lost song, “Black Widow”, stems from a brief reunion in the 2000s.

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Stranded In Reality, a masssive 30-disc anthology box set celebrating the solo career of British rock legend and Mott the Hoople iconic frontman Ian Hunter

Strictly limited to 2,500 copies worldwide and available to buy exclusively through, the set has been compiled and curated by Ian Hunter and his biographer Campbell Devine. Covering the years 1975 to 2015, it comprises over 400 rock ‘n’ roll tracks, with 17 original albums spread across 19 CDs, nine ‘new’ discs of rare and unreleased tracks plus two DVDs.

The panoply of solo albums include expanded Anniversary Editions of Ian Hunter, All-American Alien Boy, You’re Never Alone with a Schizophrenic and Welcome to the Club, plus bonus track discs of Short Back n’ Sides, The Artful Dodger and When I’m President.

The other nine CDs offer many unheard and ‘lost’ songs from Hunter’s archive:

Tilting the Mirror (rarities – two-CD)
If You Wait Long Enough for Anything, You Can Get It On Sale (Live 1979-81 – two-CD)
Bag of Tricks (Live Volumes 1, 2 and 3)
Acoustic Shadows (The 2008 Acoustic Tour)
Experiments (Unreleased Trax)
Highlights include San Diego Freeway, Nobody’s Perfect and Salvation as well as rarely performed live versions of Wild East, While You Were Looking At Me, The Outsider and a 2008 acoustic concert.

The worldwide-compatible two-DVD package that completes the set is entitled It Never Happened and features promo, concert and archive material, most of which has not been issued commercially on DVD before. It includes a TV film from the 1979 tour, live in Toronto

This weighty collection is presented in an LP-size box with specially commissioned Escher-esque cover artwork and various goodies to complement the music. There’s an 88-page hardback book with a comprehensive essay on Hunter, rare memorabilia and Ian Hunter ‘track by track’ for every song; an Alien Boy lithograph personally signed by Hunter; a reproduction Shades newspaper featuring classic old press features; and original and new album artwork in replica card sleeves.

Those wary of diving straight into such a pricey pre-order purchase, can first dip into seven-track CD Sampling In Reality, which contains five tracks from the forthcoming limited edition set plus two songs unique to the sampler (all songs on here are previously unreleased bar Your Eyes from Shrunken Heads from the Shrunken Heads EP).

Also look out for Hunter’s new studio album with his Rant Band, Fingers Crossed, scheduled for release a couple of weeks after Stranded In Reality. Among the self-penned ten new tracks is Dandy, his tribute to the David Bowie who produced and provided the hit title track for Mott the Hoople’s 1972 album All The Young Dudes.

Stranded In Reality was originally released on 2nd September 2016.

Starless and Bible Black, 30th Anniversary Edition

When it was released in spring 1974, not even the record company knew that King Crimson’s ‘Starless & Bible Black’ album was essentially a live recording. Such secrecy by the band might have resulted from knowing that record labels paid a reduced royalty rate on live albums. The truth only emerged several years after Crimson had split up.

Bassist/vocalist John Wetton was proud of the results: “For me, it shows us moving into another dimension as far as being a band is concerned. We’d found our feet; we’d been on the road for the best part of a year. We knew what we wanted to do & we were getting creative. Not only is the album chronologically the bridge between Larks’ Tongues In Aspic, & Red, but it’s also a bridge in many more ways..

in 1973 King Crimson weren’t simply touring in order to pursue rutting opportunities. There was the not inconsiderable matter of recording a follow-up to Larks’ Tongues In Aspic. The album had sold well but the band were less than happy with the results of the time they had spent during January and February in Piccadilly’s Command Studios. “Collapse Studios more like – that’s what we used to call it,” shudders Wetton.

