RSD2025 Everything Else

The greatest bassist leader jazz has ever known, Charles Mingus, with his spirited playing and spontaneity, always kept his ears and fingers on the pulse. “Mingus was something else, man,” Miles Davis wrote in his own book. “A pure genius, I loved him.”

This year marks the birth centenary of Charles Mingus, whose musical legacy is still ongoing. From artists like Kamasi Washington bringing him to a new generation, Chrissie Hynde, whose latest album includes a Mingus cover, Candace Springs, Elvis Costello, to Gang Starr sampling him, and Joni Mitchell writing lyrics to his music.

Originally released in 1957 on the Jubilee label, Mingus Three is one of only two albums led by Mingus in a trio setting, featuring pianist Hampton Hawes and drummer Dannie Richmond. This remastered release includes a whole extra disc of previously unreleased outtakes, discovered by chance, from these sessions, as well as liner notes by Charles Mingus’ friend and colleague Sy Johnson.

• - Disc 1 -
• 1 Yesterdays (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• 2 Back Home Blues (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• 3 I Can't Get Started (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• 4 Hamp's New Blues (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• - Disc 2 -
• 1 Summertime (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• 2 Dizzy Moods (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• 3 Laura (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• 4 Untitled Blues - Take 1 (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• - Disc 3 -
• 1 Untitled Blues - Take 2 (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• 2 Back Home Blues - Take 6 - Incomplete (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• 3 Hamp's New Blues - Take 4 (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• - Disc 4 -
• 1 I Can't Get Started - Take 4 (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• 2 Yesterdays - Take 2 - Incomplete (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• 3 Dizzy Moods - Take 2 (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]
• 4 Summertime - Take 3 (Feat. Hampton Hawes and Danny Richmond) [2022 Remaster]

'Everything has to be said.' This is the conviction guiding Indigo De Souza's sophomore album, Any Shape You Take. This dynamic record successfully creates a container for the full spectrum'pushing through and against every emotion: 'I wanted this album to give a feeling of shifting with and embracing change. These songs came from a turbulent time when I was coming to self-love through many existential crises and shifts in perspective.'

Faithful to its name, Any Shape You Take changes form to match the tenor of each story it tells. 'The album title is a nod to the many shapes I take musically. I don't feel that I fully embody any particular genre'all of the music just comes from the universe that is my ever-shifting brain/heart/world,' says Indigo. This sonic range is unified by Indigo's strikingly confessional and effortless approach to songwriting, a signature first introduced in her debut, self-released LP, I Love My Mom. Written in quick succession, Indigo sees these two records as companion pieces, both distinct but in communion with each other: 'Many of the songs on these two records came from the same season in my life and a certain version of myself which I feel much further from now.

'I feel very much like a shape-shifter with my music, I'm always trying to embody a balance between the existential weight and the overflowing sense of love I feel in the world.' It is exactly this balance that Indigo strikes in her Saddle Creek debut, Any Shape You Take. A listening experience that gives back, as you shed and shape-shift along with her.

Tracks

1. 17
2. Darker Than Death
3. Die/Cry
4. Pretty Pictures
5. Real Pain
6. Bad Dream
7. Late Night Crawler
8. Hold U
9. Way Out
10. Kill Me

As the title of Tool's 1992 debut implies, they're none too impressed by religion, though other targets-fear ("Cold and Ugly"), hypocritical moralizing ("Jerk-Off"), nonconformity ("Hush")-get their time in the spotlight as well. Opiate is a collection of heavy, aggressive, cynical music (though the tail end of the title track sounds more like Acid Rock), packaged in songs noticeably shorter than on their later efforts (Undertow, 1993, and Aenima, 1996). While not as impressive as Undertow, arguably their finest effort, Opiate has a definite appeal.

Tracks

• 1 Sweat
• 2 Hush
• 3 Part of Me
• 4 Cold and Ugly (Live)
• 5 Jerk-Off (Live)
• 6 Opiate

To celebrate a decade since the arrival of My Head Is An Animal, Of Monsters and Men present a 10th Anniversary colored vinyl 2LP reissue. Originally released in Iceland in 2011, this edition has four bonus tracks that were not on the 2012 U.S. version, including two never-before-heard songs: "Phantom" and "Sugar in a Bowl." Both songs were written at the same time as the rest of the songs on My Head Is An Animal, yet were only newly recorded. The band first performed "Phantom" in 2010 for the renowned Icelandic music competition Músíktilraunir, and their eventual win helped to jump-start their career. Meanwhile, "Sugar In A Bowl" was never recorded or performed in any capacity. "This album is how most of you got to know us and how we got to know you and for that we are forever grateful," said the band regarding the special release. "Thank you to everyone that listened to and supported us this past decade. Here's to another ten years!"

