Tom Petty & The Heartbreakers famously played 20 nights at the legendary Fillmore venue in San Francisco in 1997. 6 of the shows were professionally recorded and this release features some of the high points of the residency. The small venue allowed the band to vary their sets each night; they included re-arranged and distinctive versions of their hits, deep cuts, and many cover versions – paying tribute to the artists that Tom and the band had been influenced by. The 3 LP set includes 33 tracks, 18 of which are covers – 2 hours of music. The tri-fold sleeve includes a 4-page insert.

Ringo & his All-Starr Band recorded live in October 2019 at the iconic Greek Theater in Los Angeles featuring Greg Rolie (Santana), Steve Lukather (Toto), Hamish Stuart (Average White Band), Colin Hay (Men at Work) and Ringo(!!) performing all the classic hits these artist and bands have made famous such as “Black Magic Woman” (Santana), “Rosanna” (Toto), “Pick Up The Pieces” (Average White Band), “Who Can It Be Now?” (Men At Work) and of course “Yellow Submarine”, “Photograph”, “It Don’t Come Easy” and many more from the man himself, Ringo Starr!

Future Past is the fifteenth studio album by the British band Duran Duran, released October 2021. It is the band's first album to be released through BMG, and their first since 2015's Paper Gods six years prior. The album, co-produced by the band alongside Mark Ronson, Giorgio Moroder and Erol Alkan, also features guest appearances by Tove Lo, Ivorian Doll, Japanese band Chai, and Mike Garson. Blur's Graham Coxon is the guitarist on the album.

From the anthemic “Virginia (Wind In The Night),” an ode to Russell’s native state to which he’s recently relocated (“If it was solely up to me, I’d live her for the rest of my life,” he says), to the minimal but momentous “Tiebreaker,” Every Shade of Blue showcases The Head and the Heart’s unique ability to dip its toes into a variety of musical genres. It’s the band’s knack for supreme melody, however, that remains a constant. And it’s why many of the songs on Every Shade of Blue, including the slow-rolling title track, “Every Shade of Blue,” which Russell says has “a Sinatra vibe,” are undeniable pop-radio missiles. The band’s ability to create music that appeals to listeners’ common denominator, Russell says, is something he not only won’t shy away from but is immensely proud of. 

Vinyl LP pressing. 2022 release from the British singer/songwriter.

With ‘Quo’ing In - The Best Of The Noughties’ Status Quo are delivering an era spanning compilation taking in their greatest hits from the band’s output thus far in the new millennium, which includes 5 Top Ten studio albums, and many fan favorites. As well as all of the key tracks from this important era of the band’s career, the collection includes brand new and never before available 2022 studio versions of the classics ‘Rockin‘ All Over The World’, ‘Paper Plane’ and ‘Caroline’ plus brand new 2022 studio ‘Out Out Quoin’ Remixes’ of live favourites ‘Backbone’ and ‘Cut Me Some Slack’. A best-of unlike any other, ‘Quo’ing In’ is the sound of a band rediscovering their mojo, shot through with a sense of fun and that irresistible Quo gang mentality. This Limited Edition 3CD Deluxe Digipak features a bonus disc with 10 previously unavailable live classics, newly mixed in 2022.

After stepping into the spotlight thanks to her own cover versions of blues & rock classics on YouTube (500K subscribers - 105 million views), Laura Cox managed to become the guitarist & singer with the most views in the French rock scene thanks to her amazing first albums Hard Blues Shot (2017) & Burning Bright (2019).

After outstanding performances at renowned European festivals (Hellfest, Pol'and’Rock, Rock Palast...), not only the honor of interviewing the legendary SCORPIONS for Arte followed, but also an own documentary for one of the biggest German TV stations, WDR.

In 2022, she is the rising star of rock in Europe with her new album 'Head Above Water'.

With 11 sparkling new tracks recorded at the legendary ICP studio in Brussels by Erwin Autrique and mastered by multiple GRAMMY award-winning Ted Jensen, 'Head Above Water' breaks all boundaries and proves Laura Cox's undeniable talent.

TO CONTINUE THE CELEBRATION OF THE 25TH ANNIVERSARY

OF THEIR CRITICALLY ACCLAIMED HOMEWORK ALBUM

HOMEWORK REMIXES

A COLLECTION OF 1997/98 REMIXES ON VINYL

THE RELEASE INCLUDES REMIXES FROM I:CUBE,ROGER SANCHEZ & JUNIOR

SANCHEZ,MOTORBASS, DJ SNEAK, MASTERS AT WORK, TODD TERRY,SLAM, IAN POOLEY

John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes can instantly flood his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kungfu fighters, or a mirror holding the gateway to hell. 

The music on Lost Themes is there for Carpenter’s acolytes to visualize their own nightmares.

