Meet The Moonlight, Johnson's eighth studio LP and first full-length release in five years, was produced by Blake Mills (Alabama Shakes, Perfume Genius, Jim James) and recorded in Los Angeles and Hawaii. The creation process marks a major artistic milestone from past work, taking shape from a one-on-one collaboration with Mills and unveiled an intimate and highly experimental process that involved embedding Johnson's elegantly stripped-back arrangements with enchanting sonic details.

"Songs For While I'm Away" is the story of how a young black boy from working class 1950's Dublin became Ireland's greatest rock star. As lead singer of Thin Lizzy, Phil Lynott was a songwriter, a poet, a dreamer, and a wild man. The film gets to the heart of Philip: the father, the husband, the friend, the son, the rock icon, the poet, and the dreamer. Also included is Thin Lizzy's famed October 1978 concert at the Sydney Opera House with remixed audio and cleaned-up picture. CD + 2 DVD.

Live at The Roxy was recorded on May 3, 1991, originally for the Westwood One Radio Network. Prior to its inclusion on the 2021 'Road Apples' Deluxe package, the full concert had never been officially available and was a much sought-after show for the bootleggers and die-hard Hip fans. The 15-song set includes the legendary "Killer Whale Tank" version of "New Orleans is Sinking" and "She Didn’t Know". 2 LP black vinyl.

In April of 2021, 13 months into quarantine, Rick Springfield and his band performed his most iconic album, “Working Class Dog,” from start to finish live at Rick’s home in Malibu in celebration of its 40th Anniversary. The resulting work is a renewed interpretation of a classic. The DVD features behind-the-scenes footage, all the joyful live performances, plus 4 bonus Rick Springfield hits: “Love Somebody,” “Don't Talk to Strangers,” “State of the Heart,” and “Affair of the Heart.”

First ever compilation from rock & roll hall of famer highlights songs from her solo career, newly remastered by Glyn Johns, along with two unreleased studio recordings. Also includes new orchestral version of Fleetwood Mac classic “Songbird”

Home, before and after is ReginaSpektor's eighth studio album and most quintessentially “New York” in years. Recorded in upstate New York, produced by John Congleton and coproduced by Spektor, the album is Spektor at her most inspired, heralded by "Becoming All Alone," a surrealist ballad that swells with arrangements and comes alive in your head. During the summer of 2019, Spektor completed a successful five-night Broadway residency at the Lunt-Fontanne Theatre, marking her debut on the Great White Way. The Daily Beast called the run “both whimsical and thunderous,” with Gothamist saying Spektor “delights on Broadway with a fun, zany show.” Spektor’s most recent album, 2016’sRemember Us To Life, has been the subject of extensive critical praise from the likes of NPR, Entertainment Weekly, New York Magazine,Peopleand many more. ReginaSpektor is synonymous with New York City. The Russian-Jewish-American singer, songwriter and pianist got her own Sign on the Bronx Walk of Fame,as well as “Regina Spektor Day,” (June 11, 2019) proclaimed by Mayor Bill DeBlasio. The Grammy Award nominee first saw commercial success with the RIAA Gold-certified LPBegin to Hopewhich includes singles “On the Radio,” “Better,” “Samson,” as well as “Fidelity” which climbed the Billboard Hot 100 singles chart. Spektor’s fifth album,Far(2009), and sixth album,What We Saw From the Cheap Seats(2012), both debuted at number three on the Billboard 200 albums chart. Spektor has performed at The White House as well as on Broadway, Saturday Night Live and contributed to many projects spanning film, television, and music includingThe Hamilton Mixtape.

Around the World, available for the first time on DVD, is presented with restored picture and remastered audio. It follows The Police on their first world tour in 1979-80. The film offers a jovial glimpse of the band as they travel the globe with visits to local sights between performances. It includes complete performances of 4 songs as bonus features. Live tracks featured on the Digipak CD were recorded in Japan, Hong Kong, and the UK.