Despite the classic nature of the material and many inventive moments peppered throughout LTIA, the Crimson camp felt that whatever magic had touched them as they played in concert during the winter of ’72, the recording of the album in the New Year had quite simply failed to capture any of that power or intensity which had moved not only the band themselves, but also many commentators and fans. Putting a brave face on their combined disappointment, by the time the album hit the shops, the quartet were already on their way around the UK, Europe and, in mid-April, the USA. The Crimson that returned to the UK in July ’73 was not only tired after notching up over 60 gigs, but also in dire need of new material to refresh the setlist and prepare for a new album.

Reconvening after a three-week holiday, spirits and tempers were frayed, rather than rested. What had been a break for some turned out to be a busman’s holiday for Robert Fripp, who emerged from his Dorset cottage with Fracture, The Night Watch and Lament.  As the group worked on the new tunes, bad tempers flashed. According to Bill Bruford, Crimson’s writing processes were exercises in “excruciating, teeth-pullingly difficult music making. The tunes Robert has written all the way through, such as Fracture, these are good, and had there been greater output from Robert, we’d have got on quicker and faster. Robert’s always done this. He’s started off these bands with one-and-a-half tunes that point the general direction, and Fracture would have been one of them.”

“I was never given the time to write,” counters Fripp. “The band had a three-and-a-half-week holiday. I had three days. I recall on another occasion saying to the band that I needed time to write, rather than just continuing to rehearse. Bill, in a schoolmasterly and rather grudging fashion, would only agree if I really would do the writing, as opposed to what he implied was goofing off.” The gnawing antipathy that became a defining characteristic of Fripp and Bruford’s subsequent professional relationship first surfaced in these rehearsal sessions, sewing the seeds of the band’s demise a year later.

Putting their differences aside, Crimson took to the road with their newly composed repertoire and their near-telepathic ability to create complex and nuanced improvisations off the top of their heads. When they played at Amsterdam’s Concertgebouw, a mobile recording studio captured the band in full aleatoric flight.

Few bands of the era offered as much variety in material from night to night. King Crimson’s propensity for improvisation & fondness for playing its newest material – often unreleased on record at the time of the concerts – is legendary. Fewer bands still, whether by accident or design, recorded so many of their live shows.

Back in the UK in January 1974, and with three new tracks in the can at George Martin’s AIR Studios, the band sifted through the many live multi-tracks from the tour, choosing the best improvisations and scrupulously editing the tapes to remove any hint of audience noise or applause. It was impossible to tell what had been improvised in concert and what had been recorded in the studio.

The only songs recorded entirely in the studio were the first two tracks, “The Great Deceiver” and “Lament”. “We’ll Let You Know” was an entirely improvised piece recorded in Glasgow. “The Mincer” was another improvised piece, originally recorded in concert in Zürich but overdubbed with Wetton’s vocals in the studio ,The track was the edited-out middle section of a longer improvisation, the other parts released on The Great Deceiver as “The Law of Maximum Distress”. “Trio”, “Starless and Bible Black” and “Fracture” (the last of which Robert Fripp has cited as one of the most difficult guitar pieces he has ever played were recorded live at the Concertgebouw in Amsterdam. Also recorded at the Concertgebouw was the introduction to “The Night Watch” (the band’s Mellotron broke down at the start of the next section, meaning that the remainder of the song needed to be recorded in the studio and dubbed in later). In all cases, live applause was removed from the recordings wherever possible (although the remains of it can be heard by an attentive listener). The complete Amsterdam Concertgebouw concert was eventually released by the band in 1997 as The Night Watch.

“Trio” was notable for being a quartet piece with only three active players – John Wetton on bass guitar, David Cross on viola and Robert Fripp on “flute” Mellotron. Bruford spent the entire piece with his drumsticks crossed over his chest, waiting for the right moment to join in but eventually realized that the improvised piece was progressing better without him. His decision not to add any percussion was seen by the rest of the band as a crucial choice, and he received co-writing credit for the piece.

When it was released in that spring, not even the record company knew that “Starless And Bible Black” was essentially a live recording. Such secrecy by the band might have resulted from knowing that record labels paid a reduced royalty rate on live albums. The truth only emerged several years after Crimson had split up.

