Review: Abba's self-titled third album marked a creative and commercial turning point for the group; released in 1975, it was their first full-length following the breakthrough historic romance hit 'Waterloo', and the moment they cemented a sound that would dominate pop for years. Packed with high-drama hooks and refulgent production, the album of course also includes 'Mamma Mia' and 'SOS', both early experiments in the theatrical, harmony-rich style that would define the long-form productions of Benny Anderson and Bjorn Ulvaeus. With newly remastered audio cut at half-speed by Miles Showell at Abbey Road, we've two new inclusions: kitsch singalong gem 'I Do, I Do, I Do, I Do, I Do' and glam-leaning opener 'So Long'.
Hey DJ/I Can't Dance (To That Music You're Playing) (3:15)
Boo Is Booming (3:20)
Boo's Boogie (3:20)
24 Hours (3:29)
Valentine's Day (4:40)
Doin' The Do (King John 7" mix) (4:08)
Doin' It To Def (4:32)
Don't Know What To Do (3:47)
Shame (5:04)
Mumbo Jumbo (3:40)
Leave Me Alone (4:44)
Review: Betty Boo's irreverent blend of pop, rap and dancefloor sass took UK charts by storm in 1990, and her debut album Boomania here returns by way of a deluxe edition digging as deep into that exact era-defining sound as can possibly be dug. Originally launched off the back of her breakout appearance on The Beatmasters' 1989 single 'Hey DJ / I Can't Dance (To That Music You're Playing)', Boo's first full-length reached number four on the UK charts and went platinum. This expander reissue compiles 12 originals and 14 bonus cuts, including multiple versions of the four hit singles, from the King John and Peter Lorimer mixes of 'Where Are You Baby?' to Vince Clarke's Oratonic mix of '24 Hours'.
Review: Released in 1992, Grrr! It's Betty Boo marked a stylistic and personal evolution for Betty Boo, arriving two years after her platinum-selling debut (also reissued now through the Betty Boo estate). While it didn't replicate the commercial heights of Boomania, it still delivered a memorable top 20 single with 'Let Me Take You There' and offered a flurry of follow-ups including 'I'm on My Way', 'Catch Me', 'Thing Goin' On' and 'Hangover'. With its bold visual identity referencing Tigra cigarette packaging and a dedication to her late father, the album hinted at more introspective themes beneath the tongue-in-cheek flair. Critics noted its playful absurdity and inventive rhyming, while Madonna later lamented its lack of recognition, calling it "horribly ignored". Sad to say, this would be Boo's last album before stepping away from music some years.
Review: A live concert recording of the penultimate date on Kate Bush's first and only ever tour: The Tour of Life. As part of this run, Bush performed three nights on the trot at the Hammersmith Odeon in West London and the middle date was broadcast, thus immortalising one of the most innovative shows of that era or any era since. Hot off the heels of the release of her debut album The Kick Inside and the follow up Lionheart - both released in 1978 - the setlist draws heavily from said albums and she turned the songs from those albums into a visual spectacle. The full-blown theatrical appearance came at a time when Bush was the most photographed woman in Britain and had a megahit in the shape of her debut single 'Wuthering Heights' and soAit's a truly defining era that's on record. Kate Bush's mystique and a goddess-like aura may have been nurtured through her emphasis on visual art and theatre but delving into the music alone and drawing your own pictures to go with it, aided by her mesmerizing voice, is equally enthralling.
