Back catalogue: Rock

Review: Who doesn't love Toy Story? It's an on going classic with a heart of gold, some of The best animation in the film world and most loveable characters to ever make the silver screen. Whether young or old, snuggling down to watch this sone is always a treat, and now you can bring some of that magic onto your decks with the red vinyl compilation album. It brings together some of the best tracks and favourite musical moments of the movie such as, of course the most notable song of them all, 'You've Got A Friend In Me (Para El Buzz Espanol)' as well as 'I Will Go Sailing No More' and 'We Belong Together.'

Review: Peter Gabriel's third self-titled album, often referred to as Melt, marks a significant artistic leap for the musician. Released in 1980, this groundbreaking record is notable for its innovative integration of electronic effects and the revolutionary gated drum sound developed with Phil Collins and engineer Hugh Padgham. The album's cover art, a melting portrait of Gabriel by Hipgnosis, adds to its striking visual identity. Co-produced by Gabriel and Steve Lillywhite, Melt showcases a unique blend of influences, notably African rhythms and experimental soundscapes. Opening with the eerie 'Intruder', the album establishes a dark and unsettling atmosphere that persists throughout. Tracks like 'No Self Control' and 'I Don't Remember' feature dynamic arrangements, with the latter providing one of the album's most memorable hooks. The politically charged 'Biko' serves as a poignant anthem for anti-apartheid activism, encapsulating Gabriel's deep engagement with global issues. Not only did the album achieve commercial success, topping charts in the UK, but it also solidified Gabriel's identity as a solo artist, paving the way for future explorations in music technology. This reissue on 180-gram vinyl brings the album's rich textures and intricate sound design back to life, allowing listeners to experience its emotional depth and musical innovation anew. Melt remains a powerful example to Gabriel's vision and a landmark in progressive music.

Review: Peter Gabriel's i/o is an album that took shape over a fairly long period of time and it involves a wide and long list of cast members. It is packed with plenty of moments of vocal beauty and gravity, with Gabriel's iconic song writing abilities front and centre as he tackles a rich array of tough provoking subjects that confront us all. Moods range from hopefully and optimistic, to more gloomy and despondent with top contributions from Richard Russell, pianist Tom Cawley, trumpeters Josh Shpak and Paolo Fresu, cellist Linnea Olsson and keyboard player Don E.

Review: Peter Gabriel's return to the limelight is demarcated by i/o, the latest 12-track album on which he reasserts his voice and compositional skill, delivering a profound and life-affirming new message. Embracing a Wattsian speck-of-dust existential theme, lead cuts like the title track turn the thought of "I'm just a part of everything" into a motif, while also touching on themes of injustice, surveillance and the roots of terrorism. But While reflective, the mood is never despondent; i/o is musically adventurous, often joyous and ultimately full of hope, topped off as it is, by the rousingly optimistic closing song, 'Live and Let Live'. Note that this is the Bright Side Mix of the album: i/o is not simply a collection of a dozen songs. All 12 tracks are subject to two stereo mixes: the Bright-Side Mix, handled by Mark 'Spike' Stent, and the Dark-Side Mix, as reshaped by Tchad Blake; an embrace of today's ambivalent mood.

Review: Ever the musical maverick and sonic innovator, Peter Gabriel is serving up his bold and adventurous new album in several different formats with several different sub headings. This is the Dark Side Mix version on double heavyweight vinyl. It is packed with plenty of moments of vocal beauty and gravity, with Gabriel's iconic song writing abilities front and centre as he tackles a rich array of tough provoking subjects. Next to the man himself, plenty of guests on the full oringal version bring their own touch of class including Richard Russell, pianist Tom Cawley, trumpeters Josh Shpak and Paolo Fresu and cellist Linnea Olsson amongst many more.

Review: This is the ultimate version of Peter Gabriel;'s long awaited new album I/O. It comes across all formats - four vinyl, two CDs, a Blue Ray and even includes a booklet. The album finds him reasserts his voice and compositional skill, delivering a profound and life-affirming new message. Embracing a Wattsian speck-of-dust existential theme, lead cuts like the title track turn the thought of "I'm just a part of everything" into a motif, while also touching on themes of injustice, surveillance and the roots of terrorism. Elsewhere it is packed with plenty of moments of vocal beauty and gravity, with Gabriel's iconic song writing abilities front and centre as he tackles a rich array of tough provoking subjects. A welcome return.