Sometimes, Forever, the immersive and compulsively replayable new Soccer Mommy full-length, cements Sophie Allison’s status as one of the most gifted songwriters making rock music right now. The album finds Sophie broadening the borders of her aesthetic without abandoning the unsparing lyricism and addictive melodies that made earlier songs so easy to obsess over. To support her vision Sophie enlisted producer Daniel Lopatin, whose recent credits include the Uncut Gems movie score and The Weeknd’s Dawn FM.

2022 release. At the age of 73, former Steely Dan and Doobie Brothers guitarist Jeff Skunk Baxter releases his very first solo album, Speed of Heat. The 12-track collection features a mix of original tunes and select covers. Among the latter are renditions of the Steely Dan classics 'My Old School' and 'Do It Again', and the 1960 instrumental Apache that was popularized by The Shadows. The album features Baxter singing lead on some tracks, as well as some guests vocalists and musicians, including his one-time Doobie Brothers band mate Michael McDonald, country star Clint Black and blues rocker Jonny Lang. Baxter's main collaborator on Speed of Heat was veteran producer. Composer and keyboardist CJ Vanston.

A comprehensive, chronological overview of The Rolling Stones' early career as pop chart hitmakers. Contains 18 vinyl 7" 45 RPM singles and E.P.s in original picture sleeves, a 32-page book with liner notes by Rolling Stones authority Nigel Williamson, plus set of 5 photo cards and a color poster, all housed in a hard-shell box. Limited Edition Box Set.

2022 release. There are few rock guitarists on this planet who have had such a lasting influence on so many renowned musicians as Michael Schenker. Universal features all the strengths of this exceptional musician: first-rate songs with anthemic melodies, catchy guitar riffs and inspiring solos. Like it's predecessor Immortal (2019), Universal was produced by Michael Schenker and Michael Voss. As we have come to expect from him, Schenker has once again enlisted a number of prestigious fellow musicians for the recording of his new studio production, among them, as main vocalist, Ronnie Romero (Rainbow, Vandenberg), Michael Kiske (Helloween), Ralf Scheepers (Primal Fear) and Graham Bonnet (ex-Rainbow), drummers Simon Phillips (Toto, The Who), Brian Tichy (Whitesnake, Foreigner), Bobby Rondinelli (Rainbow, Blue Öyster Cult) and Bodo Schopf (Eloy), as well as legendary bassists Bob Daisley (Black Sabbath), Barry Sparks (Malmsteen, Dokken) and Barend Courbois (Blind Guardian, Zakk Wylde), with Tony Carey as a very special guest.

The fifth studio project from the Tedeschi Trucks band, is the most ambitious and, at the same time, intimate record that America's best rock'n'roll big band has ever made: a genuinely epic undertaking in four episodes and 24 songs inspired by classical literature but emotionally driven by the immediate drama, isolation and mourning of the pandemic era.

Originally released in 2003 with 30 tracks, UMe has updated the classic Sounds Of Summer compilation by The Beach Boys. The Expanded Edition 3 CD set features 80 key tracks from their storied career (all newly remastered) with 24 new stereo mixes, including two first-time stereo mixes. Includes updated photos and liner notes.

2022 release from the veteran British band. The ten-song set, with cover artwork once again by George Underwood (David Bowie, T-Rex), is produced by Stephen W Tayler for Chimera Arts (Kate Bush, Stevie Nicks, Peter Gabriel) and mastered by Alex Wharton (Paul McCartney, My Bloody Valentine, The Chemical Brothers) at Abbey Road Studios in London. Of the album, their first in nearly a decade, lead singer Cy Curnin commented, "Life can either be a series of broken obsessive thoughts or it can be a wonderful mosaic of moments. Every Five Seconds reflects this human paradox. The constant struggle between bewilderment and betterment." The Fixx's classic lineup remains intact: Cy Curnin (vocals), Jamie West-Oram (guitar), Rupert Greenall (keyboards), Dan K. Brown (bass guitar) and Adam Woods (drums).

