Friday Music US Vinyl & CDs

Review: America's self-titled debut album staked the claim for just one band to name their musical wares after an entire nation, ensuring psychedelic rock stardom from the go. This reissue from Friday Music is a by-the-book rendition, looking back on the 1971 opus which contained the laa-ing hit single 'A Horse With No Name', which cropped back up in popularity in recent years for its inclusion in the TV series Breaking Bad. All the songs, though, are quality soft rock dirges, mixing skilful falsettos with stereo'ed guitars and an earnest folk aesthetic.

Review: America is a legendary rock trio that burst onto the scene in the early 70s with their iconic debut America (Friday Music 9001), featuring the hit 'A Horse With No Name.' Their success continued with chart-topping singles that led Warner Records to release their first best-of collection, History/America's Greatest Hits in 1976. Produced by George Martin, the album included hits like 'Ventura Highway,' 'Tin Man,' 'Sister Golden Hair' and 'Lonely People.' This multi-platinum compilation is now available for the first time on Translucent red vinyl with fine mastered from original tapes by Joe Reagoso that preserve the warmth of their classic original tracks.

Review: Ace Frehley's 1989 recording arrives at a curious crossroads in his career. It's bold, swaggering, and drenched in late-80s hard rock sheen, but there's a thread of defiance running through its polished surface. Frehley, who had long stood in the shadow of his former band KISS, approaches the project with the energy of someone eager to remind the world of his prowess. His trademark guitar flourishes are as electrifying as everisharp, crunchy and steeped in effortless cool. Guest spots from former Kiss drummer Peter Criss and Skid Row members inject bursts of collaborative dynamism, making this not just a solo venture but a communal flex of rock-and-roll camaraderie. Frehley sounds like a man with something to proveiand he delivers, guitar in hand, unapologetic and relentless.

Review: There aren't many soundtracks that do as good a job of instantly summoming up the era of their creation than this. Released alongside the cult vampire flick in 1987, this ten-track album encapsulates the 80s sonic landscape, pairing bombastic rock with eerie, atmospheric compositions. This new reissue starts with 'Good Times' by INXS & Jimmy Barnes with an electrified take on The Easybeats' 60s hit. Its energetic riffs and raspy vocals create a charged introduction, though its upbeat nature contrasts the film's dark themes. The mood shifts with Lou Gramm's 'Lost in the Shadows (The Lost Boys)', a pulsing, synth-laden rock anthem. Gramm's impassioned delivery, particularly on the chilling chorus, heightens the sense of adventure and peril. Roger Daltrey's interpretation of 'Don't Let The Sun Go Down On Me' brings a dramatic, soulful weight to Elton John's classic, perfectly complementing the film's themes of isolation and nocturnal existence. Echo & The Bunnymen's 'People Are Strange' - the biggest hit from the OST - pays homage to The Doors while adding a sharper, post-punk edge, fitting seamlessly into the film's eerie, outsider atmosphere. Then comes the crown jewel: Gerard McMann's 'Cry Little Sister'. This haunting, gothic anthem is the film's lifeblood, with brooding synths, ghostly choirs and McMann's desperate, evocative vocals crafting an unforgettable sonic identity. The latter half of the album maintains momentum with Eddie & The Tide's 'Power Play' and Tim Cappello's 'I Still Believe', the latter dominated by a wailing saxophone and fervent vocals. Mummy Calls' 'Beauty Has Her Way' delivers a brooding yet melodic interlude before Thomas Newman's atmospheric 'To The Shock of Miss Louise' closes the album on an eerie instrumental note. Bridging pop, new wave and gothic rock, The Lost Boys OST is as immortal as its cinematic counterpartiseductive, moody and undeniably iconic.