Back catalogue:

Review: Sharps and Flats, under the direction of Nobuo Hara, has significantly influenced Japan's big band jazz landscape. Their album Little Giant, originally released in 1970 as part of Victor's Japanese Jazz series, remains a key highlight in their extensive catalog. This release features the talents of notable composers and arrangers, including Masao Yagi, Kiyoshi Yamaya, Norio Maeda, and Masahiko Sato, alongside innovative arrangements of works by Oliver Nelson, a close collaborator. The albums intricate and bold arrangements reveal the band's exceptional performance caliber. The track 'Little Giant' radiates coolness, while 'Dark Horse' exudes strength. 'Orbit 8:11' introduces an edgy sound, and 'Flexibility' displays refined sophistication. The musicians deliver a compelling interplay of energy and calm, reflecting the band's versatility. Now reissued on vinyl, this work captures the distinctive charm and skill of Sharps and Flats, presenting an exciting experience for listeners. It's a vibrant representation of adventurous big band jazz that continues to resonate.

Review: Sachiko Kanenobu is a pioneering Japanese singer-songwriter renowned for her 1972 masterpiece Misora which was produced by Haruomi Hosono. Now based in California, she returns with Fork in the Road, a collection of songs written in the late 70s and 80s after a hiatus to raise her children. Encouraged by sci-fi writer Philip K. Dick who had outed himself as a devoted fan of Misora, she resumed songwriting and originally recorded with Koichi Matsuda. This refreshed edition is produced by Makoto Kubota with contributions from Kikagaku Moyo, Steve Gunn, Carwyn Ellis, Daichi Ito and Asa-Chang, breathing new life into Kanenobu's heartfelt sounds.

Review: You had us at Sakamoto. Or rather you had us at "excerpts from Ryuichi Sakamoto's time working under Nippon Colombia's label, Better Days. First released in 1992, this 12-track compilation runs from tracks that appeared on the Japanese synth legend's debut album, Thousand Knives, first released in 1978, through to songs written with the iconic session group KYLYN, featuring celebrated guitar great Kazumi Watanabe. Ever the auteur, even if you didn't know this was Sakamoto in proper landmark mode, there's no chance the sounds here could really be confused for anyone or anything else. It's mature and intelligent, yet strangely - and typically - fun, childlike and a little cartoonish, sharing as much in common with experimental electronica that was emerging during the 1970s and 1980s as video game scores from the 1990s.

Review: Mobile Fidelity's 180g 33RPM LP reissue elevates the album's sonic experience by sourcing it from the original analogue master tapes. Pressed at Fidelity Record Pressing, the reissue boasts pristine sound, revealing the intricate details of Santana's dynamic arrangements. Carlos Santana's guitar work, rich in clarity and precision, soars with newfound definition, making his signature solos and leads stand out even more vividly. Inner Secrets, Santana's 1978 album, marked a significant shift towards the rock mainstream, featuring three Top 100 singles and showcasing a more focused, streamlined sound. This period saw Santana transition from their earlier fusion-heavy style to more accessible, radio-friendly material, packing complex passages and passionate performances into tighter song structures, with no track exceeding six minutes.Notable contributions from new band members, including Pete Escovedo on percussion and Chris Solberg on multi-instrumental duties, further shape the album's sound, complementing Graham Lear's sharp drumming and David Margen's groovy bass lines. Highlights include covers like Buddy Holly's 'Well All Right' and the Four Tops' 'One Chain (Don't Make No Prison)'. Greg Walker's raw, soulful vocals bring an edge to the music, embodying the "street and church" quality Carlos Santana admired. Inner Secrets serves as a powerful milestone in Santana's evolution.

Review: A stunning fusion of rock, Latin rhythms and jazz, this 1977 album blended live performances with studio recordings to create a dynamic, immersive experience. Now reissued on vinyl, the double album - which features live and studio recordings - captures the raw energy of Santana's stage presence while showcasing Carlos and co's refined musicianship. The album's biggest hit, 'She's Not There', reinterprets The Zombies' classic with soaring guitar work and Latin percussion, turning it into a mesmerising jam. 'Flor d'Luna (Moonflower)' is a beautiful instrumental piece, filled with Carlos Santana's signature, expressive guitar melodies. 'Dawn / Go Within' opens the album with a mystical, jazz-tinged atmosphere that blends the spiritual with a musical exploration throughout the album. Live recordings such as 'Soul Sacrifice / Head, Hands & Feet (Drum Solo)' bring the band's electrifying energy to the forefront, while 'Black Magic Woman / Gypsy Queen' revisits their earlier hit with even more intensity. 'Europa (Earth's Cry, Heaven's Smile)' is another gem, a slow-burning instrumental that highlights Santana's unmatched ability to blend emotion and technical prowess. Moonflower was a commercial and critical success, reinforcing Santana's status as innovators in rock and Latin music, and even now, it's pretty obvious why.

