The blu-ray was previously only available as part of the excellent, but expensive, super deluxe edition of Who's Next, which was released just over a year ago. It features Steven Wilson remixes of Who's Next and 14 bonus tracks. Those bonus tracks are of the highest quality and include unedited versions of singles such as 'The Seeker', 'Let's See Action' and 'Join Together' Wilson has created Dolby Atmos Mixes, dedicated 5.1 mixes and new stereo mixes of all 23 tracks on the blu-ray with the exception of 'Bargain' for which the multi-tracks unfortunately could not be found (a Penteo 'upmix' was created for that track for the spatial/surround mixes). The SDE blu-ray exclusively features Steven Wilson instrumental mixes of the album and all the bonus tracks (except 'Bargain' for the reasons stated above). These instrumentals do not features on the blu-ray in the box set.

Four CD set. Best known for their 1965 hit, the brooding garage pop masterpiece 'Take A Heart', Coventry band The Sorrows cut a clutch of similarly vital 45s and the Take A Heart album before frontman Don Fardon left in 1966. While Fardon went on to a solo career, The Sorrows regrouped and moved to Italy, where they had a couple of minor hit singles and released the psych-rock album Old Songs, New Songs before breaking up at the end of the decade. While those two distinct phases of the band have been individually anthologized before, Pink Purple Yellow And Red represents the first time that they have been assembled under one roof, and as such stands as the definitive document of The Sorrows' fascinating career. In addition to those pivotal mid-Sixties singles, the package includes the entire "Take A Heart" album in both mono and stereo, the "Old Songs, New Songs" LP and an earlier acetate-only demo album that was scrapped when two members of the band left. The set also features their collaborations with soundtrack maestro Ennio Morricone, their title song to the Italian spy movie Ypotron, a superb acetate-only early 1968 single, spin-off singles by The Eggy and Renegade, a 1980 live show from the reformed band and, in a thrilling new archival find, four previously unissued 1964 recordings with legendary producer Joe Meek. Housed in a clamshell box, and including a lavish booklet containing many rare photos and a detailed essay on the band's activities, the set Pink Purple Yellow And Red is an essential purchase for anyone with more than a passing interest in Sixties British pop.

An ultimate compilation exploring the "profound roots and dazzling musicality" of David Bowie has been completed in celebration of the documentary film Moonage Daydream. This collection delves into Bowie's transformation throughout his career, starting from the "60s Swinging London" era—his golden age—by examining the original songs he covered, artists from the 1960s who influenced him, and tracks that shaped his work. It includes references to his covers album PIN UPS and the roots of tracks from his early recordings, such as those featured on TOY. Tracing his journey from a space-inspired folk enthusiast to a trailblazer in Swinging London, psychedelia, and glam rock, the album reflects his unparalleled artistic trajectory. The lineup features Bowie alongside icons like Marc Bolan and Pink Floyd. Through detailed commentary, the collection unveils a vivid portrait of Bowie and his influences, offering a unique glimpse into his extraordinary evolution.

Record Store Day description: The Who's incendiary live performance at the legendary 1967 Monterey International Pop Festival, available for the first time on vinyl. Classic high-gloss tip-on style jacket, printed inner sleeve and red/white/blue striped vinyl, for Record Store Day 2020.

Comprehensive 3CD set featuring all of The Artwoods’ A and B sides, plus four previously unissued early acetate recordings by the Art Wood Combo. Also includes several BBC radio sessions with unique tracks and a long-lost live recording from Denmark at tail-end of their career. The compilation benefits from the involvement of the band’s guitarist Derek Griffiths and basisst Malcolm Pool, plus legendary blues producer Mike Vernon.
Back in the mid-‘60s, The Artwoods were one of the most vital, impressive R&B bands on the circuit, fronted by Art Wood (elder brother of future Faces/Rolling Stones guitarist Ronnie) and also boasting future Deep Purple organist Jon Lord, renowned drummer Keef Hartley, guitarist Derek Griffiths and bassist Malcolm Pool. Between 1964 and 1967, the band recorded seven singles, the ultra-rare EP ‘Jazz In Jeans’ and a nearly as scarce LP, ‘Art Gallery’, mostly for Decca…

Not Now's 2014 compilation Walk on the Wild Side: The Jazz Side of Mod gathers 32 tracks recorded primarily between 1960 and 1962. Although R&B ravers Booker T. & the MG's and Bill Doggett show up, and there are a couple of cuts that have a bit of splashy Hollywood swing to them, this is primarily grooving soul-jazz from the likes of Jimmy Smith, King Curtis, Herbie Hancock, Jimmy McGriff, and Brother Jack McDuff, music that makes for a cool swinging party.

A surprisingly strong collection of mid-'60s sides from British Decca, which was never perceived as that strong a label. Prepared by two experts from New Musical Express, this features the expected sides from Small Faces, Bowie, and the Zombies, but also all the blues (Alexis Korner, Cyril Davies), punk (Rocking Vickers), and psychedelic acts (Honeybus) that never made it here.