As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfield’s Tubular Bellsand Goblin’s Suspiria. “They’re little moments of score from movies made in our imaginations,” Carpenter says. “Now I hope it inspires people to create films that could be scored with this music.”

Sacred Bones is now repressing this incredible debut by the one and only master of horror in a bunch of new colors in celebration of the label’s 15th year anniversary.

Bending scuzzy boundaries, ‘Good Bad Not Evil’ is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches it’s 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. ‘Good Bad Not Evil’ perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics, which was recorded in a little house in Atlanta that had been converted into a studio called the Living Room. Referencing Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘Veni Vidi Vici’, ‘Cold Hands’, ‘Bad Kids’ and ‘O Katrina!’ immediately became Black Lips staples. This was a band caught in the eye of the storm, the touring continued, the parties didn’t stop, this was a band bending the scuzzy boundaries of their chosen genre. The record was hailed by the likes of Pitchfork, who proclaimed, “Black Lips are a go-to band for vintage lo-fi freaks, and their raucous live shows have helped them cross over outside of crusty dive bars. ‘Good Bad Not Evil’, however, is the record where naysayers, disinterested friends and acquaintances, people on the street, and anyone else within earshot has to sit up, shut up, and listen.” …and, shut up and listen they did.

In February of 2020, singer-songwriter Caitlin Rose settled in at Nashville's Sound Emporium Studios for a week of tracking with William Tyler, Brian Kotzur, Jack Lawrence, and Luke Schneider. After a seven year absence following the release of her sophomore LP, The Stand-In-a self-described Sisyphean nightmare of false starts and career blocks-Rose was ready, with the encouragement of close friend and producer Jordan Lehning, to give the rock a final push. "It happened so fast that there was no time to worry about what could go wrong; all I walked in with was the excitement," she says. When she and Lehning planned to return for overdubs in early March, neither expected that the world would turn on it's head in little more than a week, that a tornado would soon wipe half of east Nashville off the map, or a global pandemic would, as it has for so many others' projects, further delay completion.

Only released on picture disc vinyl, first time on 180 Gram Black double vinyl... This legendary concert from the Tangerine Dream iconic line up. On Dec 1974, more than 6,000 fans gathered in the Reims Cathedral as this was the first time a church in Europe had a live concert. The controversy was so huge that after this show any pop performance was forbidden in a catholic church by the Vatican.

“Orange And Blue” was first released in 1994 and is a remarkable testament of Al Di Meola’s unique sense of swing. The legendary guitarist recorded the album on the “Al Di Meola Jazz Guitar”, a custom hollow-body guitar designed in collaboration with Gibson, which allowed him a warmer tone to add to his established signature sound. The album itself is a tasteful collection of explorative compositions, with standout songs such as ‘Chilean Pipe Song’ further cementing Al Di Meola’s growth as a versatile writer and gifted guitarist.

Cold Gawd is the flag under which California-based multi-instrumentalist Matt Wainwright creates stormy, wounded shoegaze music born of open tunings and R&B melodies. His second collection, God Get Me The Fuck Out Of Here, took shape in the winter of 2020 while working long solo shifts at a coffee shop in Chicago. Fueled by dreams of returning to his hometown of Rancho Cucamonga and reconnecting with old friends from past hardcore bands, Wainright holed up with his coveted pink Jazzmaster, an array of FX pedals, anda laptop, and wrote the entire album in a month. In March of 2021 he made the move, heading back west to the Inland Empire, where he booked sessions with Gabe Largaespada at Open Ocean to track and mix.

Despite recording every instrument himself, the results have the lived-in feel of a practiced live band (which Cold Gawd now are, fleshed into a six-piece). Cascading walls of guitar churn, surge, and ripple, framed by sunken rhythms and Wainright’s distant, defeated voice, veiled in violet haze. He cites the thematic common ground between shoegaze and R&B as a central muse, both obsessively fixated on love, lust, and longing, in forms alternately grandiose and minor key. Lyrically the album sways between oblique and desperate, yearning and resigned –with the exception of “Comfort Thug,” a brooding, largely improvised spoken word piece inspired by the notable lack of black musicians in shoegaze.

Cold Gawd is here to change that. God Get Me The Fuck Out Of Here channels malaise and melancholy into gauzy, galvanized anthems of escape, change, and introspection. The crushing closing cut, “Passing Through the Opposite of What It Approaches,” heaves and hovers like looming storm clouds, beneath which Wainright sings (and bandmate Arturo Ramirez screams) as closeto a mission statement as the album offers: “leave what you know / and get grown / everyday / remember / why you left.

Includes the remastered audio, bonus 7" with 2 added tracks, 2 x 180 gram LP, colored vinyl and cover artwork printed on brushed aluminum shrink wrap.