Review: In many ways the critical reception to Dave Gahan's debut solo outing is still surprising. Mainly because a good number of critics seemed surprised at the depth and assurance of the record, which kind of seems to deny the fact this is the voice of Depeche Mode, arguably one of the finest bands to ever come out of the UK and certainly a group that understand what it means to layer musical textures and meld multiple themes.

'Stay' might be the best case in point. It's patient, it's elegant, there's a real air of sorrow but also you can't help feeling loved while listening to it. Balladry in the truest sense, the fact that track is sandwiched between the soft half-house music of 'I Need You' and the epic, theatrical anthem 'Black & Blue Again' is a case in point. A real journey.

Review: A stonking 23 tracks lifted from a famous live show in London makes up this mega-album-set, 'All Around Man', from Rory Gallagher, the Irish singer-songwriter and guitarist known for his distinctive brand of blues-rock, and helming of the blues collective Taste. Charting the best examples of Gallagher's concerts across London throughout 1974 to 1976 - despite his underratedly moderate success in the UK - all show off Gallagher's virtuosic guitar playing, passionate vocals, and energetic stage presence, all of which translate just as well to vinyl as they do to his now irreplicable live experience.

Review: In 1972, Irish blues guitarist Rory Gallagher was at the peak of his powers. On the back of two much-loved and critically acclaimed albums, Gallagher was named Melody Maker's Musician of the Year. Before scooping that gong, he toured Europe and, while in Switzerland, recorded a now legendary session for Radio Suisse. This CD showcases that session in full, complete with crowd noise and trademark effects aplenty, with Gallagher and his band's dazzling - if fuzzy and lo-fi, in keeping with the original recording - blues and blues-rock performances (Gallagher's squally and extended guitar solos are especially memorable) being joined by interview experts and introductions by the radio station's unnamed disc jockey.

Review: The 3LP version of BBC Collection highlights the Best of Rory Gallagher recorded concerts by the British public service broadcaster. Standouts include 'Cradle Rock' and 'Tattoo'd Lady' from 'Sounds of The Seventies' (1973), 'Shin Kicker' from 'BBC In Concert' (1979), and 'Continental Op' from the 1986 Paul Jones Blues Show. Each track exemplifies Gallagher's extraordinary guitar work and raw, powerful vocals. This collection not only spotlights Gallagher's enduring influence but also provides a journey through his evolving sound, from the gritty blues of his early days to the more refined, yet equally intense performances of the 80s. Many will say, Rory Gallagher's exceptional talent and his significant contribution to rock and blues music is most shown in his live performances. To many this is one of the most important collections of BBC recorded music. Certainly, the most extensive.

Review: Spanning the years 1978-82, this seven-disc set captures the history of the band put together by Ian Gillan after he departed hard rock giants Deep Purple, the 94-strong tracklisting features remastered versions of all studio their albums alongside a rich selection of B-sides, outtakes and rarities. Key highlights include the debut album, sometimes known as The Japanese Album as it wasn't initially released in the UK, the more intense Mr Universe, the initally fan only Glory Road and the chart-climbing Future Shock Double Trouble is that most novel of formats, a half studio, half live double album, while Magic, captures the group's last creative burst before disbanding. Housed in 7" packaging with a detailed 32-page booklet, the collection also includes an insightful new interview with the often outspoken frontman.

Review: For all his iconic status in modern rock 'n' roll lore, Bobby Gillespie remains very much a fan, one whose humility regarding the music he loves and the influence it's had on him has never been far away from his public persona. With this in mind, we're in remarkably safe hands with this soothing collection of beatific charmers and laidback deep cuts, which offer a kaleidoscopic trajectory from the very birth of rock 'n' roll (Jerry Lee Lewis) through the '60s (Beach Boys) and '70s (Gram Parsons) via his own journey through punk and beyond in the process. One suspects Mr. Gillespie has had more than his fair share of late nights requiring just such a come down, thus it's little surprise to find the man knows exactly how to handle 'em.

Review: A career retrospective release featuring music over the last 50 years by American born musician Beverly-Glenn Copeland. He started his career as a folk singer, incorporating jazz, classical and blues elements, and performed on albums by Ken Friesen, Bruce Cockburn, Gene Murtynec, Bob Disalle and Kathryn Moses. Features 'In The Image' first released in 2004 under the moniker Phynix , 'Sunset Village' first released on the Keyboard Fantasies album in 1986, 'Colour Of Anyhow' (CBC q live version) recorded by the Canadian Broadcasting Commission 2011, 'Deep River' recorded live at Le Guess Who? in Utrecht 2018, 'The Netherlands and Montreal Main' (The Buddha In The Palm) first released on At Last! EP in 1983. All tracks remastered by Guy Davie at Electric Mastering.

