Back catalogue: All genres

Review: Sasha & Digweed are known for their heavy hands in pop and trance, but the former's best known work has to be 'Xpander', which set him apart from his myriad remixes of Madonna, Moby and The Chemical Brothers back in the day. Now the 4-track EP version of 'Xpander' sees a double 12" reissue from Music On Vinyl, showing off Sasha's taste for advanced breaks-trance, psychic themes and everything in between.

Review: Sevdaliza's debut EP The Suspended Kid was first released in 2015. She put it out on her own Twisted Elegance label and at the time said that "The title is how people responded to me in social situations. I realised that those things that deflect me from social situations - not getting along with your coach or your boss or whatever - it made me realise I had to choose a different path."It is a highly creative work of experimental electronic which has since seen her go on to your 35 countries. Now for the fist time ever the album is pressed up to 2000 individually numbered copies of clear vinyl.

Review: Australia isn't the first location to pop into your mind when the word punk is mentioned, but Brisbane trio The Saints were actually the first band outside the US to release a record in the genre, beating luminaries like The Damned and Sex Pistols to the title. Eternally Yours was their second album and brings a raw, unapologetic energy to vinyl with its blend of punk rock, garage and power pop. Kicking off with the iconic 'Know Your Product,' the album hits hard, capturing the essence of the band's bold, infectious live sound, with tracks like 'This Perfect Day' and 'Private Affair' lacing catchy melodies with a defiant attitude. A forceful energy and sharp sound in full force.

Review: The landmark first album by Dom Salvador released in 1969. Exemplary of Salvador's characteristic blend of Brazilian rhythms and American jazz influences, the album flaunts a mix of samba, bossa nova and hard bop, highlighting Salvador's innovative approach and technical prowess. A bright and redolent sound wafts from the likes of 'Cantinflas' and 'O Rio', which build and burgeon as danceable motifs that would work equally as well for montage or opening sequences in film. Elsewhere, the more freeform rhapsodies like 'Pais Tropical' hear Salvador's piano in full sway.

Review: 'Great Moments With Pharoah Sanders' is a compilation album spanning the best of Pharoah Sanders' work between the period 1983-1990, when the legendary spiritual jazz musician enjoyed the fallout of some of his best work. Despite his struggles to find quality work as a musician despite his high standing by that time, Sanders composed many great works in the period, such as 'Africa', 'Naima' and 'You've Got To Have Freedom' - all of which feature here.

Review: Santana's 1977 album Moonflower captures the band's unparalleled blend of Afro-Latin rhythms, jazz-rock fusion, and raw passion. The album showcases Santana's electrifying energy and musicianship, particularly evident in spirited live performances. Highlighting standout tracks such as the medley featuring 'Carnaval,' 'Let the Children Play,' and 'Jugando,' the review praises Santana's dynamic stage presence and soulful guitar work. Studio tracks like 'I'll Be Waiting' and 'Zulu' display the band's versatility and creativity, while live renditions of classics like 'Black Magic Woman/Gypsy Queen' demonstrate their enduring appeal. Moonflower encapsulates everything that makes Santana - and their inimitable frontman Carlos Santana in particular - one of the best in jazzdom, showcasing their dedication to making good music together over decades.

Review: Released in 1974, Santana's Lotus stands as a defining live album that brilliantly showcases the band's unique blend of rock, jazz and Latin influences. Recorded during their Japan tour, the album features standout performances recorded over two nights in Osaka, featuring Carlos Santana's exceptional guitar work and the band's vibrant improvisations. Highlights include iconic tracks like 'Black Magic Woman', 'Oye Como Va' and the extended jam 'Toussaint L'Overture', which illustrate the band's remarkable ability to create a cohesive and powerful sound. Originally intended as a Japan-only release, Lotus gained international acclaim as an import, displaying Santana at a pivotal moment in their evolution, with a mix of original and new members. The album's elaborate packaging enhances its appeal, rivaling the artwork of other notable triple live albums. Musically, Lotus focuses on instrumental jazz-rock, with minimal vocal tracks, yet it captures the sheer joy and energy of the band's live performances. While some may find the lengthy drum solo a weak point, the musicianship throughout the album is outstanding, making it an essential listen for fans of the genre. Overall, Lotus remains a testament to Santana's innovative spirit and live prowess, celebrated for its high sound quality and dynamic artistry.