Margaret Chardiet was born and raised in New York City. As a founding member of the Red Light District collective in Far Rockaway, NY she has been a figurehead in the underground experimental scene since the age of seventeen. She describes her drive to make noise music as something akin to an exorcism where she is able to express, her “deep-seated need/drive/urge/possession to reach other people and make them FEEL something [specifically] in uncomfortable/confrontational ways.” Engineered by Sean Ragon of Cult of Youth, Abandonis Pharmakon’s first proper studio album and also her first widely distributed release.

The songs on this album were all written and recorded during a turbulent three month time period during which several fundamental life changes forced her to begin living in a completely new way and in a new space. She describes the lyrical themes of this album as being about “Loss. Losing everything. Relinquishing control. Complete psychic abandon. Blind leaps of faith into the fire, walking out unscathed. Crawling out of the pit.”

Sacred Bones is now repressing this legendary debut on colour vinyl for the very first time in celebration of the label’s 15th year anniversary.

The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

Medium Rarities is a full-length album of unreleased material spanning The Wild Feathers decade-long career. The album is composed of B-sides, covers, demos, and other gems that the band culled from The Wild Feathers’ vault. This limited deluxe edition pressing features a foil-stamped and numbered jacket that is also autographed by the band. The vinyl is pressed onto a “medium rare meat” color LP. This LP is limited to 2000 units and will only be pressed once.

10th anniversary edition of their 2012 Daptone debut album. The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat, and beyond.

It was December of 2020. COVID was raging across the world. Many families and friends spent the holidays apart. In response, New York’s super-catchy alt-pop quartet Charly Bliss and Canada’s beloved pop-punk PUP decided to drop a new holiday classic for everyone who felt like they did. Originally only released digitally, Barsuk Records is excited to put out this limited edition 7-inch version of Charly Bliss + PUP’s “It’s Christmas and I Fucking Miss You”. Limited to 1,000 copies worldwide, this blue 7-inch vinyl also includes the first physical release of Charly Bliss’ cover of that time honored earworm “All I Want For Christmas is You”.

Kris Kristofferson has always identified himself first and foremost as a writer, and true writers know that what works best is giving a piece of themselves to the listener. With the release of This Old Road, Kristofferson lays a chunk of his own soul on every track. This beautifully sparse recording puts an emphasis on his fine lyrics and distinctive voice by featuring Kristofferson, his guitar, and harmonica. The album is so intimate it makes the listener feel as if they are sitting in Kristofferson's living room while he picks and sings just for them.

Double gold colored vinyl LP pressing. There would be no Austin City Limits were it not for Willie Nelson. He started it all in 1974, performing on the original pilot episode, and has been a large part of ACL history ever since. He's appeared on more programs than any single artist, but this particular show (recorded on September 6, 1990) captures him and the family band at their best. It's all here, all the Willie classics, his signature songs and fan favorites. His trusty guitar, "Trigger, " and that voice, that unique phrasing, that makes Willie Nelson one of the world's most original singers, whether he's wailing the blues, honky tonkin, ' crooning pop standards or rockin' the house. Everybody knows the story: the boy from Abbott, Texas who grew up playing music with his sister Bobbie, who moved to Nashville to stake his claim, but after years of writing classic songs for other artists ("Crazy, " "Night Life, " "Funny How Time Slips Away"), got tired of playing the game and moved back to Texas. He chose Austin as his new home, and nothing has been the same ever since. This performance shows Willie at the top of his game. Back then he truly was and still is the "King of Country." - Terry Lickona (producer Austin City Limits)

Double colored vinyl LP pressing in gatefold jacket. Includes digital download. Capricorn Sun is the long awaited debut LP from Tsha, one of the most exciting artists and producers of the moment, effortlessly bridging the dance underground and pop mainstream. From the music to the artwork, Tsha is the driving creative force behind everything she touches and Capricorn Sun is her most expansive vision to date. In support of the album, Tsha will be touring non-stop through 2022, gracing iconic stages in every corner of the globe from Lollapalooza to Glastonbury, DC-10 in Ibiza and Red Rocks to Rio de Janeiro. Housed in a gorgeous gatefold package with two different colored discs, the LP's artwork features Tsha surrounded by goats - a nod to the title of the record and her own astrological sign. "Naming the album Capricorn Sun was a good way of saying 'this is me', and the goats in the artwork are able to represent the different parts of me like the songs on the album represent different parts of me." The musical influences on the album range from old school Acid House to the rising South African Amapiano scene to traditional Malian Griot singing, all tied together and entirely produced by Tsha. Having already graced the cover of Mixmag and numerous billboards across the US and UK, Tsha is primed to ascend to global stardom with Capricorn Sun.

League of Distortion convince with classic pieces featuring strong instrumentals, on-the-nose lyrics and energetic vocals, proving their penchant to stand out from the pack. They've transformed their frustration into a musical statement beyond compare. With "Do You Really Think I Fucking Care", the band lands the final punch of the album to make the message clear: League of Distortion are here to set the scene ablaze!