Starless and Bible Black offers an in depth overview of one of the era’s most significant bands in its most celebrated live line-up. John Wetton is proud of the results: “For me, it shows us moving into another dimension as far as being a band is concerned. We’d found our feet; we’d been on the road for the best part of a year. We knew what we wanted to do and we were getting creative. Not only is the album chronologically the bridge between LTIA and Red, but it’s also a bridge in many more ways. We were getting more experimental, trying different recording techniques, really screwing with the system, removing applause from live tracks so they sound like studio tracks – the exact opposite of what people do today where they add applause to a studio track and pretend it’s live. We’d removed the audience because that was the only way we could get the atmosphere we were after. Before Red, we could never recreate that kind of power in the studio – it just wouldn’t happen. You’re in a sterile environment, whereas on stage you’d got all that air and people and you’d got energy.” The bassist looks back on the period in which the album was made with real affection

Autumn 1973: As King Crimson’s second lengthy US tour of that year was coming to a close, a short series of UK concerts for the end of October, followed by a more extensive European tour in November was already planned. Three of these concerts Glasgow, Zurich & Amsterdam were recorded as full multi-track recordings, with material from the Amsterdam show being used as core material for the January 1974 recording of “Starless & Bible Black”. From mid-March to the start of April, the band was on the road in Europe again, promoting the album with their final European concerts of the decade, prior to undertaking a further US tour. A number of these concerts were recorded on stereo reel to reel machines, fed directly from the signal as sent to the PA system on the night of the performance. These soundboards are often referred to as “The Blue Tapes”, named after the outer colour of the original tape boxes & are especially valued for both the quality of recording & performance.

This boxed set presents eighteen CDs of live concert performances, seven of them mixed from the 1973 multi-track tapes and a further eleven presenting the complete run of “The Blue Tapes” for the first time. CDs of the ORTF Paris TV performance & the 2011 stereo mix of Starless & Bible Black also feature. Two DVD-A discs & two Blu-Ray discs contain concert & studio recordings in stereo, quadraphonic & full 5.1 surround sound – all presented in high-resolution audio.

  • 19 CDs of live performance material.
  • 7 CDs taken from multi-track tape including 4CDs of material from the Glasgow & Zurich shows, freshly assembled & mastered in Hi-Res from the original Great Deceiver mixes by David Singleton at DGM Soundworld in 2014, the Amsterdam show The Nightwatch mixed by Steven Wilson & a previously unheard preparatory of material from the same show prepared by George Chkiantz (engineer of all live KC shows of the era & the Red album).
  • 11 CDs drawn from high quality stereo reel to reel soundboard tapes. 8 making their first appearance on CD with the remaining three re-mastered or drawn from new tape sources.
  • 1 CD presenting the performance from the ORTF Paris TV broadcast
  • CD 20 features the 2011 stereo mix of Starless & Bible Black by Steven Wilson & Robert Fripp
  • DVD-A 1 features the Starless & Bible Black album in 5.1 Surround, with new & original stereo album mixes in High Resolution Stereo plus bonus audio material.
  • DVD-A 2 features material from Mainz (mixed by David Singleton), Amsterdam (mixed by Steven Wilson) & a later show from Pittsburgh (mixed by George Chkiantz) in quadraphonic audio & High-Resolution Stereo.
  • Both DVD-A discs are region 0 playable in all areas & compatible with all DVD players & DVD Rom players


