Back catalogue: All genres

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.

Review: In 1962, a chance convergence of historical contingencies in Dartford, Kent, would set the stage for the formation of one of the world's best-known rock and roll bands, The Rolling Stones. After Mick Jagger and Keith Richards took inspiration from rock icons Chuck Berry and Bo Diddley, not to mention the comparatively sentimental Chicago blueses of Brian Jones and Ian Stewart, the group's had laid the mac for their own sound. The Rolling Stones' love for early blues legends would define their success; this compilation The celebrates those roots, from Muddy Waters' 'Just Want to Make Love to You' through to Chuck Berry's 'Memphis, Tennessee' and Robert Johnson's 'Love In Vain'. Special bonus tracks include the jazz-infused 'Key To The Highway' by Jazz Gillum, further proving Jagger and company's far-reaching inspirations.

Review: On December 4, 1991, Van Halen staged a free show in Dallas, Texas as part of their For Unlawful Carnal Knowledge tour, causing the mass closure of streets and an estimated 50,000 fans turning up. This recording, with an electrifying setlist blending fresh tracks with fan favourites from 5150 and OU812 (and even the odd Sammy Hagar solo hit), opens with the hard-hitting 'Poundcake', with the anthemic 'Judgement Day' and 'There's Only One Way to Rock' showing the band's ability to balance technical skill with raw power. 'Panama' is a nostalgic fan favourite from their most popular era, while Hagar's 'I Can't Drive 55' fuels the crowd with unrelenting energy. Their versatility shines with more laid-back grooves like 'Finish What Ya Started' alongside arena rock staples such as Top of the World' and - naturally - and throughout, naturally, Eddie Van Halen's guitar wizardry is unmatched.

Review: Van Halen's third release, Women & Children First, showcases the band coming into their own after their meteoric rice to fame in the late 70s. Originally released in 1980, the album made the top ten and sold over three million copies with little radio play and not even a top 40 song. The album is also ranked #36 in the top 100 Heavy Metal records of all time. Released on limited numbered 180 gram at 45RPM Audiophile SuperVinyl with the UltraDisc One-Step process spread across two records. Mobile Fidelity Sound Lab US's pressing is perhaps the ultimate copy to have for the discerning audiophile.

Review: A nostalgia-packed journey through one of pop music's most exciting years, featuring an impressive lineup of extended and remixed tracks from the decade's biggest stars. This four disc collection brings together a mix of chart-topping anthems, cult classics and dancefloor staples, each in its extended 12" glory. Things start with Wham!'s infectious 'Freedom' (long mix) and keeps the energy high with Culture Club's politically charged 'The War Song' (Ultimate dance mix). New Order's 'Thieves Like Us' and Philip Oakey & Giorgio Moroder's 'Together In Electric Dreams' add a synth-laden sheen, while Eurythmics' haunting 'Sexcrime (Nineteen Eighty-Four)' is a bold statement piece. As the tracklist moves on, iconic tracks like Frankie Goes To Hollywood's 'Relax' (New York mix) and Duran Duran's 'The Reflex' (dance mix) capture the decade's indulgent soundscape. Meanwhile, softer gems like Talk Talk's 'It's My Life' (extended mix) and Echo & The Bunnymen's 'Silver (Tidal Wave)' provide balance. Closing with Paul McCartney's heartfelt 'No More Lonely Nights' (extended) and the ever-catchy 'Somebody's Watching Me' by Rockwell, this compilation offers a comprehensive snapshot of 1984's pop brilliance. Having these extended versions together in one set is more than a greatest hits package - it's like having all the maxi singles together like an experienced DJ ready to rock a party.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Secret Superstar Sounds, courtesy of Soul Jazz, offers an eclectic and excellent collection of oddball punk and powerpop rare cuts from little-known bands from the late 70s, including but not limited to The Squares, The Meanies, The Monitors, Plummet Airline, and Krypton Tunes. Falling between the cracks of punk, new wave and post-punk, these unfairly overlooked and forgotten to time gems came from a slew of DIY ethos purists inspired by the messaging of bands like The Desperate Bicycles, Sniffing Glue fanzine and early UK punk labels like Stiff, Chiswick and Rough Trade, recording everything in-house, then sending their recordings to the likes of John Peel and labels with hopes of some airplay or recognition, little of which came. A long-lost micro-genre of unfairly forgotten underground punk (but not punk) gems awaits.

Review: The most eminent British rock opera of all time, The Who's Quadrophenia, released in 1973, hears Pete Townshend, John Entwistle and Roger Daltrey conceive and narrate the angst of a young postroom worker, Jimmy, living in post-war Britain amid the schismatics of the mods and rockers, as they warred in converse step. Exploring rebellion, let-off steam, and alienation through music, the record firmly set the stage for the 1979 film adaptation of the same name, which popularised the thoroughfare connecting London-Brighton as a vital identificatory artery for a certain angst-ridden generation. The album features standout tracks like '5:15' and 'Love, Reign O'er Me', and remains one of The Who's most celebrated works. It's now reissued through Bespoke Editions, with two CDs of Pete Townshend's demos, and a 5.1 DVD-A remix of eight tracks, plus handwritten lyrics in a book and a 13,000-word essay from Townshend.