Makin' It Last All Night (What It Do) (feat Jermaine Dupri) (3:49)
We Belong Together (feat Jadakiss & Styles P - remix) (4:20)
Secret Love (3:07)
Sprung (3:24)
We Belong Together (Mimi Late Night Valentine's mix) (3:14)
Review: Mariah Carey's tenth studio album stages a triumphant reclamation, not just of her voice but her autonomyicreatively, emotionally, and professionally. Rooted in Atlanta's crunk renaissance and steeped in New York r&b melodrama, it cuts through the excess of early-2000s pop with a steely sense of control. 'It's Like That' sets the tone: sharp, percussive, almost defiant. But it's 'We Belong Together' that cements the comeback, all tightly-wound longing and near-whispered devastation, sounding like midnight heartbreak on Hot 97. Neptunes collaborations 'Say Somethin'' and 'To the Floor' stretch her sound into slicker, clubbier territory, but never lose grip. Even on the gospel closer 'Fly Like a Bird', she dials back the melisma, letting space and breath do the work. From the brushed-off dismissal of 'Shake It Off' to the midnight crawl of 'Mine Again', there's a considered minimalism throughoutirestraint not as limitation but as liberation. Freed from industry baggage and tabloid distortion, Carey reasserts herself with quiet mastery, sounding not just back but unbothered, undefeated and utterly in control.
Review: Formed in Kirby in Liverpool in 1979, China Crisis are a band with some of the most devoted fans, with even long time admirers Vampire Weekend taking them on the road for support spots as late as last year. This album brings together a reworked selection of their greatest hits and fan-favourite deep cuts, and the the tracklist reads like a love letter to the band's legacy. 'Animals In Jungles' is a cult favourite from one of their most cherished albums, 1983's wonderfully titled Working with Fire and Steel - Possible Pop Songs Volume Two. 'Wishful Thinking' i a top ten UK hit no less i remains an enduring classic too. Other highlights include the atmospheric 'Arizona Sky' and the smooth, heartfelt ballad 'You Did Cut Me', a gem from their 1985 catalogue. 'Black Man Ray' and 'King In A Catholic Style' show the band's ability to balance pop sensibilities with lyrical depth. Arranged by Jack Hymers and mixed by Grammy-winning engineer Mark Phythian, the reworking of these tracks breathes new life into familiar songs with lush arrangements and warm production.
Review: Cicciolina. Now there's a character. Disco-pop singer, porn star, politician, and ex-wife/muse of legendary shiny balloon artist Jeff Koons i it's fair to say the Italo-Hungarian icon has worn a few hats over the years. Perversion features a selection of reissued tracks from her 80s heyday, including the magnificently titled 'Sexy Porno Shop', which in itself renders the record worthy of consideration. If you hadn't already guessed from the preamble, the music is kitsch, to say the least, with bubblegum vocals, earworm synth lines and generally pulsing tempos. But there are hidden gems: the (ahem) innocent vocals and twinkling melodies of 'Goccioline', the rousing congas and inspired 'no drugs, I love sex, much more sex' vocal of 'No Drugs', and the brilliant cover of the Rolling Stones' 'Satisfaction'. Echoing far, far simpler times, it's either politically incorrect nostalgia or pioneering, sexually liberated abandon. Either way, it's bags of fun.
Every Girl You’ve Ever Loved (feat Naomi Campbell) (5:21)
Reborn (5:43)
Give Me Love (3:46)
Review: On her ambitious ninth album, American pop queen Miley Cyrus delivers a genre-spanning collection that highlights her desire to constantly evolve and challenge convention. Something Beautiful blends soulful ballads, shimmering 80s pop and dancefloor-ready anthems, all pop which are anchored by her unmistakable, raspy vocals. From the emotionally rich title track to the high-energy sparkle of 'Every Girl You've Ever Loved,' the album brims with dynamic songwriting and bold sonic choices. While its conceptual aspirations sometimes feel abstract, the music is polished, confident and often euphoric. With strong collaborations, vivid production and a clear love for performance, the record reaffirms Cyrus as a fearless pop innovator exploring new emotional terrain.