  • Blu-Ray Disc 1 features full lossless audio 24/192 transfers of material from the Glasgow & Zurich shows, freshly assembled & mastered from the original Great Deceiver mixes by David Singleton at DGM Soundworld in 2014 in LPCM stereo.
  • Blu-Ray Disc 1 also features the Amsterdam show The Nightwatch, mixed by Steven Wilson & the George Chkiantz preparatory mix stereo in 24/96 High-resolution stereo & a 24/96 transfer of the original David Singleton/Robert Fripp mix of The Nightwatch.
  • Blu-Ray Disc 2 features Starless & Bible Black in 5.1 Surround (DTS-HD MAS & LPCM 24/96) alongside new & original stereo masters of the album, a needledrop of an original vinyl pressing + audio extras.
  • Blu-Ray Disc 2 also features the Quad mixes of material from the Mainz, Amsterdam & Pittsburgh concerts.
  • Blu-Ray Disc 2 also features the ORTF Paris TV footage in a new hi-res transfer from the original source files.
  • Discs packaged in 8 individual 3 disc digi-packs within an album sized box
  • 3 additional bonus CDs of audio restored soundboard/bootlegs & audio curios are also included.
  • 1 further concert (bootleg quality audio) is also available via included download ticket.
  • Album sized booklet with rare/unseen photos, new sleeve notes by Sid Smith, technical notes on the recordings by David Singleton, eye-witness accounts from fans who attended the gigs + memorabilia including an album print, poster, replica concert ticket, press release with folder, photos & more besides.
  • King Crimson
    • Robert Fripp – guitar, Mellotron, devices, Hohner pianet, production
    • John Wetton – bass, vocals, production
    • Bill Bruford – drums, percussion, production
    • David Cross – violin, viola, Mellotron, Hohner pianet, production


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As promised, Esoteric Recordings have announced the release of a new re-mastered four disc deluxe expanded boxed set limited edition (comprising 3 CDs and a DVD) of the legendary 1975 album ‘FUTURAMA’!
Features the original album remastered from the original studio tapes, and an additional 36 bonus tracks drawn from a stunning new 5.1 surround sound & stereo mixes by award winning engineer Stephen W Tayler, out-takes, BBC Radio In Concert & John Peel Sessions, rare promo videos, a lavishly illustrated 68-page book with an essay of recollections by Bill Nelson, a facsimile Record Store poster for FUTURAMA, replica track sheets, and postcards.

Also available as a 2CD Edition. Released April 26th!

Led Zeppelin‘s soundtrack to their concert film The Song Remains The Samehas been remastered and will be reissued across multiple formats in September.

The band’s performances in July 1973, at New York’s Madison Square Garden, were recorded for the concert film, The Song Remains The Same. The soundtrack to the film, produced by Jimmy Page, was originally released in 1976. Recorded live at the conclusion of a North American tour in support of the band’s Houses of the Holy album

The release is scheduled for Sept. 7, which will mark the 50th anniversary of the first show Jimmy Page, Robert Plant, John Bonham and John Paul Jones ever played together. In addition to the Super Deluxe Boxed Set edition,

This reissue is similar to the recent reissue of their live album How The West Was Won, since the formats on offer include an expansive super deluxe edition box set that includes the remastered audio on two CDs and four vinyl LPs and a two-DVD set of The Song Remains The Samefeaturing the full theatrical version of the film plus bonus content including four performance outtakes that were not part of the original film:  Celebration Day, Over The Hills And Far Away, Misty Mountain Hop, and The Ocean. The box also includes a DVD of the entire album in Dolby Digital 5.1 Surround and PCM Stereo, a download card of all stereo audio content at 96kHz/24 bit, a 28-page book (with photos and an essay by Cameron Crowe), a replica of the Japanese program from 1977, and a print of the original album cover (as usual, the first 30,000 will be individually numbered).

9-disc super deluxe edition • Blu-ray audio • Full album 5.1 mix

As well as the big box, there’s a 4LP vinyl set, a blu-ray audio with the 5.1 mix (96kHz/24 bit) and surround mixes and a humble remastered two-CD package.

It’s worth noting that for the 4-LP set, Page made a change to the track sequence, allowing the 29-minute version of Dazed And Confused to be featured in its entirety on one side of vinyl for the first time.

The Song Remains The Same will be reissued on 7 September 2018.

The Decemberists  have shared the second single from their forthcoming eighth studio album, I’ll Be Your Girl, out on March 16th via Capitol Records.