LP1
1. Dirty Paws
2. King And Lionheart [2011 Iceland Release Version]
3. Numb Bears [2011 Iceland Release Version]
4. Sloom
5. Little Talks
6. From Finner
7. Six Weeks 

LP2
1. Love Love Love
2. Your Bones
3. Lakehouse [2011 Iceland Release Version]
4. Yellow Light
5. Sinking Man [2011 Iceland Release Version]
6. Phantom
7. Sugar in a Bowl

Blonde on Blonde: A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didn't know. Forever prized for a unique sound, Blonde on Blonde is to music, production, prose, and performance as what hydrogen is to water. The secret to its inimitable aural character partially stems from Dylan's request in Nashville to producer Bob Johnston to remove the baffles from the studio room, allowing the musicians to interact as well as the music to assume a more organic quality that drifts from one microphone to another.

The story of Blonde on Blonde is almost as compelling as the music within. Dylan, frustrated with how initial attempts fared in New York, relocating to Tennessee and pairing with Nashville's top session players as well as members of what would become the Band, feverishly chasing perfectionism while also arriving at an on-the-fly feel that remains a reference point for recorded music. The Bard sweated over lyrics, demanded his band get the exact sounds he heard in his head, and limited most takes to a handful at most. A majority of songs were recorded long after midnight, the post-A.M. vibe reflected in the nocturnal aura, woozy optimism, inversion of intervals, and spiritual soulfulness of the playing.

As for the tunes? Chapters of books and lengthy theses are dedicated to the sheer conscious-altering power, mythical weight, character cast, and convention-obscuring magnetism of the lyrics – to say nothing of the sophisticated albeit pure playing within, as arrangements touch upon gospel, R&B, pop, traditional and contemporary blues, vaudeville, folk, and more. Then there's Dylan's inventive phrasing, his manipulation of pitch and locution, helping the narratives to take on epic, inchoate, and cryptic meanings that continue to be deciphered to this day. Punch lines occur as frequently as romantic declarations, all delivered with salient references, traditional parallels, and elusive interpretations on par with those of Shakespeare.

"Visions of Johanna." "I Want You. " Rainy Day Women #12 & 35." "Sad Eyed Lady of the Lowlands." "Absolutely Sweet Marie." "Essential" doesn't even begin to cover the genius of this record!

LP1

1. Rainy Day Woman No. 12 & 35
2. Pledging My Time
3. Visions Of Johanna
4. One Of Us Must Know
5. I Want You
6. Memphis Blues Again
7. Leopard-Skin Pill-Box Hat
8. Just Like A Woman

LP2

1. Most Likely You Go Your Way And I Go Mine
2. Temporary Like Achilles
3. Absolutely Sweet Marie
4. 4th Time Around
5. Obviously 5 Believers
6. Sad Eyed Lady Of The Lowlands

The Marfa Tapes is a collection of beautifully intimate and raw songs written and recorded by Jack Ingram, Miranda Lambert, and Jon Randall in the tiny, middle-of-nowhere town of Marfa, TX. Barely a dot on the map, Marfa is an eccentric outpost in the midst of a vast expanse of nothingness, the perfect place to lose – or find – yourself. For Lambert, Randall, and Ingram, it's both. Over the past several years, the desolate location has become a songwriting haven for the trio, yielding both massive hits and profound personal growth. When they returned for five days in November 2020 though, they came not to write, but to record, capturing a captivating new album inspired by the stark beauty of west Texas and the deep, lasting bonds the three have forged there. Recorded raw and loose with just a pair of microphones and an acoustic guitar, The Marfa Tapes is a stunning work of audio verité; an intimate, unadorned snapshot of a moment in time fueled by love, trust, and friendship.

"I'll never forget pulling into Marfa that first night at 4am," said Lambert. "The stars were like nothing I'd ever seen before, just this endless blanket hanging so low you could reach up and touch them. I immediately understood why this place was so special." "There's no TV, no radio, nothing to do out there but pour a cocktail, sit around the campfire, and talk," continued Randall. "Eventually, that just inevitably leads to songs. There's no pressure to write, but most of the time, the three of us can't seem to help ourselves." "There's something singular that happens in that moment of collaboration and creation, something you can never really recreate in the studio," notes Ingram. "Our hope with this album was to share a little bit of that magic with people."

