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To celebrate the 50th anniversary of Band On The Run, this special 2CD edition features the original album and a second disc of previously unreleased “underdubbed” mixes of the songs. CD1 mirrors the US release which includes the song “Helen Wheels”. The set also includes a double-sided fold-out Polaroid poster taken by Linda McCartney.
Also available: Band on the Run Half-Speed Vinyl Remaster
Quadrophenia is the sixth studio album by The Who, released in October 1973. The band's second rock opera is often regarded by many as their best album. Delve into the intricate story of Jimmy, a mod coming to terms with life head on.
Quadrophenia is now available on black 2-LP as a superior vinyl cut half-speed master. Engineered at Abbey Road Studios by Miles Showell from tapes prepared by Jon Astley and packaged in original sleeve with obi stripe and certificate of authenticity.
The Who By Numbers is their seventh studio album produced by Glynn Johns and released in October 1975.
A powerhouse record the album reached Top 10 on both side of the Atlantic. It contains the standout tracks "Slip Kid," "Substitute" and "Squeeze Box."
The Who By Numbers is now available on black LP as a superior vinyl half cut master. Engineered at Abbey Road Studios by Miles Showell from tapes prepared by Jon Astley and packaged in original sleeve with obi stripe and certificate of authenticity.
A comprehensive, chronological overview of The Rolling Stones’ early career as pop chart hitmakers. The Rolling Stones Singles 1966-1971 contains 18 vinyl 7” 45 RPM singles and EPs in original picture sleeves, a 32-page book with liner notes by Stones authority Nigel Williamson, plus a set of 5 photo cards and a color poster, all housed in a hard-shell box. Limited Edition.
Jon Savage serves us up another of his spectacular insights into popular culture, this time for the years 1983 to 1985.
Born out of the ashes of post-punk, there were plenty of experimental singles during the early part of this period: Siouxsie's 'Swimming Horses', Shriekback's 'Lined Up', Soft Cell's 'Heat', Echo & The Bunnymen's 'Gods Will Be Gods', and the Smiths' 'Girl Afraid' - a perfect kitchen sink scenario.
Pete Shelley and Scritti Politti went the electronic route to great effect, while the Special AKA delivered the perfect riposte to 'Hard Times' and having fun on the dole with the under-appreciated 'Bright Lights'.
But by the end of 1984, the true action throughout this period was to be found in electronic, black American and club music: whether the metal beat of Section 25's 'Looking From A Hilltop', Trans-X's daffy hi-NRG Eurobelter 'Living On Video', Shalamar's pure electro 'Disappearing Act', or the new music coming out of Sugarhill and Tommy Boy - Grandmaster Flash, Double Dee and Steinski, and the sampled Malcolm X.
By the turn of the 80s, the impact of David Bowie's ground-breaking Berlin recordings - the synths, the alienation, the drily futuristic production - was being felt on music across Europe.
What's more, the records being made were reflecting back and influencing Bowie's own work - 1979's "Lodger" and 1980's "Scary Monsters" owed a debt to strands of German kosmische (Holger Czukay), new electronica (Patrick Cowley, Harald Grosskopf), and the latest works from old friends and rivals like Robert Fripp, Peter Gabriel and Scott Walker, all of whom had been re-energised by the fizz of 1977.
Compiled by Saint Etienne's Bob Stanley and the BFI's Jason Wood, "Fantastic Voyage" is the companion album to their hugely successful "Café Exil" collection, which imagined the soundtrack to David Bowie and Iggy Pop's trans-European train journeys in the mid-to-late seventies.
"Fantastic Voyage" is what happened next. Bowie's influences and Bowie's own influence were rebounding off each other as the 70s ended and the 80s began, notably in the emergent synthpop and new romantic scenes as well as through the music of enigmatic acts like the Associates and post-punk pioneers such as Cabaret Voltaire.
Like "Low" and "Heroes", some of the tracks on "Fantastic Voyage" are spiked with tension (Grauzone's 'Eisbär') while some share those albums' sense of travel (Simple Minds' 'Theme for Great Cities', Ryuichi Sakamoto's 'Riot in Lagos') and others find common ground with "Lodger's" dark, subtle humour (Thomas Leer's 'Tight as a Drum', Fripp's 'Exposure').
This is the thrilling, adventurous sound of European music before the watershed moment when Bowie would abandon art-pop for America and the emerging world of MTV with "Let's Dance" in 1983. "Fantastic Voyage" soundtracks the few brief years when the echo chamber of Bowie, his inspirations, and his followers created an exciting, borderless music that was ready to challenge Anglo American influences.
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Miami-born trumpeter Blue Mitchell had a soulful, swinging style that was equally at home in jazz, R&B, and funk settings. Mitchell was a sideman on Blue Note sessions led by Lou Donaldson, Jimmy Smith, Jackie McLean and appeared on numerous classics as a member of the Horace Silver Quintet before he began recording his own Blue Note leader albums.
For his 1965 date, Down With It!, the trumpeter reconvened the same dynamic quintet that had recorded his label debut The Thing To Do the year before, including his Silver bandmates Junior Cook on tenor saxophone and Gene Taylor on bass along with a 24-year-old Chick Corea on piano and 22-year-old Al Foster on drums.
The band comes flying out of the gate on the boogaloo grooved opener "Hi-Heel Sneakers" with other highlights of the set including the high-spirited "March On Selma" and the gorgeous ballad "Alone, Alone, Alone."
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