Their first single, “Severed,” saw the band taking on a radical new electronic, synth-pop sound as they name dropped unexpected influences like Roxy Music, New Order and Depeche Mode, and they even said it started as a punk song. Synths follow the band into their new single “Once In My Life” though the acoustic guitar-led intro and outro give off the familiar comfort of a traditional Decemberists track. However, sandwiched in between the song’s edges is a spacey, synth-driven track that somehow manages to coexist with the indie-folk balladry of front man Colin Meloy’s lead vocals.

Meloy said the track was elevated by the band in the studio and he commented, “We were playing that on the road as a folk-rock anthem thing, but bringing in that obliterating synth really took it somewhere different. The whole band really stepped up and transformed these arrangements.”Image may contain: shoes

New album ‘I’ll Be Your Girl’ available March 16th:

This thing, this molten piece of spectacular extravagance, is available for pre-order now and will ship no later than June 15th, 2018. No fear: each pre-order will come with a digital download of the album that can be redeemed on March 16 (the four extra tracks will be available for digital download on the shipping date).

• Sixteen songs — all eleven of the album tracks + four exclusive tracks from the IBYG sessions
• Eight  7” vinyl records, each a different color
• Nine sleeve pinwheeling, heavy duty cardstock book with slide-out record jacket pockets, full color art from Carson Ellis and paper engineered pop-up elements
• Full color booklet SIGNED BY THE BAND
• Lives tidily inside a hefty chipboard slipcase.

(Plus a few special secrets)

“Once In My Life” is the first song on I’ll Be Your Girl. I imagine you’ve felt this way, or are maybe feeling this way right now. It’s a pretty universal sentiment, I think. Embrace it. Hope you enjoy the song. – Colin Meloy

The Decemberists are back! Their band members include drummer Joen Moen, guitarists Chris Funk and Colin Meloy who takes lead vocals, multi-instrumentalist Chris Funk and Nate Query playing bass.

This year sees the release of their latest album; I’ll Be Your Girl. And so, you can catch them showing off their new material Fans are all very excited to get their hands on The Decemberists tickets,

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Nearly four decades’ worth of singles — both A-sides and their accompanying B-sides — by the assorted lineups of Mark E. Smith’s pioneering post-punk outfit The Fall will be collected on a new 7-disc, 117-track box set from Cherry Red Records this November.

The collection, christened The Singles 1978-2016, is due to be released November. 24th in both a full 7-disc set and a slimmed-down 3-disc set that just presents the A-sides, without the four CDs worth of B-sides.  Both versions of the forthcoming box set can be pre-ordered via the label’s website.

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According to Cherry Red, this collection — remastered by Fall engineer Andy Pearce — is the first to bring together The Fall output released across a swath of different labels, including Step Forward, Rough Trade, Kamera, Beggars Banquet, Cog Sinister, Permanent, Artful, Action and Cherry Red itself.

The collection spans music released on The Fall’s 1978 debut EP Bingo-Master’s Break-Out! through 2016’s Wise Ol’ Man EP, and countless singles, and their B-sides, in between (though not anything from New Facts Emerge, the band’s 32nd studio album, which was released this past July).

The box set includes a full illustrated discography from Fall expert Conway Paton.

Limited box containing five 7″ vinyl singles. This is Volume Two of a four part set of Who singles by labels (Brunswick, Reaction, Track and Polydor). The five singles from the Reaction label – originally released between March and December of 1966 – are repressed here on heavyweight vinyl with sleeves reproducing the period graphics with die-cut center holes. Includes remastered versions of Who classics – ‘Substitute’, ‘Happy Jack’, ‘I’m a Boy,’ the Ready Steady Who E.P. and others. Housed in a full color rigid outer box, 7′ sized 8-page color booklet with liner notes about each release. Liner notes by Who biographer Mark Blake.

The Limited Edition Box Set Includes: 8 x vinyl LPs meticulously reproduced in their original sleeves, re-mastered by renowned mastering engineer Andy Pearce from the original tapes and pressed on 180 gram splatter-coloured vinyl, each LP with unique and individual colouring.