The trio recorded much of the album outdoors, inviting the ambient sounds of the desert to seep into their live, bare bones performances, and the atmosphere is utterly transportive. While a couple of the tracks may already be familiar to listeners – ACM Song of the Year "Tin Man" as well as fan favorite "Tequila Does" – the vast majority of these songs have never been heard outside of Marfa. The result is a rare glimpse inside the creative process of three of the genre's most accomplished writers and performers; a candid, unvarnished look at Lambert, Randall, and Ingram's undeniable chemistry in its purest, most honest form.

LP1

1. In His Arms
2. I Don't Like It
3. The Wind's Just Gonna Blow
4. Am I Right Or Amarillo
5. Waxahachie
6. Homegrown Tomatoes
7. Breaking A Heart
8. Ghost

LP2

1. Geraldene
2. We'll Always Have The Blues
3. Tin Man
4. Two-Step Down To Texas
5. Anchor
6. Tequila Does
7. Amazing Grace (West Texas)

“Whitey Ford Sings the Blues” is the first album from Everlast, following his departure from House Of Pain and was released in 1998. The record was both a commercial and critical success, selling more than 3 million copies worldwide and certified double platinum. The track “What It’s Like” earned Everlast a Grammy Award nomination for Best Male Rock Vocal Performance.

A1. The White Boy Is Back
A2. Money (Dollar Bill)
A3. Ends
A4. What It's Like
B1. Get Down
B2. Sen Dog
B3. Tired
B4. Hot To Death
B5. Painkillers
C1. Prince Paul
C2. Praise The Lord
C3. Today (Watch Me Shine)
C4. Guru
C5. Death Comes Callin'
D1. Funky Beat
D2. The Letter
D3. 7 Years
D4. Next Man

Wildness, Snow Patrol's first album in seven years, finds the British alt-rockers reuniting with longtime producer Jackknife Lee and searching for clarity, connection, and meaning, while staying true to the melodic songwriting prowess that brought them to prominence. The extended break proved to be a source of inspiration for the band and the new record, true to its title, taps into something raw and primitive.

Lead-singer/songwriter Gary Lightbody explains, "There are many types of wildness, but I think it can be distilled into two: the wildness of the modern age, all it's confusion, illogic and alienation and a more ancient wildness. Something primal, alive and beautiful that speaks to our true connectivity, our passion, our love, our communion with nature and each other. This is the kind of wildness the album is centered around. The loss of it. Trying to reconnect with it. To remember it."

Lightbody adds that lead single, "Don't Give In," "was originally about a friend going through a tough time but the more I wrote into it I realised it was about me and the struggle of making the album – which took 5 years and was not easy – coupled with the struggle with depression I've had since I was a kid, so it has become the talisman of the album. The song that became a self-fulfilling prophecy."

1. Life On Earth
2. Don't Give In
3. Heal Me
4. Empress
5. A Dark Switch
6. What If This Is All The Love You Ever Get?
7. A Youth Written In Fire
8. Soon
9. Wild Horses
10. Life And Death

In keeping with the quality of their magical, laconic music, the success of Mazzy Star's second album, So Tonight That I Might See seemingly came out of nowhere. Eventually going platinum, the record's unexpected climb to commercial prominence began on the back of the surprise success of its second single, the dreamily atmospheric "Fade Into You," which rose into the Billboard Top 50 seven months after its parent album first hit the racks in October 1993. Gloriously out of step with the zeitgeist, the introspective So Tonight That I Might See bore scant relation to the grungy guitar records dominating the alt-rock scene. Indeed, "Fade Into You" ironically began its steady ascent up the Billboard chart while the world mourned the death of Kurt Cobain.

The product of ad hoc studio sessions, So Tonight That I Might See made no attempt to hide its rough 'n' ready nature, with "She's My Baby" and the grinding, "Venus In Furs"-esque titular song sounding almost willfully loose. More often than not, however, the album nonchalantly sauntered towards genius, not least on the droning, acid-tinged "Mary Of Silence," the duo's skeletal, cello-enhanced cover of Arthur Lee's "Five String Serenade" and the strung-out blues-rock of the aptly-titled "Wasted."

The record initially sold modestly, despite attracting tuned-in critics such as Los Angeles Times' Steve Hochman, who enthusiastically proclaimed that it "may well be the best psychedelic blues album since Cream." However, just when observers were preparing to file it away as a slow-burning niche record, So Tonight That I Might See started its stealthy ascent up the Billboard chart, peaking at No. 36 and moving a million copies. Now available as a single LP on standard weight vinyl in celebration of Capitol Records' 75th anniversary.

