Back catalogue: All genres

Review: A key figure in Jamaican music who first gained recognition with The Uniques before branching out as a solo artist and producer. By the late 60s, he'd honed his skills in arrangement and keyboard-driven reggae, culminating in Reggae Is Tight and Reggae Charm. Reggae Is Tight bursts to life with the insistent chant of '5 to ', riding a thick organ groove. Charmers reinterprets The Uniques' 'Watch The Sound' as the flowing piano instrumental 'Follow This Sound'. He transforms classics like 'Blue Moon' into reggae gems, while 'Psychedelic Reggae' leans into dubby echo effects. The album thrives on tight, dancefloor-ready rhythms, with 'Stronger' capping off the set in style. His deal with Trojan Records led to Reggae Is Tightia stunning example of his keyboard prowess over driving, fast-paced rhythms. Blending infectious organ grooves with classic boss reggae energy, the album captures the golden era of Jamaican sounds. Now reissued as a limited edition on orange vinyl, Reggae Is Tight remains an essential listen for vintage reggae enthusiasts, highlighting Charmers' innovative touch and deep influence on the genre.

Review: Trying to figure out exactly when you'll stick on the soundtrack to Game of Thrones Season 7 isn't easy. But that's not to say Rabin Djawadi's epic score isn't something to behold. From the word go, this is adventurous stuff, rooted in classical but clearly inspired by visions of fantastical beasts, mythical lands and legendary quests. You almost feel like Cersei Lannister or Jon Snow or Daenerys Targaryen are about to knock on for their dinner. Like pretty much everything the Iranian-German film and TV composer touches - Clash of the Titans, Warcraft, Iron Man - there's little here you'd describe as subtle or understated. Even the more sweeping overtures sound like they were born for grand concert halls. So, providing you have the space at home, go for it.

Review: Marking the 25th anniversary of The Magnificent Tree, Belgian trio Hooverphonic release a special limited edition of their third album, available on translucent blue vinyl. This edition comes strictly limited to 1,000 numbered copies, each with a commemorative insert; its four core singles 'Mad About You', 'Vinegar & Salt', 'Out of Sight' and 'Jackie Cane' became career milestones for the ethereal band, clinging to the Flemish Ultratop 50 for 107 weeks as they continued to hone and plane their established blue noir, post-trip-hop sonic vernacular. Also marking their 30th anniversary as a band, The Magnificent Tree is probably the best touchstone to describe their coming of age, ripping up the the comparatively innocent sonic formula of Blue Wonder Power Milk.

Review: Featuring the vibraphonist in peak form while interpreting seven jazz standards with remarkable interplay, this newly reissued vinyl celebrates the album's 40th anniversary, bringing fresh attention to an overlooked gem. Hutcherson's quartetifeaturing pianist George Cables, bassist Herbie Lewis and legendary drummer Philly Joe Jonesidelivers a session filled with warmth and dynamic expression. The set kicks off with Thelonious Monk's 'I Mean You', immediately showing the group's cohesion. Hutcherson's phrasing on 'All Of You' is adventurous and his delicate touch on 'Spring Is Here' highlights his lyrical sensitivity. The brisk tempo of 'Star Eyes' adds energy, while 'If I Were A Bell' features an engaging solo introduction from Hutcherson. Cables shines on 'Summertime' and the album closes with an exhilarating take on 'Autumn Leaves'. Hutcherson's vibes function much like a lead horn, evoking the spirit of classic jazz quartets. Cables' piano work is exceptional and an intricate yet fluid accompaniment. Jones, whose drumming, delivers an impeccable performanceihis crisp, swinging touch is a masterclass. Overall, a very underrated a jazz album being reissued to a new generation is always a reason to celebrate.

Review: "We few, we happy few, we band of brothers..." So said Henry V before the battle of Agincourt in one of Shakespeare's many lauded histories. The quote went on to Christen Stephen Ambrose's 1993 novel and a subsequent American war drama miniseries of the same name, chronicling the journey of the "Easy Company," a group of American paratroopers during World War II. Training, combat tussles, and fraternal bonds are given a brutal portrayal in the film, and this mood of brutality and endurance was not unnoticeably underscored by Michael Kamen's soundtrack, now reissued on gatefold 2xLP. Kamen, known for his scores for Die Hard, X-Men and Memento, brought out a mood of orchestral fortuity, successfully mirroring the film's intent to portray themes of glory, tragedy and camaraderie, all of which ooze from its many orchestral swells and windfalls.

Review: Pantechnicons of Philadelphia soul, Harold Melvin & The Blue Notes reached their musical peak with Teddy Pendergrass between 1972 and 1975. Their 1975 album Wake Up Everybody hears Pendergrass' last vocal contribution to a band before he went solo; the record is filled with thought-provocations and gnomic lyrics, and became famous more by way of its covers than its originals. Returning the favour, 'Wake Up Everybody' was later covered by John Legend & The Roots, while 'Don't Leave Me This Way' became a disco classic thanks to the vamping vocal verves of Thelma Houston. This 750-copy 50th anniversary repress now comes with a special bonus: a rare 11-minute remix of 'Don't Leave Me This Way' by remixing pioneer Tom Moulton.

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


First released in 1992, Slowdive's 'Blue Day' compiles the best of the band's earliest outings in the shoegaze genre, bottling them under a singly brittle, blue banner. Just seven tracks adorn its two sides, with the notable self-titled track 'Slowdive' signalling some hint of the band's origins (its wayward drumming getting at an especially happy naivete). Later moments on the record, such as 'Morningrise', are comparatively icier verging on frostbitten, with an overdriven crunch clipping off the most amped edges of the transient hits, suggesting an imperfect medium. On the B, the best of the lot is the slow colic of 'Losing Today', a song palpably packed with a sense of loss, most notably achieved via its soaring, cuspate guitar ogees, albeit ones which just about peek their heads above the shrednoise.

Review: Dutch keyboard player Fred van Zegveld's 1969 release is a high-voltage display of Hammond organ wizardry, stretching across jazz, soul and r&b with unshakable confidence. His originals, like 'Family Blues' and 'Blue Organ,' are thick with groove, their choppy rhythms and swelling chords bouncing off Ruud Jacobs' steady basslines and Louis de Bey's crisp, unfussy drumming. The title track channels that same energy into a slow-burning, percussive churn, each phrase pulling tighter before van Zegveld lets loose with another spiralling run. His approach to covers is just as striking. 'Misty' drifts into smoky, late-night territory, drenched in shimmering vibrato, while 'I Wanna Be Your Man' ditches the Beatles' pop polish for something grittier, the organ growling over a rolling rhythm section. There's a looseness to the playing, a sense that the band is locked in but always on the edge of cutting loose. The whole record moves with a natural, in-the-room warmthivan Zegveld doesn't just play the Hammond, he makes it breathe, pulling back for hushed, introspective moments before launching into ecstatic swells.