• MASTER OF REALITY (incl original fold-out colour poster)
• VOL. 4


• 2 x rare 7” singles, reproduced in their original sleeves: *Japanese *version of Evil Woman (Don’t Play Your Games With Me)/Black Sabbath. *Chilean *version of Paranoid/The Wizard (only 100 copies of the original radio promo were pressed)

• Crucifix shaped Black Sabbath USB stick, exclusive to this box set, which can be worn round the neck and contains MQA high definition audio of the first eight Black Sabbath albums

• The extremely rare The Ten Year War brochure, reproduced from the original publication

• Hardback book, featuring accolades from the cream of rock royalty, coupled with official and candid iconic photography of the band during their 1970s tours, recording sessions and photo-shoots

• Tenth Anniversary World Tour 1978 Official Programme, impeccably reproduced

• Reprinted tour poster from the 1972 Seattle Centre Arena show

• Box set cover art has been created by globally renowned street artist Shepard Fairey

Black Sabbath are one of the world’s most popular and enduring heavy metal bands and are constantly credited with inventing and defining the genre. To this day, the world of metal – fans and artists alike – cites Sabbath as being both influential and inspirational.

From the blues-laden metal which defined the band’s sound on their self-titled debut, to the multi-million selling follow-up, ‘Paranoid’, Sabbath captured the attention of a generation hungry for a new musical direction. However, the all-conquering enthusiasm shown by Sabbath’s rabid fan base wasn’t always mirrored by the gatekeepers within the music press, and it is this disparity which inspired the band to publish The Ten Year War brochure. This document was a playful dig at the journalists of the time with the witty tagline: “More good press than most – more bad press than any”.

With a career spanning 50 years, Black Sabbath have proven time and time again that their musical heritage is unrivaled. Having sold tens of millions of records, sold out global arena tours and bewitched millions of dedicated fans, the band have built a catalogue envied by all.

The Ten Year War box set brings together the first eight Sabbath studio albums in one place, plus a swathe of other rarities, and celebrates the band’s achievements on the stage, in the studio and in the public eye.

The Verve / Urban Hymns super deluxe


Remastered • Unheard live audio • B-sides & Remixes • DVD • Vinyl box

Universal will celebrate the 20th anniversary of The Verve’s “Urban Hymns” album in September with a reissue campaign that includes a 5CD+DVD super deluxe edition and a massive 6LP vinyl box set….

All formats feature a remastered version of the album (the work of Chris Potter and Metropolis’ Tony Cousins) and the super deluxe edition box set adds four further CDs offering B-sides, remixes, session tracks, BBC Sessions and two discs of unreleased live performance from the era, including the May 1998 hometown show in front of around 35,000 fans at Haigh Hall, Wigan.

That same show also features on a content-packed DVD, included within the super deluxe, which includes the 1999 documentary The Video 96-98 (unreleased on DVD until now) and promo videos.

As with the Verve box sets from last year this super deluxe includes a 56-page hard cover book, a poster and five postcards. What is different about the reissue of this album is that there is a vinyl box set edition that is very extensive indeed and covers most (not all) of the audio in the CD box across six vinyl records (three gatefold packages). The remastered Urban Hymns is pressed on two LPs, and all the B-sides and remixes are included on two further vinyl records. All 15 tracks from the previously unreleased Live at Haigh Hall fill the final two vinyl records, completing this six-LP vinyl box.

The audio you don’t get in the vinyl box is the BBC Evening Session (CD3 of the box) and the 12 tracks of ‘Further live material’ on CD 5. However, the vinyl box does come with a 20-page booklet and a download card which entitles you to all audio from the super deluxe edition CD box set.

There is a 2Cd edition as well. The second disc is the Haigh Hall live performance, rather than the B-sides and remixes, although the eagle-eyed amongst you might notice that Universal haven’t just repeated CD 4 from the box set. Neon Wilderness is missing (along with the encores) and they’ve added three tracks from the aforementioned ‘further live material’ tracks. Putting this live audio on disc two is probably a good decision, since many fans will have CD singles from back in the day.

thanks to Super Deluxe Edition.