1. Fade Into You
2. Bells Ring
3. Mary Of Silence
4. Five String Serenade
5. Blue Light
6. She's My Baby
7. Unreflected
8. Wasted
9. Into Dust
10. So Tonight That I Might See

Composer and arranger Yuki Hayashi (My Hero Academia: Heroes Rising, Pretty Cure, Strawberry Night) returns to the critically acclaimed My Hero Academia universe after scoring all four seasons of the hit anime television series as well as the first two film installments, My Hero Academia: Two Heroes and My Hero Academia: Heroes Rising. Based on Kōhei Horikoshi's well-loved manga series, the fifth season of My Hero Academia premiered in March 2021.

LP1

1. Go, Plus Ultra
2. So Classmate Were Born Of Worthy Competition
3. Successor
4. "QUIRK" DON-PACHI Great Exchange
5. A VS B
6. What To Inherit
7. The Mission Of The Stealth Hawk
8. Different Ability Liberation Army
9. My Villain Academia

LP2

1. Second Coming
2. Gigantomachia
3. Mine Woman
4. TOGA's Nature
5. Symbol of Fear
6. I Don't Kill My Friends
7. RE DESTRO
8. Paranormal Liberation Front
9. Sound of the Holidays
10. Sound of the Holidays (Instrumental Version)

Blue Note Classic Vinyl Reissue Series All-Analog 180g Vinyl LP Mastered by Kevin Gray Directly from the Original Master Tapes and Manufactured at Optimal in Germany

Blue Note Records has announced the continuation of the Classic Vinyl Reissue Series which presents 180g vinyl LP reissues in standard packaging mastered by Kevin Gray and manufactured at Optimal. The pressings are all-analog whenever an analog source is available, with Gray mastering directly from the original master tapes. While the first 16 titles of the series focused on the best-known Blue Note classics from the 1950s and 60s, the new run of titles curated by Don Was and Cem Kurosman broadens its scope to span the many eras and styles of the legendary label's eight-decade history presented by themes: Bebop, Hard Bop, Soul Jazz, Post-Bop, Avant-Garde, The 70s, The Rebirth, and Hidden Gems.

In the late 1940s, Blue Note founder Alfred Lion became enthralled with the modern sounds of bebop and began recording several of the new music's innovators including the brilliant pianist Bud Powell, who Lion dubbed The Amazing Bud Powell. Powell could be erratic, but as a producer Lion always seemed to draw the best out of the piano master, and cut numerous classic sides including "Un Poco Loco" and "Bouncing with Bud." The fourth volume of The Amazing Bud Powell series, titled Time Waits, was recorded in 1958 and found Powell in particularly fine form on an ebullient set of his original tunes including "Buster Rides Again," "Monopoly," and "John's Abbey." Powell's playing is endlessly inventive as he takes flight in a trio setting with bassist Sam Jones and Philly Joe Jones, who elevates the session with some of his most inspired drumming on record.

Musicians:
Bud Powell, piano
Sam Jones, bass
'Philly' Joe Jones, drums

Features:
• Blue Note Classic Vinyl Reissue Series
• All analog 180g vinyl LP
• Mastered by Kevin Gray directly from the original master tapes
• Manufactured at Optimal in Germany
• Standard packaging

1. Buster Rides Again
2. Sub City
3. Time Waits
4. Marmalade
5. Monopoly
6. John's Abbey
7. Dry Soul
8. Sub City (Alternate Take)

I Know I'm Funny haha is Webster's most realized manifestation yet of this emotional and musical alchemy. Continuing to bloom from her 2019 breakthrough and Secretly Canadian debut Atlanta Millionaires Club, Webster's sound draws as much from the lap-steel singer-songwriter pop of the 1970s and teardrop country tunes as it does from the audacious personalities of her city's rap and R&B community. The album began for Webster with the stirring ballad "In a Good Way," as in "You make me want to cry in a good way"-an instantclassic Faye Webster one-liner. It's beguilingly simple, the kind of melody and arrangement that seem to have existed forever. A sense of relief charges the neo-psychedelic pop of "Cheers," where Webster experiments with an overdriven guitar tone. She also collaborated, on "Overslept," with the Japanese artist Mei Ehara, who she calls the biggest influence on her new music. Webster's music is full of personality. Many of her songs contain bits of girl-group-esque talk-singing, which color her atypical storysongs. Webster says she's in a growth mindset, pushing herself to learn more, to be more vulnerable. "Growth is really important to me," she says. "I hope people will relate to my songs, and not just be like 'this is a good record' but 'this makes me feel something. This is making me think differently, this is making me question things.' I told myself a few years ago that I was going to be more honest in my songwriting, that honesty is the best route to take with music. If I have a voice and people are listening to me, I'm not going to waste it."