Review: The Eurodance producer trio Sash! which was made up of Sascha Lappessen, Thomas 'Alisson' Ludke, and Ralf Kappmeier, was founded in 1995 and soon found chart success. This extensive vinyl collection, The Best Of... Sash!, includes their debut hit 'It's My Life,' which topped European charts in 1997, and 'Encore Une Fois' featuring Sabine Ohmes, which hit #2 in the UK. A string of hits followed: 'Ecuador' featuring Rodriguez, 'Stay' with La Trec, 'La Primavera,' 'Mysterious Times' featuring Tina Cousins, 'Colour The World' featuring Dr. Alban, and 'Adelante' featuring Paul Hammer & Rodriguez-all chart-toppers. Bonus tracks include 2023's 'Rock My Body' with R3Hab and Inna and 2024's 'The Ultimate Seduction' featuring Sir Danny Cool and C'hantal.

Review: While he is still thought of as a God of a DJ to many, Welsh wizard Sasha is a dab hand in the studio too. Airdrawndagger, his second studio long player, is proof of that and a real masterpiece with co-productions by Charlie May, Junkie XL and James Holden. It is a hugely complex world of sound with progressive melodies, wavy electronic drums and immersive synths capes that all add up to one smooth and serene trip. This luxury reissue comes on limited, numbered trifold 180 gram audiophile silver & black marbled vinyl. A vital collector's piece.

Review: Originally released in 1974, Slow Dancer precedes his commercial breakthrough with Silk Degrees and highlights Scaggs' knack for catchy tunes. Produced by Johnny Bristol, the album blends urban soul with pop-rock, delivering an exciting and vibrant sound.Tracks like 'You Make It So Hard (To Say No)' and the title track 'Slow Dancer' feature Scaggs' smooth vocals and soulful style. Other gems include 'Angel Lady (Come Just in Time)' and 'Hercules.' The album's urban soul ambiance, combined with the yellow vinyl and included insert, make this a collector's delight. This luxurious reissue as a 50th anniversary edition is limited to 750 individually numbered copies on yellow 180-gram audiophile vinyl.

Review: Sevdaliza comes back with a seance album that capitalises on the critical reception of her first, exploring notions of good and evil through complex songwriting and enigmatic lyrics. Her stylised vocals are front and centre of each tune, with sombre chords and aching piano a consistent accompaniment throughout. She explores many shades of night and packs in plenty of very real emotion, despite the delicate nature of many songs. The gothic synths and post-trip hop beats are a fine vehicle for her musical messages, making this another vital record.

Review: Woody Shaw was one of the more influential jazz musicians of his time. This album was recorded in 1985 and finds him in full flow with his Tone Jansa Quartet. The American jazz trumpeter, composer, arranger, and band leader very much shows off his improvisational skills on flugelhorn and trumpet while his sidemen Renato Chico on piano, Peter Herbert on bass, Dragan Gajic on drums and Tone Jansa on tenor sax do not disappoint either. This is the first time the album has been reissued since its original release and comes in limited quantities.

Review: Australian rockers Silverchair made their mark with their third album 'Neon Ballroom' in 1999, which heard the band move away from their grunge roots and into more atmospheric territory. The album was produced by Nick Launay, who has also worked with the likes of Nick Cave and Arcade Fire. But this reissue more than proves Silverchair had a sound of their own, with rapturous openers like 'Emotion Sickness' and acoustic ballads like 'Ana's Song' showcasing not only the band's growth and experimentation, but their ability to oscillate between screamo and emo while indulging their most experimental impulses.

