Yellow Vin Vinilo y CD

Review: 'Stand Together' by Beastie Boys is a signature high-energy track from their iconic album Check Your Head. It perfectly resents what the US disruptors were all about with its trademark fusion of hip-hop, punk and funk, explosive instrumentation and dynamic vocal delivery. It's also the name of this broadcast album which comes on yellow vinyl and is a recording of a live TV broadcast the group did back on September 19, 1992 from Kawasaki Citta Club in Kanagawa, Japan. Plenty of their jams of the time - 'Egg Man' and 'Shake Your Rump' being much loved fan favourites especially - feature here, capturing the band at a particularly fertile moment in their career.

Review: Legendary emo indie outfit The Cure have played all over the world in their decorated careers but back in 1996 when they headed to Brazil, it was the first time they had been to the country since 1988. They were there for the 1996 edition of the Hollywood Rock Festival which they headlined in superb fashion and wowed their Latin American fans. Live Lullabies & Other Bedtime Stories is a special recording of that night that comes on nice yellow vinyl and features the likes of signature anthems like 'Boys Don't Cry,' 'Friday I'm In Love,' 'Just Like Heaven' and many more.

Review: It's 1990 and Depeche Mode couldn't really be riding much higher in the global music stakes. Having just released Violator, the band had finally debuted an album inside the Billboard Top 10 for the first time in their almost-decade-long history, and pretty much anyone who came into contact with the record was very quickly captivated by its sound. While definitely not a curveball, it marked an expansion of the group's existing style. Some have described it as synth-pop, others alternative rock. In many ways, it's a dance floor album, one that embraces goth and coldwave at its very core. Captured during their tour at that time, Set In Stone features landmark singles from the LP - 'Personal Jesus', of course, and 'World In My Eyes' - it also proves beyond any doubt that a Depeche Mode show is about more than simply playing the hits.

Review: Whole Lotta Live is an essential album for fans of the great British rock outing Led Zeppelin. It was recorded back in 1969 when they performed a magnificent live show for the BBC right in the midst of some of their most successful times. This one comes via Yellow Vin on yellow vinyl and features their biggest hit 'Whole Lotta Love' - which is cleverly punned on in the title - and further fan favourites like 'What Is & What Should Never Be', 'How Many More Times' and the great 'I Can't Quit You Baby' also make the cut.

Review: "It rained like a cow pissing on a flat rock" Aerosmith's Steven Tyler apparently once said about Woodstock 94. His band's set, in the middle of the night, followed a monumental firework display at the end of Metallica's typically juggernaut show. A cataclysmic halt, picturing the scene in your mind now is almost biblical, moody storms setting in across a dangerously oversold, woefully organised weekender headlined by some of the most lightning-worthy rock bands on the planet. Short Cuts: The Best of Woodstock 94 is more than a concert recording, then. An abridged version of a marathon set, it's also a declaration of intent from metal titans who refused to be upstaged by the events unfolding around them. If there's ever an excuse to revisit Metallica on stage during the Black Album period, then surely it's with a backdrop of chaos and rage?

Review: Recorded in Montreal, Quebec in 1981 whilst touring his sophomore solo endeavour Diary Of A Madman, this live LP from the former/current/former (?) Black Sabbath frontman serves up an iconic slice of very-much-in-his-prime metallic rock mayhem. Featuring timeless staples such as 'I Don't Know', 'Crazy Train', 'Mr. Crowley', and even finishing with an electrifying cover of 'Paranoid' (greatly embellished by Ozzy's secret weapon throughout the 80s - guitar virtuoso Randy Rhodes), this LP serves as a high watermark live collection from the Prince of Darkness.

Review: Prog rock legends Rush have a die-hard fan base who love to spend hours debating about which is their best album. They might not always name this one but it is generally regarded as up there amongst their finest hours with a bigger variety in the structures of the songs, the melodies and the sounds created than before. The Canadian group released it in September 1991 having recorded it earlier that year. It proved a commercial success for the outfit reaching No. 3 in the United States, No. 10 in the UK, and No. 11 in Canada. It always won awards for its cover art and is noted for its return to guitar-driven songs.