Back catalogue: All genres

Review:  Darge curates a selection of US garage stompers from the 60s, blending the easily accessible with the rare and coveted. Aimed at both new listeners and seasoned collectors, the compilation features artists like the Hooterville Trolley, the Litter, the Music Machine, the Venturie "5", the Lyrics, and the Nightcrawlers. These tracks reflect the raw energy of the 60s garage scene and pay homage to the British invasion bands such as the Who, the Kinks, and the Rolling Stones. With fuzzed guitars, driving beats, and a proto-punk attitude, the music feels fresh and is gaining traction with a new generation of fans. The compilation includes standout tracks like 'Action Woman' by The Litter, 'Hang It Out To Dry' by Bud & Kathy, and 'No Silver Bird' by The Hooterville Trolley. Housed in a sleeve designed by Robin Banks, who also created the artwork for Darge's Rockabilly compilation, this release is a visual and auditory treat. Liner notes from Keb Darge add a personal touch, making this an essential addition to any garage punk collection.

Review: By 1968, disillusionment with the American dream had grown as urban riots, Vietnam, assassinations, and rising divorce rates rocked the nation. At one time it was only the youth who voiced dissent but by that time older generations were also questioning the state of the country. This superbly assembled album reflects that crisis with rare and forgotten tracks from major artists including the Beach Boys' '4th Of July' and Roy Orbison's 'Southbound Jericho Parkway' plus a classic from Elvis. The songs explore themes like divorce (Frank Sinatra's 'The Train') and institutional hypocrisy (Dean Martin's 'Do You Believe This Town') while Marvin Gaye's environmental anthem also echoes the era's growing awareness of issues which remain just as pressing today.

Review: While Claremont songwriter, guitarist, percussionist and experimental musician Norma Tanega scored her most memorable hit with 'Walkin' My Cat Named Dog', her later career heard her talents and curiosities get the best of her, working mostly as a percussionist and soundtracker in relative yet still intriguing obscurity. Her second LP followed duly from an early Dusty Springfield co-sign (and subsequent romantic relationship); while it charts the beginning of her transition into musical auteurism, most of Tanega's pop sensibility is so far retained here. Smack-dab in the middle of Tangea's extended stay in the UK after liaising with Springfield, the likes of 'Hampton Court' and 'Clapham Junction' allude to London's most major hubs of creative frenzy at the time, whilst the more abstract 'Elephants Angels And Roses' and 'Stranger' are relatively choral and lilting psych, folk and pop burrs, documenting the course of an relationship through confectionary vocals and romantic swells.

Review: Way back in 2004, Sanctuary Records commissioned pre-Britpop pop hipsters St Etienne member and serial compilation curator Bob Stanley to put together a collection celebrating the British 'acid folk' movement of the late 1980s and early 1970s. Long deleted, the previously CD only compilation is finally returning on vinyl - this time in expanded form, with the inclusion of additional tracks and a few picks from its (also unavailable) sequel. It's a superb set all told and one that showcases a take on folk heavy on effects, unusual rhythms, sweet vocals, horror-adjacent sounds and pastoral but otherworldly instrumentation. A few well-known names aside, it's a genuinely deep dive too - as you'd expect from someone of Stanley's knowledge and experience.

Review: Here, There and Everywhere: Black America Sings John Lennon, Paul McCartney & George Harrison is Ace Records' third compilation of soulful jazz and r&b covers of Beatles classics by Black American artists. This collectio has a deep Motown presence, acknowledging the Beatles' early admiration for Motown before the label's music even hit the UK charts. The album spans Beatles and post-Beatles compositions from 1964 to 2004, with standout performances by artists like Aretha Franklin, Marvin Gaye and Stevie Wonder. The song selection takes listeners on an inspired journey through well-known hits, reimagined with rich soul and jazz interpretations. The Supremes' take on 'You Can't Do That' and The Four Tops' 'Michelle' reveal fresh, emotive layers in songs that are simultaneously faithful and transformative. Randy Crawford's stirring 'Give Peace a Chance' and Stevie Wonder's vibrant 'We Can Work It Out' underscore Black America's lasting engagement with the Beatles' work, while tracks like Sam Fletcher's 'Can't Buy Me Love' and Keb' Mo's 'Imagine' breathe new life into familiar melodies with jazz-infused warmth and soul. Each cover on the compilation not only reflects the artists' creative voices but also traces the Beatles' own roots in soul and r&b, bridging cultural influences that shaped music in the 60s and beyond. Here, There and Everywhere is an enriching and unique compilation that has one of the most enduring cross-cultural exchanges in modern pop history.

Review: Nothing was as new and exciting as a synthesiser in the 70s and 80s. For forward-thinking adverts in particular, electronic sounds were essential. TV producers and advertisers sought to use music akin to "Tubular Bells," Tomita, and Jean Michel Jarre and so music libraries like De Wolfe, Bruton, Parry, and Chappell quickly adapted. Compiled by Bob Stanley, new album 'Tomorrow's Fashions' features advertising jingles, TV themes, and space exploration tracks with beatless ambience from that very era. Despite being 40-50 years old, the music feels fresh and finds jazz veterans like Brian Bennett and John Cameron embracing synthesizers. This electronica predated new age and ambient music, and also influenced pop, early Human League, and Warp Records as well as being sampled by MF Doom and Kendrick Lamar.

Review: New Jill Swing is a vibrant throwback that captures the essence of late 80s and early 90s female r&Bb, offering a refreshing take on the male-dominated New Jack Swing era. This collection shines a spotlight on the talented women who matched, if not surpassed, their male counterparts, delivering smooth, soulful tracks that defined a golden age of R&B. From SWV's infectious 'I'm So Into You' remix to Karyn White's upbeat 'The Way You Love Me,' the album kicks off with undeniable energy. Gems like En Vogue's 'Lies' remix and Xscape's 'Love On My Mind' keep the groove going, blending attitude with vocal finesse. The compilation also includes lesser-known but equally powerful tracks like Ex Girlfriend's 'What I Will Do To You' and Chantay Savage's 'Betcha'll Never Find,' adding depth and variety. Each song is a nostalgic journey, perfectly curated to remind listeners of the era's distinctive sound. Overall, New Jill Swing is an enjoyable and well-crafted homage to the women who helped shape R&B.

Review: American baroque pop, or chamber pop as it is also known, flourished from 1966 to the early seventies. It's a sound that blends string quartets, harpsichords and woodwinds to evoke a unique summer-into-autumn kind of melancholy. Far from the raw energy of early rock 'n' roll, this style often attracted musicians from folk backgrounds who were drawn to its acoustic richness. Linda Ronstadt's first band, the Stone Poneys, introduced the autoharp in 1965 while artists like Bonnie Dobson and Nico experimented with string arrangements as they sought new, post-electric directions. This era marked a shift toward intricate, orchestral textures that redefined the boundaries of pop and folk music and are explored in this superb and comprehensive collection.