Review: Nina Simone has rather been written out of popular music history because of quite how confrontational and proudly Black she was. She was just as far ahead of her times musically too and this legendary album Baltimore shows why. It arrived with no promotion and no lead singles and so it was an utter commercial failure, but the sleuths of the internet have rediscovered it over the 45 years since its release and helped to make it a cult favourite now regarded as one of the best in her oeuvre. It has distinctive reggae production and of course plenty of beautiful vocals from Simone as she tackles songs written by Judy Collins, Hall & Oates, and Randy Newman.

Review: On this new collectors' edition from Music On Vinyl, jazz and swing vocalist Frank Sinatra is honoured with glittering encomium, with a fine ABCD-side double vinyl cycling through the best breadth of his long discography. Recognised by the label as setting the standard for jazz vocalists ever since, Sinatra's influence is heard loud and wide today, in the laryngeal feats of every iterative pop cultural figure to take after him - from Michael Buble to Robbie Williams. The 31 recordings on Collected include not just his most famous songs, but also delves into some of his best album tracks and collaborations with Count Basie, Quincy Jones and his daughter Nancy, all showcasing the versatile artist Sinatra was.

Review: Slowdive's Pygmalion stands as a profound yet overlooked gem in the band's discography. Released amidst the Britpop and grunge dominance of 1995, it was unfairly dismissed, leading to the band's quiet dissolution. However, if you revisit Pygmalion, it reveals a hauntingly beautiful departure from their earlier shoegaze roots. Now, pressed on vinyl, you can enjoy all the ways this release has stood against time and trends. The album is a minimalist masterpiece, stripping away their trademark wall of noise to reveal ethereal, ambient landscapes. Tracks like the opening epic 'Rutti' set the tone with its subdued guitar work and Neil Halstead's introspective vocals, evoking a sense of contemplative solitude. Throughout the album, space is pivotal - an expansive, cathedral-like atmosphere crafted through restrained instrumentation and atmospheric production. While critics of its time failed to appreciate its subtleties, Pygmalion now stands as a visionary work ahead of its time. Its influence can be heard in subsequent bands like Mogwai and Low, who embraced its meditative qualities and minimalist approach. In today's context, the album's tranquil melodies offer a refuge, resonating with listeners seeking solace amidst chaos. Slowdive's Pygmalion remains a shinning example to their artistic integrity and the enduring power of quiet introspection in music.

Review: 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: ***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: Sly & The Family Stone's Anthology is about as good as it gets for fans of funk and soul. It is a catchy compilation with infectious hooks as well as plenty of potent and powerful messages and it spans the entirety of thereat bands careers from their earliest mentions to their last great hits of the time. It was first released in 1981 and features such US Billboard chart-topping tunes such as 'Family Affair', 'Everyday People' and 'Thank You (Falettinme Be Mice Elf Agin)'. The limited edition record comes on limited edition and numbered gatefold 180 gram audiophile pink vinyl.

Review: One of two jazz greats going by the name Lonnie Smith, this jovial 1967 jazz-funk opus is most firmly and assiduously credited to the former of the two to claim the name. The renowned organist - whose organ of choice, aside from the heart, was the Hammond B3 - rose to fame as the in-house pipe maestro for George Benson and his quartet during the early 1960s, after which he struck out on his own accord(ion). Aside from its covert KFC brand ambassadorship, Finger Lickin' Good also happens to be a wicked whirl of a jazz record. Smith's plucky organ is as salient as a blue myna flocking among starlings; 'Minor Chant' works as the introductory example of this. The right hand of the Hammond is distinctly clucky and low-midded in the mix, whilst the comparatively drawn-out left hand is centralised and sustained. Eleven prodigious tracks ensue, with the sardonically intoned jive 'Keep Talkin'' standing out among them, its titular chatterbox seemingly mimicked in jest by Smith's mimetic playing.

