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Spirit Power: The Best of Johnny Marr (Exclusive Gold Vinyl)
Regular price $38.00 Save $-38.00Spirit Power: The Best of Johnny Marr (Exclusive Gold Vinyl) Johnny Marr will release a compilation of solo songs, Spirit Power: The former Smiths guitarist curated the collection from the last 10 years of his output and recorded a pair of new tracks, "Somewhere" and "The Answer."
Come on Feel - 30th Anniversary
Regular price $40.00 Save $-40.00Expanded 30th anniversary re-issue of The Lemonheads’ classic 1993 album. The breakthrough record that took American alt rock global and catapulted Evan Dando into the hearts of a generation. With a wealth of unreleased demos, alternative versions and rarities - including covers of Victoria Williams, Buddy Holly and The Flying Burrito Brothers plus the Cole Porter standard ‘Miss Otis Regrets’.
In the 90’s Evan’s Lemonheads produced hit after a hit, a string of super cool singles: ‘Big Gay Heart’, ‘Into Your Arms’, ‘It’s About Time’, and ‘The Great Big NO’. Pure genius filling the radio waves and taking the stage... Some 30 years on; Evan is still knocking that song writing thing out of the park and ‘Come On Feel The Lemonheads’ sounds as fresh and perky as it ever did. Amid the hits on the original record are stencils and outlines for yet more magical music and now this deluxe edition adds a second disc of demos and acoustic versions, plus a host of one-offs from sessions and compilations that add further colour to the myth and how it was created.
There’s the cover of Victoria Williams’ ‘Frying Pan’ from her ‘Sweet Relief’ album, which is joined by an eclectic set of flipsides and out-takes, like their version of ‘Little Black Egg’ by The Nightcrawlers, Evan’s homage to Gram Parsons on the winsome ‘Streets Of Baltimore’ and Buddy Holly’s melancholy ‘Learning The Game’. Evan knows a good song when he hears it, as ‘Come On Feel The Lemonheads’ certainly proved.
“Come On Feel was home to some of his best, sharpest writing – fabulous sunny powerpop and beautiful ballads” The Guardian
Beacon Street Collection
Regular price $32.00 Save $-32.00Produced by No Doubt and recorded in various locations around Southern California, including the band’s homemade studio on Beacon Avenue in Anaheim, California, the originally self-distributed ‘The Beacon Street Collection’ features 10 tracks that the band released independently during the creative period prior to their blockbuster debut album, Tragic Kingdom. Now officially available on vinyl for the first time! This LP is pressed on 180g black vinyl.
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Life's Too Good
Regular price $40.00 Save $-40.00Reinventing the wheel of alternative pop, Icelandic group Sugarcubes (that boasted the mighty Björk within its ranks) burst onto the international music scene with their debut, featuring the unforgettable track ‘Birthday’.
It’s sometimes hard to recall now just how much of an impact The Sugarcubes debut single ‘Birthday’ made when it’s magical off-kilter melody first hit the airwaves via John Peel’s show in the latter part of 1987 (it took the number one spot in his ‘Festive 50’ that Christmas).
In particular, the song’s extraordinary singer/ narrator, Björk Guðmundsdóttir was the subject of much wild speculation in the UK music press. “Can she possibly be human?” wondered Melody Maker’s foaming Single of the Week review (mirrored in NME). “A record of debilitating beauty,” it continued. “Nothing this year has had us more thoroughly vanquished.”
And when the singles ‘Coldsweat’ and later, ‘Deus’ followed it, the somewhat more visceral tones of one Einar Örn Benediktsson introduced an electric counterpoint to Björk’s lustrously divine howl.
Over 1988, The Sugarcubes – courted by a UK press hungry for the scoop on Iceland’s first bona-fide indie rock sensations – thrilled, confounded, irritated and intrigued in equal measure, the band regularly pushed to explode the patronizing attitudes and expectations they encountered from the get-go.
Whatever, the band were undisputedly, breathtakingly different and when Life’s Too Good dropped in April ’88, its wild jumble of raucous pop, skewed jazz, punk, absurdist rock’n’roll, menace, sarcasm and sublimity lived up to expectations. By the end of the year it had clocked up nearly half a million sales and The Sugarcubes had almost singlehandedly established Icelandic music in the popular consciousness. It still sounds fantastic today.
By the end of ‘88 all three singles had charted in the year’s Independent Top 40 best-sellers, the album going into the national Top 40 and the band making appearances in the top five of most categories in the ‘indies’ end of year polls.