Review: Carlos Santana was one of the most prolific artists of the 1970s and 80s, and later in that period is when he released his fourth solo album. After a relentless pace of an average of more than an album per year since his band's 1969 debut, this Grammy-winning effort was his last release before a well-earned break in that run. The largely instrumental album showcases Santana's signature guitar tones with plenty of signature soulful energy and masterful control over his playing. He was supported by a stellar lineup including Tony Williams, Alphonso Johnson, Buddy Miles and Orestes Vilat and Mobile Fidelity's limited reissue presents the album with audiophile sound quality that reveals enhanced clarity and the intricate details of Santana's playing.

Review: Working in partnership with Light in the Attic and curated by Grammy-nominated producer, DJ and journalist Kevin Howes this wonderful new collection chronicles a vital musical migration: in late-1960s Toronto, Caribbean immigrants infused the city with ska, rocksteady and reggae and recorded some of the era's toughest tracks. Originators from Studio One, Treasure Isle and Trojan Records all united and broke racial and cultural barriers to build an influential yet under-appreciated Canadian reggae scene that is now showcased with a 20-page booklet with archival images, artist bios and essays on this double vinyl set.

Review: The Pumpkins' sophomore effort, originally released in 1993, remains a masterclass in balancing raw emotion with lush, layered production. Opening with the iconic 'Cherub Rock', the album immediately asserts its originality, blending Billy Corgan's searing guitar work with Butch Vig's pristine production. The track's dynamic shifts and explosive energy still sounds like nothing since. 'Today', with its deceptively upbeat melody and darker lyrical undertones, became a radio and MTV staple, while 'Disarm' showcased the band's range, swapping distortion for orchestral strings and highlighting Corgan's vulnerable songwriting. For longtime fans, 'Mayonnaise' often emerges as the album's hidden gemia track that marries melancholic melodies with cathartic, crashing crescendos. Throughout the album, Jimmy Chamberlin's drumming is nothing short of phenomenal, adding weight and complexity to tracks like 'Geek U.S.A.' and 'Soma'. Siamese Dream still resonates with the same potency, blending anthems of adolescent angst and shimmering beauty. A reissue that reaffirms the album's enduring legacy as a cornerstone of its genre.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


The Pumpkins' sophomore effort, originally released in 1993, remains a masterclass in balancing raw emotion with lush, layered production. Opening with the iconic 'Cherub Rock', the album immediately asserts its originality, blending Billy Corgan's searing guitar work with Butch Vig's pristine production. The track's dynamic shifts and explosive energy still sounds like nothing since. 'Today', with its deceptively upbeat melody and darker lyrical undertones, became a radio and MTV staple, while 'Disarm' showcased the band's range, swapping distortion for orchestral strings and highlighting Corgan's vulnerable songwriting. For longtime fans, 'Mayonnaise' often emerges as the album's hidden gemia track that marries melancholic melodies with cathartic, crashing crescendos. Throughout the album, Jimmy Chamberlin's drumming is nothing short of phenomenal, adding weight and complexity to tracks like 'Geek U.S.A.' and 'Soma'. Siamese Dream still resonates with the same potency, blending anthems of adolescent angst and shimmering beauty. A reissue that reaffirms the album's enduring legacy as a cornerstone of its genre.

Review: Carl Marshall's musical journey spans over 30 years, but his popularity has surged in recent times. Raised in the vibrant music scene of New Orleans, Louisiana, Marshall played guitar in Sam & the Soul Machine, which was a group featuring talents like Aaron Neville and Cyril Neville. In 1976, he debuted with Movin' On under the name Soul Dog and it included the proto-rap track 'Soul Dog' delivered in a trucker's MC style. Beyond performing, Carl worked as a radio personality at Kiss 104.1 in Meridian, Mississippi and his enduring dedication has cemented his legacy in the world of soul and funk, as has this wonderful showcase of his sound.