Limited seven CD box set. Sony Music Canada's Bachman Cummings The Collection is a special edition boxset from Guess Who bandmates Randy Bachman and Burton Cummings. This illustrious box set from two of Canada's most celebrated musicians and songwriters includes five albums from The Guess Who from their 1969 - 1971 period alongside material from both Bachman-Turner Overdrive and Burton Cummings. Includes expanded booklet of rare and unpublished publicity, studio and master tape photography and detailed liner notes.

Graham Nash: Live is the unique project on which Nash revisits his first two classic solo albums, Songs For Beginners and Wild Tales, recorded live in concert. The live albums were recorded in 2019, each in their entirety with their songs in familiar sequence. Nash was joined on stage by a seven-piece band led by his longtime collaborators, Shane Fontayne (guitar and vocals) and Todd Caldwell (keyboards and vocals), The album was mixed by Grammy Award winner Kevin Killen and mastered by Grammy Award winner Bob Ludwig. An extraordinary Grammy Award winning renaissance artist - and self-described "simple man" - Nash was inducted twice into the Songwriters Hall of Fame, for his work with CSN and his work as a solo artist, beginning with these two landmark albums, Songs For Beginners and Wild Tales. Nash's lifelong commitment to his work is unwavering. His inspiration is simple: "All the things we stood for, that love is better than hatred, that peace is better than war, that we have to take care of our fellow human beings, because that's all we have on this planet - those things are still true today. I need to know that I've brought something into the world that was positive and not negative."

Not The Smile as in ha-ha-ha, more The Smile as in the guy who lies to you every day"... so speaks Thom Yorke on the inspiration behind the name of the new trio consisting of himself, his Radiohead bandmate Jonny Greenwood and drummer Tom Skinner of UK jazz outfit Sons of Kemet. The description is borne out by The Smile's acerbic first single "You Will Never Work In Television Again," a 2:48 blast of ragged, raw energy that moved The New York Times to rave: "Over a bruising 5/4 beat and flailing guitars climbing through three chords, Yorke snarl-sings his avenging fury at 'some gangster troll promising the moon' who'd devour 'all those beautiful young hopes and dreams,' and you can almost feel the spittle flying." Additional singles "The Smoke", "Skrting the Surface" and "Pana-Vision" - which epically closed the series finale of hit show Peaky Blinders - followed with equal critical acclaim; all are collected on The Smile's first album, A Light For Attracting Attention, produced by Nigel Godrich.

Produced from the original 1/4” analog master reels, GarciaLive Vol. 18 presents this previously uncirculated performance captured at the Bay Area’s vaunted Keystone Berkeley. Garcia and Saunders are joined by John Kahn, Martin Fierro (Zero, Sir Douglas Quintet) and Paul Humphrey (Marvin Gaye, Joe Cocker, Lawrence Welk) for genre-bending explorations of R&B, reggae, jazz, and rock classics including “The Harder They Come,” “You Can Leave Your Hat On,” “Freedom Jazz Dance,” and more.

Diamond Star Halos is the brand new album from Def Leppard, their first since their chart topping self-titled Def Leppard record in 2015. Written by the band over the past two years it features 15 tracks including the anthemic, stadium-ready singles “Kick” and “Fire It Up”, with guest vocals from Alison Krauss on “This Guitar” and “Lifeless”. The album title references T. Rex’s “Bang a Gong (Get It On)” with nods to T.Rex, David Bowie and Mott The Hoople across the album, which mixes the sound of their classic spirit with modern fire. The 1CD features a black & white cover with color logo, packaged in a jewel case.

Daniel Johns releases his second solo album, FutureNever... FutureNever will continue to scratch Johns' itch for collaboration, with "a few of [his] friends" jumping on the record, names he'll slowly release in thelead up to it's release. Johns says the record will be an "eclectic mix of music" and, given the breadth of material his offered us in the past 25 years or so, it's anyone's guesswhat this will sound like.

