Back in stock: Pop

Review: Originally released in 1982, this is an iconic album that remains a defining moment in new wave and synthpop, marking the Brummies' ascendance to the pop tree. A sleek fusion of rock, dance and electronic elements, shining with its infectious hooks, shimmering production and visual sophistication. The title track, 'Rio', bursts with energetic basslines and saxophone flourishes, embodying the band's jet-set glamour. 'Hungry Like the Wolf' is a synth-driven, jungle-infused anthem with a howling chorus that became a staple of MTV's golden era. 'Save a Prayer' softens the mood with lush synth textures and melancholic lyrics, showcasing Simon Le Bon's emotive delivery. 'New Religion' is a more hidden gem with its intricate layering of funk-tinged bass and atmospheric synths, while 'The Chauffeur' closes the album on a haunting note, blending minimalistic electronic beats with surreal poetry. Beyond its commercial success, Rio shaped the future of pop and rock, influencing artists across genres. The album's stylish, forward-thinking production and music videos set new standards for the MTV generation, ensuring Duran Duran's legacy as pioneers of the synthpop movement.

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


Light In The Attic teams up with Laurie Anderson and the Lou Reed Archive for a thrilling retrospective, Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65. An expansive selection of songs all written by Lou Reed, during his mid-60s stint as the staff songwriter for the long-defunct label Pickwick Records, this is a rare glimpse of a master rock musician stepping out of the limelight over the course of 25 songs, yet still letting the form and contour of his voice and sensibility be heard. All this was achieved before Reed had at all launched his career with the Velvets; it may indeed be said that this pubescent 60s period was the firelighter to Reed's flame, as the label specialised in soundalike records that emulated the major pop hits of the day - it's no wonder Reed would absorb such emulations and take them in as his own, albeit with a Century-defining twist. Channelling everything from teenybopper pop to soul-inflected garage rock, whether byJeannie Larimore, The Hi-Lifes or The Hollywoods, we get a thorough look-in here as to what made Reed and his contemporaries tick, and what Reed made tick in turn, before the fame.