While Otis Redding was already one of the biggest stars in soul music when he died in a tragic plane crash in 1967, as is some times the case his star rose considerably after his passing, and this 1969 release dusted off a set of unreleased tracks Redding had cut in 1967, one of which (the title cut) went on to become a sizable chart hit. Love Man doesn't hold together quite as well as Redding's best proper albums, such as Otis Blue and Complete and Unbelievable: The Otis Redding Dictionary of Soul, but it also manages to avoid sounding like a collection of out-takes and leftovers; as an album it's significantly stronger than the average R&B release of similar vintage, due to Redding's indefatigable energy and conviction as a vocalist and the ever-indomitable groove of Steve Cropper, Al Jackson, Jr., and the other members of the Stax Records studio crew…

2012 collection from the New Wave icons compiled by German Electronic duo Blank & Jones. Features remixes and album versions of their biggest hits including 'Do You Really Want to Hurt Me', 'Miss Me Blind', 'Karma Chameleon' and many others.

Formed in 1968 in Warwick, England, the Edgar Broughton Band were part of the late 60s British underground blues boom. Led by the Broughton brothers, vocalist/guitarist Edgar Broughton and drummer Steve Broughton, and fleshed out by bassist Arthur Grant and guitarist Victor Unitt (who also briefly served with The Pretty Things), they were contemporaries of Groundhogs, Hawkwind, and The Pink Fairies, but were unique within the movement due to their radical political consciousness. In May 1971 they released possibly their finest work: their eponymous third album, which contained the classic "Evening Over Rooftops" (with strings by David Bedford which Edgar Broughton called "stunning"). Mike Oldfield also featured on "Thinking Of You".

It's interesting to note that Hot Chip's string of great albums - beginning with Made in the Dark - coincided with their exploration of the joys of long-term relationships. Celebrating monogamy while avoiding monotony applies to how they make music, as well: on the surface, Why Make Sense? is another album of wry, kinetic electro-pop from a group that has mastered the style, but it also builds on Hot Chip's roots - and dance music's origins - in ways that sound fresh. The band reunited with In Our Heads producer Mark Ralph, and they expand on that album's joyousness, this time imbuing it with elements of R&B, hip-hop, and, especially, disco. "Huarache Lights" feels like the album's mission statement, from its slow and steady groove and un-ironic talkbox to its sample of First Choice's "Let No Man Put Asunder," a sizzling disco testament to commitment that was also sampled by the prime movers of house and techno's early days…

Haunted from Italy are back with their first album since 2018 and their wonderfully slow and mournful doom is better than ever. Their songs will embrace you and sweep you away to amazing other-worldly dimensions. Brilliant!

It doesn't take long for the atmosphere that surrounds Nahemah's fourth release, 'A New Constellation' to reveal itself. Opener 'Much Us' is the sort of song that could be boring but instead draws the listener in, swirling and floating around several layers of ambience and methodical riffs. In fact, the song itself doesn't have any memorable hooks or catchy melodies, the appeal instead comes from the sprinklings of almost post-rock like melodies that hover ominously in the background while the thoroughly metal structure rages on almost constantly. Nahemah do well in blending an almost death metal sound with other non metal styles like progressive rock and (a bit more prominently on some songs) post-rock in particular…

Iconic UK indie band Flowered Up, seen as London’s answer to Happy Mondays and The Stone Roses, reissue their debut album ‘A Life With Brian’ (from 1991) via London Records. The reissue follows a BFI documentary on the video of ‘Weekender’ and it’s legendary status in UK club culture of the time. The album remastering was overseen by Flowered Up keyboard player Tim Dorney.

U2's first two greatest-hits albums neatly divided themselves by decade, with the first covering the '80s and the second summing up the '90s. Their third hits comp, 2006's U218 Singles, is at once more ambitious and more concise, offering an overview of their first 26 years on a single disc comprised of 18 tracks – and since two of those are new songs, that leaves just 16 songs to tell their whole story. That's not much space for a band with a career as lengthy and ambitious as U2, so it's inevitable that some painful cuts have been made. Nothing from October, Zooropa or Pop is here, and unless you're buying various import editions that have "I Will Follow" as a bonus track, there's nothing from Boy, either. There's only one cut each from The Unforgettable Fire and Rattle and Hum – and bucking conventional wisdom, none of their three widely accepted masterpieces – War, The Joshua Tree, or Achtung Baby – provide the most songs here. No, out of all their albums the one that dominates U218 Singles is All That You Can't Leave Behind, their 2000 comeback from the depths of the misguided Pop, and one of two records that they've released since their last hits compilation, The Best of 1990-2000.