Review: This collection plunges into Godley & Creme's eccentric post-10cc years, a whirlwind of boundary-pushing pop and inventive production. Tracks like 'An Englishman in New York' burst with surreal humour and layered arrangements, showcasing their knack for storytelling through off-kilter melodies. Meanwhile, 'Snack Attack' plays with genre, blending funk-laden grooves and absurdist charm. These songs aren't just quirky diversions-they're windows into the duo's fearless approach to dismantling pop conventions. Packed with vocal harmonies, synth experiments, and a sprinkle of the absurd, this box set is a reminder of how Godley & Creme rewrote the rules for art-pop.

Review: Lotti Golden's debut is a fearless dive into the chaotic, electric world of late-60s New York, where countercultural misfits and street prophets populate her genre-warping narratives. Opener 'Motor-Cycle Michael' sets the pace with its freewheeling energy, while 'Gonna Fay's' drifts into bluesy psychedelia. The sprawling 'A Lot Like Lucifer (Celia Said Long Time Loser)' shifts between swaggering rock and theatrical storytelling, mirroring the unpredictability of its characters. 'Who Are Your Friends' leans into funk-driven introspection, while 'Get Together (With Yourself)' and 'You Can Find Him' push her vision further, blending soul and gospel-inflected harmonies. Golden's distinctive approach, combining raw honesty with a complex musical palette, firmly establishes her as an artist who reshapes the boundaries of pop and rock. Born and raised in Brooklyn, Golden was drawn to music from an early age, nurtured by her parents' passion for art and culture. At just 16, she caught the attention of Bob Crewe's Saturday Music, signing as a staff writer. But Golden's vision reached beyond writing for othersishe was determined to tell her own story. With vivid lyrics that captured her experiences in New York City, her debut album chronicles youthful defiance, introspection and transformation.

Review: If you're over the age of 30 it's probably quite alarming to think David Gray's monumental smash hit single 'Babylon' is now almost a quarter century old. A track that appeared everywhere, from TV ads to films to the radio for the next 25 years or so, it's the sort of song that artists can find it incredibly hard to come back from. Career defining, but also limiting, its enormous success melding with the very identity of the person who made it. Dear Life, Gray's 13th studio album and his first since 2021's Skellig, proves how unfair that familiar pattern can be. Deft songwriting and first class musicianship abound, although the record is unlikely to win any new disciples - this is very much Gray doing Gray the right way, a soft rock-pop-jazz-tronica workout that's easy to get along with, and get a little lost in - it's going to be just what the therapist ordered for those already converted.

Review: It's 1997 and Green Day have just unveiled Nimrod, their fifth studio album, with the clear intention of trying different ideas, en masse. Rather than specifically looking to release an album per se, the band convinced Reprise Records to let them loose on what's effectively a series of singles. Lacking the coherency of a full record, the fact it still bagged universally positive reviews - with many rightly pointing to its rousing and invigorating qualities (surely a product of its shape-shifting nature) - is testament to the band's deft abilities.

It certainly showed off the outfit's ability to craft these huge, memorable hook lines and melodies, the sort of tracks that you instantly feel you know, even on first listen. Veering between folk, punk, ska and skate rock, what's here may not have had quite the same impact as Dookie, but many ways this is a more convincing argument for their legendary status.

Review: Guns N' Roses' 2004 compilation taps into the heart of their storied career, delivering a powerful mix of their most iconic tracks. The energy that defined their 80s and early 90s output is still evident, whether it's the anthemic riffs of 'Sweet Child O' Mine' or the soaring balladry of 'November Rain.' This vinyl reissue brings those songs to life with a warmth that digital formats just can't replicate. It's not just about nostalgiaithis collection showcases the rawness and precision that made the band legends, capturing their wild spirit and musical mastery in a way that feels as vital today as it did when these tracks first hit.

Review: American hard rock band Guns N Roses are one of the most iconic to ever do it. Their Greatest Hits album is jam packed with smash hit after smash hit. Released by Geffen Records in part because of the delay in the making of Chinese Democracy, it came in 2004 amidst some infamous legal challenges from Axl Rose and former band members who weren't too pleased with its tracklisting. It got no promotion as a result but still topped the UK Albums Chart and no wonder with 'Sweet Child O Mine', 'Welcome to the Jungle' and 'Paradise City' all featuring amongst plenty more.