Stunning compilation of Small Faces cuts released worldwide on the Immediate Records label. A-sides, rare B-sides, classic hit singles such as Itchycoo Park, Lazy Sunday, Here Come the Nice, Tin Soldier, The Universal, Afterglow Of Your Love and more. For the first time ever, all the correct single versions are included, newly remastered from recently discovered original mono master tapes by Matt Colton.

The Jam's Setting Sons was originally planned as a concept album about three childhood friends who, upon meeting after some time apart, discover the different directions in which they've grown apart. Only about half of the songs ended up following the concept due to a rushed recording schedule, but where they do, Paul Weller vividly depicts British life, male relationships, and coming to terms with entry into adulthood. Weller's observations of society are more pointed and pessimistic than ever, but at the same time, he's employed stronger melodies with a slicker production and comparatively fuller arrangements, even using heavy orchestration for a reworked version of Bruce Foxton's "Smithers-Jones." Setting Sons often reaches brilliance and stands among the Jam's best albums.

As good mods, the Jam always had a healthy respect for R&B and soul - even the first album featured the revved-up Northern soul of "Non-Stop Dancing." With The Gift, however, Paul Weller seems to have become completely absorbed in it, and more specifically, in Stax-style soul with more than a hint of psychedelia à la "Psychedelic Shack." An uneven album marked by overindulgences like the instrumental "Circus" and unnecessarily long songs, The Gift still has no shortage of terrific songs, like the simply sublime "Ghost," "Town Called Malice" (the hit), and the funk workout of "Precious." Weller can obviously do "soulful" - his voice has never sounded better - but unfortunately, The Gift, with its excesses and marginal tracks, doesn't show his talents in the proper light. Points for ambition, but ultimately, this is their least consistent effort since This Is the Modern World.

Unhappy with the slicker approach of Setting Sons, the Jam got back to basics, using the direct, economic playing of All Mod Cons and "Going Underground," the simply brilliant single which preceded Sound Affects by a few months. Thematically, though, Paul Weller explored a more indirect path, leaving behind (for the most part) the story-song narratives in favor of more abstract dealings in spirituality and perception - the approach stemming from his recent readings of Blake and Shelley (who was quoted on the sleeve), but more specifically Geoffrey Ash, whose Camelot and the Vision of Albion made a strong impression. Musically, Weller drew upon Revolver-era Beatles as a primary source (the bassline on "Start," which comes directly from "Taxman," being the most obvious occurrence), incorporating the occasional odd sound and echoed vocal, which implied psychedelia without succumbing to its excesses…

The Jam regrouped and refocused for All Mod Cons, an album that marked a great leap in songwriting maturity and sense of purpose. For the first time, Paul Weller built, rather than fell back, upon his influences, carving a distinct voice all his own; he employed a story-style narrative with invented characters and vivid British imagery à la Ray Davies to make incisive social commentary - all in a musically irresistible package. The youthful perspective and impassioned delivery on All Mod Cons first earned Weller the "voice of a generation" tag, and it certainly captures a moment in time, but really, the feelings and sentiments expressed on the album just as easily speak to any future generation of young people. Terms like "classic" are often bandied about, but in the case of All Mod Cons, it is certainly deserved.

The Artwoods' only album was an enjoyable mixture of club-oriented soul, R&B, and jazz with a strong organ spice, although it found them falling seriously behind their contemporaries in the British R&B scene in a crucial respect. Not one of the dozen tracks was a group original, and their vocal and interpretive ability was not so strong as to make that shortfall an irrelevance. Still, it did give them a chance to stretch into some jazzy workouts and rave-ups that probably couldn't have been contained on 45s, particularly the swinging cover of "Walk on the Wild Side" (with excellent jazz organ by Jon Lord); Allen Toussaint's "Can You Hear Me," with an arrangement reminiscent of the Spencer Davis Group; and Bobby Bland's "Don't Cry No More," one of their best R&B covers…

On their debut, the Jam offered a good balance between the forward-looking, "destroy everything" aggression of punk with a certain reverence for '60s beat and R&B. In an era that preached attitude over musicianship, the Jam bettered the competition with good pop sense, strong melodies, and plenty of hooks that compromised none of punk's ideals or energy, plus youth culture themes and an abrasive, ferocious attack. Even though the band would improve exponentially over the next couple of years, In the City is a remarkable debut and stands as one of the landmark punk albums.

Polished soul, pop gems and more from the female roster of 1960s Warner Bros and Loma.
“She’s A Doll!” could very easily have been the next volume in our long-running “Where The Girls Are” series, but the tracks for that are already cast in stone and due for release in the near future. Instead the decision was made to make it a stand-alone release, and who knows, possibly the first in a whole new series of label-centric girl-pop compilations. Packaged with a 24-page booklet featuring a 4,000-word track commentary and rare full-page photos of many of the artists, the collection opens with ‘Contact’ by the Three Degrees, a slice of cool Philly soul, with a little space age psychedelia on the side, issued as the glamorous trio’s one-off single for Warner Bros in 1968, and closes with Lorraine Ellison’s ‘In My Tomorrow’ from the same year, one of the many fine records she made under the auspices of producer Jerry Ragovoy.