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Review: Man In Black may be the 38th album by country singer Johnny Cash, but it is definitely one of the most memorable albums in his discography. The album is perhaps one of Cash's most political albums, with the title nodding at Cash's tendency to wear only black during his live shows. This was to reflect the turbulent times during the Vietnam War; a message also reflected in the album's lyrics, from the singles 'Man in Black' to 'Singin' In Viet Nam Talkin' Blues', both of which can be seen as his most important protest songs. All this makes the album a unique milestone in his career and still a must for all Johnny Cash fans. Man in Black is available as a limited edition of 2500 individually numbered copies on crystal-clear vinyl.

Review: The Men They Couldn't Hang were well known in UK punk circles having formed in 1984. The band had a strong connection with The Pogues and toured with David Bowie. Silver Town is their fourth studio album and it gave rise to several singles including 'A Place in the Sun' and 'Rain Steam & Speed.' There is a distinctly British feel to the happy-go-lucky tunes, with musings on plenty of uniquely English things grooves that bring to mind a good old knees up in a barn. This 180 gram audiophile vinyl has a gatefold sleeve and is limited to 500 individually numbered copies on flaming coloured vinyl.

Review: J.J. Johnson became an acclaimed talent after working on several best-selling rock steady and proto-reggae 45s by the likes of Lee 'Scratch' Perry, the Rulers, Carl Dawkins and the Kingstonians. His productions had never before been collected together until this compilation from Trojan Records in 1969. It showed the reggae master's new and fresh take on the tried and tested sound and was dominated by tunes from well-known and frequent hit-makers the Ethiopians. The likes of Roy Shirley and the J.J. All Stars also feature and are taken from 1968 to 1972.

Review: It has been around 13 years since most people will have had a chance to hear much about Chapterhouse. Finishing their reunion tour in 2010, you can't help but feel there was still a fair bit left unsaid even after that. The outfit may not be top on everyone's list of late-1980s and earl-mid-1990s remembrances, but were more than deserving of that final two-year stint on the road, and this reissue package.

Formed in 1987, and immediately lumped in with a then-nascent shoegaze scene, the Reading-born team aren't actually that easy to describe. Dreamy, at times verging on opiate, yes, but arguably bigger, rockier and looser than that might suggest. Here you get two of their final singles, 'Don't Look Now' and 'She's A Vision', alongside two top reworks of 'Deli' - one experimental psych offering, the other bound for Balearic sets.

Review: By this point in time Dog Eat Dog had already said a fair bit. Throwing the Warrant EP at the world in 1993, marking the arrival of a hybrid music tour de force among the alternative and skate rock and punk community. Play Games was the band's second full length album, and while it perhaps didn't boast the kind of anthem 'No Fronts' became two years earlier, it still very much represented an act setting out their stall and winning. Albeit perhaps not in terms of chart impact.

Then again, that was never really the Dog Eat Dog way. This, after all, was one of the first outfits - in the US at least - to try and marry hardcore punk with hip hop, welding two distinctly counter-cultural but (at the time) disparate genres together. And for the most part they succeeded. This is one of those parts.

Review: Giving you a time portal back to the glory days of rap metal on a major label tip, Methods Of Mayhem was the moment legendary Motley Crue drummer Tommy Lee took a break from glam metal to get down with the kids and serve up a fierce slab for the bros to mosh to. The guest line up is no joke, taking in Snoop Dogg, Fred Durst, George Clinton, Lil' Kim, Mixmaster Mike, Kid Rock and U God from Wu Tang Clan. Truthfully, it's aged well compared to a lot of the rap metal of the era, capturing a genuine hip hop swagger which more than stands up to the guitars, with production that reaches to sampling and synthesis as much as crushing riffage. It may not be the smartest creative expression out there, but neither is it trying to be. The main thing is that it kicks raw ass, which it absolutely does.

Review: As part of Record Store Day's Black Friday offerings this year, the weird and wonderful Circus Doop is available on vinyl for the first time. This version comes with the 1996 single 'Ridin' as a bonus track nestled at the end of the second side of this limited edition cotton-candy LP. Elsewhere the tunes brim with bonkers mash-ups, country over hardcore, funky club music with Euro dance samples, skipping garage floaters overrun with euphoria and harder dance with gabber tinges. It's brilliantly mad.

Review: The backstory to this one is great. It starts in 1978 when a New York producer was in need of some studio musicians to lay down some fast and funky rhythms for a band he was working with, The Imperials. Minneapolis talents Andre Cymone and Prince Rogers Nelson duly stepped up and recorded 'Fast Freddy The Roller Disco King'. An album from the Imperials was set to follow but it never did, leaving us with this one majestic cut. It's soul-drenched and cosmic disco with a killer vocal back with a more leggy and slow-motion cosmic wonder, 'I Just Wanna Be Your Lovin' Man.'

Review:  Founded in 1966 by Joel Gibson (a.k.a. Joe Gibbs) at his radio and TV repair shop on Beeston Street in Kingston, Jamaica, Amalgamated became one of the fastest-rising labels in correlation with the uprising of Rocksteady music. Their 'Jackpot Of Hits' compilation was originally released three years into the label's existence in 1969, whereby the the compilation was named after one of the label's most hard-hitting 7"s by The Pioneers, 'Jackpot'. Further contributions in the realms of ska, rocksteady and reggae come from Stranger Cole, The Pioneers, and Cool Sticky.

Review: In all honesty, moving straight from the rousing, slightly grinding wall of sound with which 'We Are The Beautiful' signs off, into the lunging bass of a stomping Spooky dub edit of the same track, is both unexpected and a bit jarring. The noisy end of shoegaze-leaning indie into pared back prog-hued tech house from one of the all-time masters, anyone? But then that's kind of the point we want to celebrate.

Chapterhouse may only just be getting the reappraisal they deserve now, over a decade after their last and rather brief reunion tour (with She's A Vision also hitting our shelves early-2023), but their influence on heads and artists alike was significant. Debut album Whirlpool, for example, remains for many a high point of the entire shoegaze movement. Here are three more tracks to prove that point, and one belting - if sonically isolated - remix.

Review: Jamaican reggae harmony group The Silvertones were formed in 1964. The band was founded by Gilmore Grand and Keith Coley with the addition of Delroy Denton completing the lineup. It wasn't until 1973 that they recorded their debut album, Silver Bullets, with production taken care of by the late great Lee Scratch Perry. It was actually the first ever album tone produced in Perry's iconic Black Arc Studio and came on Trojan Records with single like 'I'll Take You Home' and 'Rejoice Jah Jah Children.' It is packed with laid back island sounds and beautiful vocals and has been pressed here on nice heavy vinyl for a warm and fulsome feel.

Review: Andrew McMahon from pop punk band Something Corporate found great success with his side project, Jack's Mannequin. Ten band pout out their last album in 2011 and it featured some high profile guests including Jamie Muhoberac, Chris Chaney from Jane's Addiction, and Patrick Warren. Rob Cavallo (who has worked with bands like Green Day and Linkin Park and Jim Scott (The Rolling Stones, Red Hot Chili Peppers) both worked as co-producers on the album, which his a real pop rock classic with plenty of big, singalong tunes and epic air guitar ruffs. The songwriting was well praised at time of release and resonates to this day.

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.