Nicki Bluhm's creative confidence and authentic vocals are front and center on AVONDALE DRIVE, her sophomore solo album and the follow up to her critically-acclaimed 2018 release To Rise You Gotta Fall. The native San Franciscan who now calls Tennessee home possesses a gorgeously emotive voice and her clear-eyed perspective on life informs the 10 tracks on the new release. Produced by Jesse Noah Wilson and recorded in East Nashville, the new album features a cast of musical luminaries including Oliver Wood, James Pennebaker, Jay Bellerose, Jen Condos, Erik Slick, Erin Rae, Karl Denson and AJ Croce. The album combines nostalgic country-rock with distinctly modern lyricism-an apt contrast for the process of studying one's past in order to make a better future. Stand out tracks include a duet with Oliver Wood on "Friends", the folksy "Juniper Woodsmoke, the reflective "Learn to Love Myself and "Wheels Rolling," a windows-down, hit-the-gas banger that ends the album Bluhm's music career began in the Cow Hollow area of San Francisco, where she recorded two solo albums and co-founded Nicki Bluhm and The Gramblers. After gaining widespread attention for their "Van Sessions" on YouTube, in particular their cover of the Hall and Oates classic "I Can't Go For That" which has garnered nearly 4 million YouTube views, they toured internationally and recorded two albums as a band. Since embarking on her solo career, Bluhm has carved a niche for herself as a powerful and incisive writer as well as an unparalleled vocalist. In addition to her solo work, Bluhm is also a sought-after collaborator with an A-list of icons and tastemakers including The Wood Brothers, George Porter Jr., The Infamous Stringdusters and Phil Lesh.

AM Gold is the new album from multi-GRAMMY Award-winning band TRAIN. This will be the group’s first release of all-new original music in five years, and is their 11^th studio album.

“Writing songs is hard. Not compared to so many things I suppose, but it’s difficult to create something that you love and then other people love as well. Writing songs for two and a half years in front of video screens instead of being in the presence of other humans has been a long, strange trip. And now here we are,” frontman Pat Monahan shares. “It has to start with love. Love that goes into work comes out of work. We this album and our fans. Thank you for waiting so long for us. I think it was worth it. AM Gold! Here we go!“

The Black Keys - Dropout Boogie - As they've done their entire career, The Black Keys' Dan Auerbach and Patrick Carney wrote all of the material for their new album, Dropout Boogie, in the studio, and the album captures a number of first takes that hark back to the stripped-down blues rock of their early days making music together in Akron, Ohio, basements. After hashing out initial ideas at Auerbach's Easy Eye Sound studio in Nashville, the duo welcomed new collaborators Billy F. Gibbons, Greg Cartwright, and Angelo Petraglia to the sessions, marking the first time they've invited multiple new contributors to work simultaneously on one of their own albums

"Fresh grief, like fresh love, has a way of sharpening our vision and bringing on painful clarifications. No matter how temporary we know these states to be, the vulnerability and transformation they demand can overpower the strongest among us.

Then there are the rare, fertile moments when both occur, when mourning and limerence heighten, complicate and explain each other; the songs that comprise Angel Olsen’s Big Time were forged in such a whiplash.

“I can’t say that I’m sorry / when I don’t feel so wrong anymore,” the record begins, her voice softer and more open than ever, as if she’s singing through a hard won smile. “All the Good Times”, a twangy banger with nods to JJ Cale, starts the album on a triumphant and bright note. The title song, “Big Time”, follows and continues the warm optimism. “Guess I had to be losin’ to get here on time,” she sings, a fearless love song co-written with her partner.

Big Time is an album about the expansive power of new love, but this brightness and optimism is tempered by a profound and layered sense of loss. During Olsen’s process of coming to terms with her queerness and confronting the traumas that had been keeping her from fully accepting herself, she felt it was time to come out to her parents, a hurdle she’d been avoiding for some time.

“Some experiences just make you feel as though you’re five years old, no matter how wise or adult you think you are,” she writes of that time. After that tearful but relieving conversation, she celebrated with her partner, their friends, oysters, and wine. “Finally, at the ripe age of 34, I was free to be me.”