Review: Who can forget Maneskin's triumph for rock on the Eurovision stage as they brought the win for Italy in 2021? In Damiano David, the Italian band have a natural born frontman who is now having his Harry Styles moment and stepping out on his own and forging a distinctive solo career to rival the day job. Despite being labelled a glam rock outfit, Maneskin's pop element always shone brightly and so for his debut solo album David has tapped more heavily into that side of his. David's embraced co-writes and in terms of the production he has thrown the kitchen sink at it to get a massive sound. 'The First Time' has more hooks than a fisherman's tackle box and a sweeping epic Sprinsteen-esque feel. Another highlight 'Next Summer', lets David's vocals star, but the arrangement is unexpectedly massive. Despite its sparse beginning it turns into an orchestral showstopper indicative of the seemingly vast resources the label have had to craft this beauty.
Review: Donovan's iconic 'Hurdy Gurdy Man' album gets the re-issue treatment here, and what a collection of music it still proves to be after so many years. The mix of folk and psychedelia is almost the epitome of the late 60s spirit of exploration, rebellion, generational dismay and hope. The hyper-memorable title track sets the tone with its swirling melodies, jangly guitars, and Scottish-born Donovan's strangely sinister vocal, which moves between dreamy and intense. Released in 1968, the album reflects the counterculture era, with lyrics that explore themes of mysticism and transformation. The rest of the album drifts between moments of whimsy and introspection, with tracks like 'The Sun is a Very Magic Fellow' and 'Peregrine' showcasing Donovan's ability to blend folk simplicity with psychedelic complexity. 'Hurdy Gurdy Man' remains an important snapshot of its era, holding up as a timeless piece of sonic adventuring.
Review: Conan Gray revisits the corvine world of his 2020 debut, with three new bonuses as well as new cover art hand-drawn by Gray himself. Among them is 'Bed Rest', a previously unreleased song written during the original album sessions: Gray describes it as a time capsulate presciently mirroring his present state of mind, five years on. Then there're the two live versions: 'Heather (Lost Verse Version)' and 'The Cut That Always Bleeds', both of which provide subtle indication of the upward trajectory, though its maximal vintage pop stylings are kept intact . Kid Krow originally marked Gray's shift from bedroom pop phenom to breakout singer-songwriter; now the expanded edition lands beside a digital release, with physical preorders closing the loop on the very record that launched his career into orbit.
Review: Marina's sixth full-length album earmarks the boss-ass moment when Marina (fka Marina And The Diamonds) reclaims ownership of her own craft, having now parted ways with Atlantic Records and formed her own Queenie Records imprint. Co-produced with CJ Baran and issued via BMG, the 13-track album draws from the fizz and flamboyance of 70s disco and 2000s-era pop, worn lightly but knowingly. Muses from Madonna, Kylie and Lady Gaga loom large, but the tone is unmistakably hers, at times sweet, others sickly, fatal if you're not careful. 'Butterfly' folds house and chamber pop into a glittery rebirth anthem; 'Cupid's Girl' blurs new rave and synth-pop with dry wit; 'Cuntissimo' slinks through techno-pop and camp melodrama, namechecking Salma Hayek along the way. It's certainly a surreal experiment from the Welsh star.
Review: Welsh singer and songwriter Marina returns with her sixth album and first since parting ways with Atlantic, self-released via her Queenie imprint. Where earlier work flirted with alter egos, here she fully embraces a character-led pop universe, drawing strength from archetypes of feminine power without slipping into pastiche. Across thirteen tracks, she channels everything from house-infused chamber pop to electro-balladry, always with a theatrical flair. 'Butterfly' opens with a shimmering elegance that morphs into after-hours dancefloor balm, while 'Cuntissimo' blends dreamy techno-pop with cutting social commentary. 'Cupid's Girl' veers into new rave territory, maintaining Marina's signature emotional tension between irony and sincerity. Sharp, playful and defiantly independent, this record sees Marina embrace vulnerability and spectacle with equal force.