Review: Kirk Brandon has been the driving force behind post-punk royalty Spear Of Destiny since 1983 and has left an impressive back catalogue in that time. Kirk Brandon's operatic singing style and his group's tendency to lean toward the avant-garde but still keep things poppy and accessible, means they experiment heavily with styles and arrangements and make extravagant, powerful and richly-textured music. Of which, 'Grapes Of Wrath' lifted from this best of compilation, is a prime example. It melds a Peter Hook-esque bassline - played high up the fret - with Ennio Morricone-esque lead guitar and the stately grandeur of Brandon's vocal, the disparate influences coming together to create something of a stroke of genius. Elsewhere, 'World Service' has the disdain that evokes Thatcher's 80s Britain - and as history tends to repeat itself, the stroppy moody punk-influenced power pop sound is as relevant now as it ever was.

Review: The Stones Roses endure as a popular indie band decades after they were really relevant. Some of their biggest moments were all touched up by a selection of remixes who were at least loosely associated with early acid house, baggy and the indie dance cross over of the same period. 808 State go first and flip 'Made of Stone' into an electric big of indie-techno. Grooverider flips the most iconic of them all, 'Fools Gold', into a low riding breakbeat roller while Paul Oakenfold & Steve Osborne's Verizon of 'Waterfall' leaves al the glorious tumbling guitar melodies intact and beefs up the beats.

Review: American rap outfit Sugarhill Gang changed music history with their fresh hip-hop sounds and never more so than on their self-titled album. It is often said to be the first rap full length and it came in 1980, a full four-plus decades ago now so gets a special, if possibly slighty late, 40th-anniversary reissue on limited edition and numbered heavyweight vinyl. It, of course, includes the band's most seminal tune, 'Rapper's Delight', in two different versions, as well as equally timeless joints like 'Rapper's Reprise (Jam-Jam)' and the much loved 'Sugar Hill Groove'. A bona fide classic, this one.

Review: Following on from the hardcore roots of their self-titled debut, but before making the full transition into crossover thrash metal territory on the now iconic, 'How Will I Laugh Tomorrow When I Can't Even Smile Today', Suicidal Tendencies arguably found their cemented footing on 'Join The Army.'

Increasing the solos, double-kick pedal drumming and ferocity tenfold, it was this 1987 sophomore effort that would begin dissolving the preconceived boundaries between hardcore and metal. With the intersectionality both genres and scenes have, and continue to share to this day, it really shouldn't be too difficult to understand why the LA bruisers are an essential point of contention within any discussion or analysis, or why their legacy seems to age like the finest of wines.

Review: This is the first reissue of the much-anticipated compilation gathering together many gems from the Louisiana born singer Bettye Swann. This compilation gathers and enormous 22 tracks from the career to highlight her career. Bettye rose to to acclaim with her 1967 soul classic 'Make Me Yours' which not only climbed to #21 on the Billboard 100 but also became a #1 on the rhythm and blues charts. Once she signed to Capital record a few years later, she had a second top 40 hit with 'Don't Touch Me'. The compilation has so many underrated songs from her career that just didn't get the attention that they deserved - see the excellent 'Don't You Ever Get Tired (Of Hurting Me)' and the amazing cover of 'Tell it like it is'. There is so much great music here to discover. This reissue by Music On Vinyl is on 180 gram vinyl complete with insert.

Review: Twilight of the Gods features one of many evocative soundtracks from Hans Zimmer, Omer Benyamin and Steven Doar. Between them, they bring a sweeping cinematic scope to an epic narrative with their usual sense of masterful scoring. Zimmer and his collaborators blend orchestral intensity with atmospheric depth here to enhance the mythic tone of the story. From haunting melodies to powerful crescendos, this soundtrack captures the emotional gravity and grandeur of the gods' twilight moments and each track layers intricate instrumentation that pulls listeners into a vivid, immersive world that echoes the film's themes of fate, power and destiny.