Review: Originally released in 2005, Space Shift marked the innovative debut from UK-born, Australia-based artist Steve Spacek. Known for his fusion of soul, electronic, and broken beat, Steve Spacek created a forward-thinking blend of sound with this album. His smooth vocals glide effortlessly over experimental production, weaving through bass-heavy rhythms and glitchy textures. Tracks like 'Dollar', produced by the legendary J Dilla, critiques materialism with a hypnotic groove and is a reimagining of Billy Paul's classic. The collaboration with Dilla showcases Spacek's creative synergy with one of hip-hop's most iconic producers. Other gems like 'Thursday' and 'The Hills' bring lush, atmospheric soundscape that rival some of the best in the genre that year. Now reissued by Spa Recordings, Space Shift includes an unreleased collaboration with J Dilla, 'This One Feels Alright', this re-release reaffirming the album's impact and lasting influence on modern electronic soul.

Review: Henley-born British soul singer Dusty Springfield's time in Memphis marked a turning point in her careeriboth an artistic triumph and a personal gamble. By the late 60s, she had outgrown the UK's pop scene, craving the depth and authenticity of American soul. Recording in the same studios as her heroes, backed by Atlantic Records' finest, she delivered some of her most breathtaking performances. The smoky tenderness of 'Just A Little Lovin'' and the aching vulnerability of 'I Don't Want To Hear It Anymore' showcase her gift for storytelling, while 'No Easy Way Down' and 'I Can't Make It Alone' push her voice to extraordinary places, balancing control with raw emotion. But despite the album's brilliance, commercial success eluded it, deepening her self-doubt. Springfield was a perfectionist, often wracked with insecurity, yet here she sounds unshackledifully immersed in the music she loved, even at great professional risk. Decades later, its impact remains undeniable.

Review: Status Quo's iconic 1977 album Live! sets sail once again with a special 8xCD super deluxe reissue on May 16, 2025, celebrating two of the band's most electrifying performances in Glasgow. Recorded over three nights at the Apollo Theatre in October 1976, the album first captured a selection of tracks from said shows; for their boogie-rock sound and high-energy stage presence, these Glasgow performances were pivotal in cementing Status Quo's reputation on the world stage, in their prime. The reissue offers the gigs again in full, remastering them from newly discovered 24-track tapes, guaranteeing superior sound quality. The set includes a 24-page illustrated booklet with new sleeve notes, rare photographs and memorabilia, shedding light on the impact of the shows and the making of the album.

Review: Sufjan Stevens' sprawling holiday collection, now available in a stunning six-vinyl package, proudly shows the artist's whimsical genius and profound creativity. Picking up from his earlier, ambitious anthology, this collection reimagines classic Christmas songs with playful audacity and emotional depth. Stevens transforms 'Let It Snow!' into a haunting duet that evokes ghostly reflections, while 'I'll Be Home for Christmas' is delivered with a haunting detachment, as if drifting through a dream. Tracks like 'Jingle Bells' and 'We Wish You a Merry Christmas' take on a psychedelic twist and 'Do You Hear What I Hear?' evolves into an exhilarating nine-minute drum & bass epic. Amid these reworkings, Stevens also honours timeless hymns with earnest renditions that retain their original charm. The entire collection reflects a joyous spirit that balances the season's commercialism with a genuine sense of hope and connection. From the spirited garage rock of 'Mr Frosty Man' to the ethereal beauty of 'Christmas in the Room', Stevens' originals shine brightly. The grand finale, 'Christmas Unicorn', begins as a playful folk tune before erupting into a euphoric chorus, weaving in echoes of Joy Division. This remarkable anthology is a delightful journey through festive sounds that invites listeners to embrace the joy of the season with open hearts.

Review: This 3LP set commemorates 25 years of South Park, recorded live at Red Rocks Amphitheatre in Morrison, Colorado. Featuring creators Trey Parker and Matt Stone, alongside Primus and Ween, the album includes the most memorable songs from the show, a special highlight among which is the guest appearance by Rush's Geddy Lee and Alex Lifeson, who perform 'Closer To The Heart' with Primus and Matt Stone. The set is pressed on black vinyl, capturing a landmark celebration of the show's legacy.

