Back catalogue: All genres

Review: Frank Zappa's Apostrophe (') stands as one of his most acclaimed works, achieving both commercial success and critical acclaim. It was Zappa's first Gold Record and top ten hit in America while 'Don't Eat the Yellow Snow' reached the popular charts as well. This 50th Anniversary edition, released on a striking metallic gold vinyl, features a new remaster by Bernie Grundman, celebrating an album that has been a cornerstone for discovering Zappa's unique musical style. The album blends Zappa's trademark humor with intricate musicianship, featuring a mix of incomplete narratives and clever satire. 'Don't Eat the Yellow Snow' introduces listeners to Zappa's peculiar sense of humor with its distinctive guitar fills and drumming. 'Nanook Rubs It' continues the story with fast-paced guitar work and playful horn arrangements. 'St. Alfonzo's Pancake Breakfast' showcases excellent horn and xylophone work in a brisk, energetic track. 'Father O'Blivion' is an eccentric blend of spacey effects and zany lyrics, while 'Cosmik Debris' stands out with its compelling guitar riff and biting social commentary. Tracks like 'Apostrophe' feature a powerful collaboration with Jack Bruce of Cream, marked by exceptional bass and guitar performances. 'Uncle Remus' impresses with its uplifting piano and engaging solos, and 'Stink-Foot' rounds out the album with bluesy riffs and humorous lyrics. Apostrophe (') remains a seminal album that captures Zappa's eclectic genius and continues to impress new listeners with its inventive spirit.

Review: Frank Zappa once told KPFM-FM Radio that 'Sinister Footwear' is "a ballet about a guy who designs the ugliest shoe in the world and then all the things that happen before you get to wear it. And the shoe has been designed and I just saw like about ... twenty pairs of it, sitting around this place, it's really great." Ever the enigma, 'Sinister Footwear' could refer to the Frank Zappa track itself, 'Theme From The 3rd Movement of 'Sinister Footwear', or 'Sinister Footwear II'. Or this album, which collects highlights from his legendary New York City broadcast on 17th November 1981. A spectacular artefact from the height of his creative expression, at least some of the atmosphere, energy and creativity that captivated back then have survived onto this recording.

Review: Not to be confused with Zoot Allures, the 22nd studio album by American rock enigma Frank Zappa - released in 1976 - but purposefully confusable with that record, Zoot Alloors is just one artefact from the artist's critically acclaimed and technically astounding broadcast from New York City in November 1981. Like everything else Zappa, this mini-LP is part of a wider universe he constructed for himself before inviting fans to exist in it with him, and his inimitable performances style is captured here beautifully. Even the recording does its best to suck us right in there and leave us to explore. Tracks aren't so much tracks, but jumping off points for intense rock & roll, jazz, blues, glam and psyche jam movements that are invigorating, captivating and disorientating. A true original.

Review: The Frank Zappa Live Broadcast Collection is an in-depth look for fans into the brilliant live talents of the legendary performer, offering a 6xCD box set packed with rare radio broadcasts from the 70s and 80s. Featuring many iconic tracks, some available on disc for the first time, this collection captures Zappa's legendary live performances with unmatched energy. The limited edition set serves as a time capsule, showing Zappa's unique blend of wit, musical talent and boundary-pushing creativity. A true treasure for collectors, it's a rare opportunity to experience the magic of Zappa's live shows and celebrate his lasting influence on music history.

Review: An incredible roster is drafted for this very rare rethink and revisitation of work by the mighty Dutch oddities ZEA, a band most probably won't be too familiar with, and, as a quick Google will tell you, are definitely not ZE:A, a South Korean boy band who make decidedly more chart friendly (in South East Asia at least) forms of music. Instead, these Netherlanders are known for their Kraut, kosmische, post punk, DIY electro stylings, and those building blocks make for some excellent reworking courtesy of a cast from various sites of steeped musical heritage. Andy Moor (The Ex, Amsterdam), Desmond Denker, Phanton, and Begritty (Cologne), Yurke (Dusseldorf), Istari Lasterfahrer (Hamburg), Dubby King Knarf (Knarf Rellom, Hamburg) all offer their own takes on that which was already difficult to describe, making for a strange and beguiling collection which is impossible to say no to.