The Joni Mitchell Record That Forever Changed the Music and Cultural Landscapes: Blue Is Widely Considered One of the 10 Greatest Albums of All Time. 1971 Landmark Plays with Reference-Grade Detail, Intimacy, and Directness on Mobile Fidelity's Numbered-Edition Hybrid SACD.

Mylène Farmer dévoile un album de remixes inédits et audacieux ! Intitulé « Remix XL », cet opus est novateur par l’important travail de rework opéré sur les grands standards de la star iconique. Ce nouvel album est le fruit de collaborations exceptionnelles avec la fine fleur de la scène électro comme Feder et The Magician, mais aussi des artistes plus surprenants tels que Théo Hutchcraft (Hurts) et David Lynch. L’artiste a réenregistré sa voix en studio sur certains de ses titres phares, sublimée par des rythmes électro envoûtants afin d’apporter une nouvelle dimension à son répertoire intemporel.

Asia are an English rock supergroup formed in London in 1981. The most commercially successful lineup was its original, which consisted of four members of different progressive rock bands who had enjoyed great success in the 1970s: lead vocalist and bassist John Wetton (King Crimson, Uriah Heep and U.K.), guitarist Steve Howe (Yes), keyboardist Geoff Downes (Yes and the Buggles) and drummer Carl Palmer (Emerson, Lake & Palmer). Their debut album, Asia, released in 1982, remains their best-selling album and went to number one in several countries. Billboard listed it as the top album in the U.S. in 1982. The lead single from the album, "Heat of the Moment", remains their top charting and best-known song, reaching the top 40 in over a dozen markets. It peaked at #4 in the U.S. on the Billboard Hot 100 and hit #1 on the Billboard Mainstream Rock chart.

The fourth volume in Verve's Verve Remixed series was a long time in coming considering how quickly the label spit out the first three. Nonetheless, it is a welcome addition to that shelf if remixes are your personal thang. This set concentrates, once more, on vocalists, and the array is rather startling on the surface, though it's sequenced beautifully. As with any of these packages some cuts work better than others, but there are some true highlights here. Marlena Shaw's reading of Ashford & Simpson's "California Soul" is given a killer treatment by Diplo and Mad Decent, keeping the entire thing rooted in its source material and stretching it with judiciously added bits of early funk, Ramsey Lewis-style soul-jazz, and hip-hop…

Toronto's Quest For Fire conjure up the original root of psychedelia with the raunch, muscle, and oscillations of Hawkwind and Comets On Fire, and Pink Floyd's sensory panorama, all resting on a simplistic, plodding Spacemen 3 thump. The band's sound comes across fully realized, they possess a signature sound, something a band usually gets to once they're already a couple of records deep.

This LP for Prestige helped establish alto sax giant McLean on the jazz scene. He was joined by trumpeter Donald Byrd (who shines with the altoist on Charlie Parker’s “Confirmation”) and tenor saxophonist Hank Mobley (also bopping hard on the tune), in a date solidified by McLean’s rhythm section: Mal Waldron on piano, Doug Watkins on bass and Arthur Taylor on drums. McLean also plays ballads, including Waldron’s sublime tune “Abstraction.” Writing in the original notes, Ira Gitler said, ”Jackie McLean is musically coming of age. His playing, out of Charlie Parker and Sonny Rollins, has become a personalized, more individual voice in 1956 and he has not lost any of the basic emotion, swinging qualities that help his style live up to the second syllable of his last name so well.” Hybrid Mono SACD for sale individually and as part of Analogue Productions’ Prestige Mono Series. Mini "old style" gatefold jacket packaging.

The Welsh psychedelic pop/rock legends Super Furry Animals return with 'Dark Days/Light Years', their ninth studio album. Where previous albums have seen the band experiment with extra instrumentation, this release is full of songs based on grooves rather than ensemble composition. The band's impish sense of humour remains, though, with track titles such as 'The Very Best Of Neil Diamond' and 'Moped Eyes' standing out. Also notable is Franz Ferdinand guitarist Nick McCarthy's guest appearance on the Kraftwerk-inspired 'Inaugural Trams', performing a German-language rap. In keeping with more recent albums, the band also share lead vocal duties between several members.