Three days later, her father died; his funeral became the occasion for Olsen to introduce her partner to her family. Though she was fearful their presence as a newly out queer couple would be “an additional symbol of loss,” those days went peacefully, yet only two weeks later Olsen got the call that her mother was in the ER. Hospice came soon after, and a second funeral came quickly on the heels of the first. Another trip back to St. Louis, another grief to face, another deepening and intensification of this still-new love.

The shards of this grief—the shortening of her chance to finally be seen more fully by her parents—are scattered throughout the album. “It’s a hard time again,” she sings on “This is How It Works”, pushing against the irrevocability of death, “Tell me a story that will make me forget.” “Go Home”, which begins with an almost numbed calm, slowly builds up to a wailing that comes up straight from the ground: “I want to go home, go back to small things. I don’t belong here. Nobody knows me.”

“You can’t plan grief, you can’t organize it or schedule it or know how you’ll feel when it comes. It just happens, and when it does sometimes it’s not what you thought it would be.” Three weeks after her mother’s funeral she was in the studio, recording this incredibly wise and tender new album.

Loss has long been a subject of Olsen’s elegiac songs, but few can write elegies with quite the reckless energy as she. If that bursting-at-the-seams, running downhill energy has come to seem intractable to her work, this album proves Olsen is now writing from a more rooted place of clarity. She’s working with an elastic, expansive mastery of her voice—both sonically and artistically. These are songs not just about transformational mourning, but of finding freedom and joy in the privations as they come.

Playful bits of Tammy Wynette and Kitty Wells are here, too, but so are the complex orchestrations of her genre-bending 2019 record, All Mirrors. While that record was full of dramatic shifts and twists, here the surprises come in their simplicity—a slow swell of strings, instrumentation that cycles like a storm, or sparkling horns in a light-flooded break-up ballad.

While the spritely nature of her last EP, Aisles, may have signaled Olsen’s turn deeper into the electronic direction of her last All Mirrors, there’s hardly a synth in sight here. Jonathan Wilson, served as co-producer and also mixed the tracks, while Drew Erickson played piano, organ, and scored the string arrangements. Emily Elhaj, Olsen’s longtime bandmate, was a consistent collaborator as well, on the bass throughout.

“And I can’t fit into the past that you’re used to, I refuse to,” she sings as a wraithlike piano scaffolds her hopeful voice on “Ghost On”. “Forget the old dreams,” she rejoices on “Go Home”, “I got a new thing.” Darkness inherently suggests depth, but it takes a much wiser writer to find meaning and complexity in the luminous place that Big Time occupies. “Chasing the Sun” ends the record in a smiling, romantic place, a verdant crescendo rising as she pines: “Write a postcard to you / when you’re in the other room/ I’m just writing to say that I can’t find my clothes / If you’re lookin for something to do.”

The burning of her earliest work is still here, of course, but this time she’s “freed from the longing / for one moment to last” and she’s ready to “walk through the fires / of all earthly desires.”

—Catherine Lacey
Oaxaca, February 2022"

2022 release. Liam Gallagher's third solo studio album C'mon You Know looks set to be one of the biggest album events of the year. Anticipation for the album was ignited with the lead single "Everything's Electric," which powered into the UK Top 20 as Liam's biggest solo hit so far. Now Liam unleashes the album's title track, "C'mon You Know" - featuring Vampire Weekend's Ezra Koenig on saxophone. While "C'mon You Know" pulsates with the traits that have made Liam such an iconic figure - a raucous rock 'n' roll anthem topped by his signature snarl - it's also a strong step forward in terms of both attitude and audio. Musically it's layered with unexpected sonic touches: surging Motown-tinged gospel backing vocals, shrieking saxophone from Ezra Koenig, and vintage Moog synths heightening the sonic maelstrom. Liam's lyrics also come from a fresh place: rather than being combative, his words brim with positivity and the joy of being reunited with friends, family and fans. As he openly admits, "I'm sick of being tough." The song was written solely by Liam and was produced by his regular creative collaborator, the Grammy Award winner Andrew Wyatt. As suggested by the title track and "Everything's Electric," the C'mon You Know album infuses Liam's classic, hands-in-the-air anthems with fresh experimental flourishes. Andrew Wyatt is the main producer throughout, while Ezra Koenig contributes to a selection of tracks. Other producers / writers include Greg Kurstin (Adele, Sir Paul McCartney), Dave Grohl, Ariel Rechtshaid (HAIM, Brandon Flowers), Adam Noble (Biffy Clyro), regular Liam collaborators Michael Tighe and Simon Aldred, and members of his live band, Dan McDougall and Mike Moore.

Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical moments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight", with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's renowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new ANTI- Records release 'Carry Me Home'-would mark a personal high watermark for both artists. Captured live in the summer of 2011, 'Carry Me Home' showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Neither Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment."It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

Punk rock pioneer with X, songwriter, poet, actor, solo artist, published author...folk musician. With Fables in a Foreign Land, the debut release from The John Doe Folk Trio, his tales are now set in the pre-Industrial Era. And though many of the 13 songs were written over the last three years, the sound was born in loose weekly backyard jams on Kevin Smith’s (Willie Nelson and Family) patio. “I guess ‘Fables in a Foreign Land’ is my version of folk music. It started by being sick of musicians that play too much and having to orchestrate or arrange songs. ‘What if it was just less?’ Everyone says less is more, but you have to figure out for yourself what that means. I didn’t do a deep dive into folk music and concern myself with what was ‘traditional,’ it was just an outgrowth of trying to strip the songs down to the basics.” Singles include contributions from outsider country polymath Terry Allen on “Never Coming Back,” Los Lobos’ Louie Perez on “El Romance-O,” and fellow X bandmate Exene Cervenka and Shirley Manson (Garbage) on “Destroying Angels.”

"Sharon Van Etten has always been the kind of artist who helps people make sense of the world around them, and her sixth album, We’ve Been Going About This All Wrong, concerns itself with how we feel, mourn, and reclaim our agency when we think the world - or at least, our world - might be falling apart. How do we protect the things most precious to us from destructive forces beyond our control? How do we salvage something worthwhile when it seems all is lost? And if we can’t, or we don’t, have we loved as well as we could in the meantime? Did we try hard enough? In considering these questions and her own vulnerability in the face of them, Van Etten creates a stunning meditation on how life’s changes can be both terrifying and transformative. We’ve Been Going About This All Wrong articulates the beauty and power that can be rescued from our wreckages. We’ve Been Going About This All Wrong is as much a reflection on how we manage the ending of metaphorical worlds as we do the ending of actual ones: the twin flames of terror and unrelenting love that light up with motherhood; navigating the demands of partnership when your responsibilities have changed; the loss of center and safety that can come with leaving home; how the ghosts of our past can appear without warning in our present; feeling helpless with the violence and racism in the world; and yes, what it means when a global viral outbreak forces us to relinquish control of the things that have always made us feel so human, and seek new forms of connection to replace them. We’ve Been Going About This All Wrong is intensely personal, exploring themes like motherhood, love, fear, what we can and can’t control, and what it means to be human in a world that is wracked by so much trauma. The track “Home To Me,” written about Van Etten’s son, uses the trademark “dark drums” of her previous work to invoke the sonic impression of a heartbeat. Synths grow in intensity, evoking the passing of time and the terror of what it means to have your child move inevitably toward independence, wanting to hold on to them tightly enough to protect them forever. In contrast, “Come Back” reflects on the desire to reconnect with a partner. Recalling all the optimism of love felt in its infancy, Van Etten begins with the plain beauty of just her voice and a guitar, building the arrangement alongside the call to “come back” to anyone who has lost their way, be it from another person or from themselves. Hovering between darkness and light, “Born” is an exploration of the self that exists when all other labels - mother, partner, friend - are stripped back. Unlike Van Etten’s previous albums, there will be no songs off the album released prior to the record coming out. The ten tracks on We’ve Been Going About This All Wrong are designed to be listened to in order, all at once, so that a much larger story of hope, loss, longing and resilience can be told. This is, in itself, a subtle act of control, but in sharing these songs it remains an optimistic and generous one. There is darkness here but there is light too, and all of it is held together by Van Etten’s uncanny ability to both pierce the hearts of her listeners and make them whole again. Things are not dark, she reminds us, only darkish."