Review: Following two sold out farewell shows at the Scotiabank Arena in their hometown of Toronto at the end of January 2025, Canadian early 2000s pop punk megastars Sum 41 have bowed out gracefully upon their own terms. With that sombre farewell in mind, what better time to repress and revisit their surprisingly dynamic back catalogue of records, including 2007's much underrated Underclass Hero? Their fourth full-length (or possibly fifth, as many fans still often debate whether 2000's Half Hour Of Power can be considered their debut album) marked the first of two consecutive projects without founding lead guitarist Dave "Brownsound" Baksh, who would amicably depart to focus solely on his Brown Brigade solo-work. Following up the thrash-metal indebted mature left turn that was 2004's Chuck, which truly began to take shape on 2002's snarling The Offspring-worshipping grunge-punk career height Does This Look Infected?; losing their highly skilled axeman known for his juxtaposition of face-melting guitar solos next to anthemic hooks, led to somewhat of a revert to the more familiar pop-punk joviality of their earlier work, yet bolstered by more seasoned songwriting chops. Utilising an extensive array of acoustic guitars, synthesisers and a more expansive sonic scope to make up for their whittled down line up, the material has often been compared to that of Green Day's high-concept theatrical opus American Idiot or My Chemical Romance's even bolder The Black Parade. At a hefty (by punk standards) 52 minutes, this was the band's lengthiest LP to date, boasting some of their most dynamic and heartfelt cuts such as the triumphant opening title-track as well as the emo-tinged skate-punk longtime fan favourite 'Walking Disaster', culminating in a (now) near two-decade old pop punk rock opera. A bold swing for the fences in search of new direction, the Underclass Hero deserves your sincere reappraisal.

Review: Going on to become the biggest selling record in America in 1979, Supertramp's sixth album Breakfast In America is perhaps the quintessential historic example of a British album destined to "break the USA". As if forecasted in advance, 1979 heard the band take capital advantage of the bilateral "special relationship" formed between the two nations since the War, a principle which was of course thereafter reflected in the rock industry. After Led Zep but long before Sting, Supertramp would here spawn the likes of 'The Logical Song', 'Goodbye Stranger', and 'Take The Long Way Home', all of which were smash hits in the US but comparatively denervated back home, where they would only scrape the top ten in the Charts. Despite such an imbalance in successes, this show from the Pavillon de Paris captures the band back in Europe that year, both filmed and recorded in December 1979.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


Taylor Swift's latest offering presents an eclectic mix of deeply personal storytelling and sonic experimentation. Opening with 'Fortnight' featuring Post Malone, the track sets a tone that merges soft melodies with a hint of contemporary edge. The album moves seamlessly between intimate moments, like 'My Boy Only Breaks His Favorite Toys,' and more expansive anthems such as 'Florida!!!' featuring Florence & The Machine. The acoustic versions of some tracks, like 'Down Bad' and 'But Daddy I Love Him,' strip back the production, allowing Swift's vulnerability to shine. This release reveals a further evolution of her sound, weaving together emotive lyrics and bold musical choices.

Review: Taylor Swift's latest offering presents an eclectic mix of deeply personal storytelling and sonic experimentation. Opening with 'Fortnight' featuring Post Malone, the track sets a tone that merges soft melodies with a hint of contemporary edge. The album moves seamlessly between intimate moments, like 'My Boy Only Breaks His Favorite Toys,' and more expansive anthems such as 'Florida!!!' featuring Florence & The Machine. The acoustic versions of some tracks, like 'Down Bad' and 'But Daddy I Love Him,' strip back the production, allowing Swift's vulnerability to shine. This release reveals a further evolution of her sound, weaving together emotive lyrics and bold musical choices.

Notes: Originally published in October of 2021, "In My Eyes: Photographs 1982-1997" sold out quickly and is back by popular demand. The book features hundreds of impressive (and never-before-seen) photos of Fugazi, Minor Threat, Void, Black Flag, Circle Jerks, Dead Kennedys, Jawbox, Government Issue, The Faith, Husker Du, and many, many more. It closes with several intimate interviews between photographer Jim Saah and longtime friends/fans including Ian MacKaye, J. Robbins, Jon Langford (Mekons), Shepard Fairey, and photographers Cynthia Connolly and Patrick Graham.