Where The Streets Have No Name (I Can't Take My Eyes Off You) (4:26)
Jealousy (4:14)
DJ Culture (4:12)
Was It Worth It? (4:21)
Review: Few synth-pop acts have captured the elegance, wit and sheer dancefloor appeal of this UK dance pop duo, and this compilation remains the definitive snapshot of their first five years. Originally released in 1992, this double album compiles 18 of their biggest hits, now reissued on striking blue vinyl is a remarkable album that's full of excellent songs that flow like a no other. The track list reads like a masterclass in electronic pop. From the moody, detached cool of 'West End Girls' to the euphoric satire of 'Opportunities (Let's Make Lots of Money)', the duo's signature mix of sharp social commentary and irresistible melodies is on full display. 'It's a Sin' and 'Always on My Mind' showcase their ability to turn theatrical drama into anthemic dancefloor epics, while 'Domino Dancing' and 'Left to My Own Devices' reveal a Latin-infused, orchestral ambition. The collection also includes 'Where the Streets Have No Name (I Can't Take My Eyes Off You)', a bold, unexpected U2/Frankie Valli mashup and 'Was It Worth It?', a then-new single that closes the album with reflective melancholy. Sonically, the reissue retains the crisp production that made these tracks timeless, while the blue vinyl adds a collector's appeal. More than just a greatest hits album, Discography is an album that gathered their impact in a perfect compilation.
Review: Addison Rae's debut album has been long-awaited by fans and is finally here via Columbia Records and marking the bold step into full-fledged pop stardom many have expected for a while. Featuring previous fan-favourite singles like 'Diet Pepsi,' 'Aquamarine' and 'High Fashion,' the album showcases Rae's evolution from viral sensation to polished pop artist. It was co-written and produced with Luka Kloser and Elvira Anderfjard, and pairs bright, glossy production with playful, high-glam energy that is sure to cut through all summer long from festal stages to car radios. The latest single 'Headphones On' embodies the album's confident tone - it's fun, flirty and unmistakably self-assured. A surprisingly self-aware debut full of chart-ready appeal.
Review: The Band Cover edition of South Korean k-pop star Rose's debut album Rosie offers a unique sonic experience, where fans are provided an alternative take on the album's presentation. Artisianally bundled in with two out of three collectors' edition Polaroid picture, and with exclusive cover art emphasising Rose's rootedness among friends, this edition incurs a state of youthful rebellion, blending punk aesthetics with South Korean heritabilities. Along with the original tracks from Rosie, listeners are treated to stripped-back versions that heighten and home in on Rose's vocal chops.
Review: Rosie is the debut solo album by Rose (Roseanne Park). Reflecing on her New Zealander and South Korean roots, the record hears a hardcore starlet retell her personal journey through heartbreak, fame, and the struggles of her early twenties. Co-written and co-produced by Rose herself alongside collaborators Bruno Mars and Carter Lang, we hear a sweltering 12 tracks spanning pop-punk, r&b, synthpop, and balladry, carefully teasing a rawer vulnerability compared to her previous work. Songs like 'Apt.' and 'Toxic Till The En' explore Rosie's experiences with toxic relationships, while 'Number One Girl' and 'Drinks or Coffee' reveals a complex take on love.
If You Don't Believe In Love (feat Helado Negro) (4:13)
Bad Kid (feat Becca Mancari) (2:52)
Review: British singer-songwriter Shura has spent some serious time, effort and thought on I Got Too Sad For My Friends. Six years, in fact. During that period, she's clearly learned at lot about life, love, loss, and whatever other L-word you can think of that means 'maturity' to those in the know. The result is a spectacularly accomplished collection that reveals an artist at their creative peak. To date, anyway. Cornerstone of the record, and the very first single, is 'Recognise', and this is perhaps the strongest case in point. From whispy and whispered opening, through full, cacophonous bloom, it's a track that keeps us in a beautiful dark until its monumental, joyful reveal. Elsewhere, 'Ringpull' and 'The World's Worst Girlfriend' betray a clear penchant for classic 1980s pop, while the likes of 'Online' seem to float in on a serene cloud of gentile pianos and hovering strings.
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