Carrie Underwood - Denim & Rhinestones

Carrie Underwood will be releasing a brand new studio country album on June 10th called Denim & Rhinestones. The album includes 12 tracks including her latest hit single- "Ghost Story". Carrie is a true multi-format, multi-media superstar, spanning achievements in music, television, film, and as a New York Times bestselling author and successful entrepreneur. She has sold more than 66 million records worldwide, recorded 28 #1 singles (14 of which she co-wrote), and has seven albums that are certified Platinum or Multi-Platinum by the RIAA, all while continuing to sell out arena tours across North America and the UK.

Super Deluxe contains 8 LPs on 180-gram heavy vinyl showcasing the newly remastered album from the original analog tapes along with 4 complete concerts on the Nevermind Tour from Amsterdam, Melbourne, Tokyo and Del Mar, California. Also included is a first-ever 7-inch for “Endless, Nameless” with B-sides “Even In His Youth” and “Aneurysm,” and a 40-page hardcover book with unreleased photos.

Originally streamed on December 5, 2020, the show became one of the most memorable performances of the lockdown era. Liam followed the precedent set by the Sex Pistols and The Clash, and decided to hit the River Thames, armed with a boatload of attitude, a phenomenal live band (including Bonehead) and an arsenal of classic songs. Acclaim included a four-star review from i, who declared the show to be, “A reminder of why the younger Gallagher is now the fans’ favourite.”

WE is the new album from Canadian rock band Arcade Fire. This is the sixth Arcade Fire studio album, and is made up of seven songs that speak to this moment with unique directness. Written, recorded, and released during a critical historical juncture, they are divided into two distinct sides, “I” and “WE.” If the “I” side of the record evokes and embodies our holed-up anxiety and lack of physical connection, the “WE” side captures the excitement of new possibilities and the elevating thrill of committing to one another socially and personally. Produced by Nigel Godrich, Win Butler & Régine Chassagne, WE is a 40 minute epic as much about the forces that threaten to pull us away from the people we love, as it is inspired by the urgent need to overcome them.

Van Morrison's 43rd studio album, What's It Gonna Take? (Exile Productions/Virgin) features 14 new compositions that collectively reflect his indefatigable drive to record and perform live in front of audiences. The album was produced by Morrison and is preceded by the single "Pretending," a gorgeous, restless, soul song. Mintpack CD.

Originally released in May 1982, ‘Combat Rock’ is the final album from The Clash of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. Featuring two of the band’s most well-known songs, ‘Should I Stay Or Should I Go’ and ‘Rock The Casbah’. Now re-released as a 2CD special edition, with an additional 12-tracks compiled by The Clash.

Having returned to London following their pivotal 17-show residency at New York’s Bond’s Casino in 1981, the band rehearsed and recorded at The People’s Hall in the squatted Republic of Frestonia near Latimer Road in London and from there they embarked on a tour of the East and South East Asia, during which the album sleeve image was captured by Pennie Smith in Thailand.

The tracks on ‘The People’s Hall’ chart the period from what was their last single Radio Clash right up to the release of Combat Rock, including unheard, rare and early versions of tracks.

Harry’s House is the third solo studio album from Grammy award-winning global superstar Harry Styles. The 13-track full-length album was recorded in multiple locations across the UK, Los Angeles and Tokyo from 2020 to 2021. It was written by Harry alongside frequent collaborators Kid Harpoon, Tyler Johnson, and Mitch Rowland.