Tracks

• 1 Better Distractions
• 2 Sometimes
• 3 I Know I'm Funny Haha
• 4 In a Good Way
• 5 Kind of
• 6 Cheers
• 7 Both All the Time
• 8 A Stranger
• 9 A Dream with a Baseball Player
• 10 Overslept (Feat. Mei Ehara)
• 11 Half of Me

Double 180gm audiophile vinyl LP pressing. 2Pacalypse Now is the 1991 debut studio album by 2Pac. The album is 2Pac's commentary on contemporary social issues facing American society such as racism, police brutality, poverty, black on black crime, and teenage pregnancy. It featured three singles; "Brenda's Got a Baby", "Trapped", and "If My Homie Calls". The album was initially released on T.N.T. Recordings and Interscope Records, which at the time was distributed through Eastwest Records America and Atlantic Records. Following Shakur's death, Amaru Entertainment (established by his mother Afeni Shakur) obtained the rights to this album. The album generated significant controversy stemming from then-U.S. Vice President Dan Quayle's public criticism after Ronald Ray Howard murdered a Texas state trooper and his defense attorney claimed he was influenced by 2Pacalypse Now and it's strong theme of police brutality. Quayle made the statement, "There's no reason for a record like this to be released. It has no place in our society."

Tracks

• 1 Young Black Male
• 2 Trapped (Featuring Shock G)
• 3 Soulja's Story
• 4 I Don't Give a F*** (Featuring Pogo)
• 5 Violent (Featuring DJ Fuze, Money B and Mac Mone)
• 6 Words of Wisdom
• 7 Something Wicked (Featuring Pee - Wee)
• 8 Crooked Ass Nigga (Featuring Stretch)
• 9 If My Homie Calls
• 10 Brenda's Got a Baby (Featuring Dave Hollister)
• 11 Tha' Lunatic (Featuring Stretch)
• 12 Rebel of the Underground (Featuring Ray Luv and Shock G)
• 13 Part Time Mutha (Featuring Angelique and Poppi)

Following 2018's A Brief Inquiry Into Online Relationships, The 1975's much-anticipated fourth studio effort, Notes on a Conditional Form is the second of two albums from the British band's third release cycle, Music for Cars. Over the past six months, the band has dropped a selection of sonically-diverse singles from Notes on a Conditional Form. Released in July of 2019, "The 1975" features a spoken-word recording from Swedish climate change activist Greta Thunberg, underscored by instrumentals. On the heels of "The 1975" came the punchy, punk-infused "People," while "Frail State Of Mind," which frontman Matty Healy described as a song about anxiety, followed in October. The two most recent singles off the album included the shoegazey "Me & You Together Song," and the twangy, "The Birthday Party."

"Every time I do a 1975 record, I kind of just go through my catalogue of music, the mental rolodex," says Healy. "And I think that Notes is an interesting record, because it has our most aggressive moments and our most tranquil moments, and they're quite harshly lined up against each other. I don't have a playlist of one type of music, so I don't consume music like that, and when I'm inspired it'll never happen twice in one genre."

On Notes On A Conditional Form, the band's family has grown to encompass new collaborators too, including actor Timothy Healy, Matty's father. "Don't Worry" was written by Healy senior when Matty was 11 and was dusted down and recorded by the band for NOACF. Elsewhere, FKA twigs and Phoebe Bridgers lend their vocals as backing textures and a duet from the latter. "It became such a personal record that there were no rules anymore," adds Healy. "Anybody who had breached the intimacy of the studio was inherently part of the record already. With Phoebe, I just felt like I hadn't loved a female vocal like hers in like a decade – I was obsessed with her record."

Tracks

• - Disc 1 -
• 1 The 1975
• 2 People
• 3 The End (Music for Cars)
• 4 Frail State of Mind
• 5 Streaming
• 6 The Birthday Party
• - Disc 2 -
• 1 Yeah I Know
• 2 Then Because She Goes
• 3 Jesus Christ 2005 God Bless America
• 4 Roadkill
• 5 Me & You Together Song
• 6 I Think There's Something You Should Know
• - Disc 3 -
• 1 Nothing Revealed / Everything Denied
• 2 Tonight (I Wish I Was Your Boy)
• 3 Shiny Collarbone
• 4 If You're Too Shy (Let Me Know)
• 5 Playing on My Mind
• - Disc 4 -
• 1 Having No Head
• 2 What Should I Say
• 3 Bagsy Not in Net
• 4 Don't Worry
• 5 Guys

Way back in October 2013, The Dead Weather and Third Man Records announced an incredibly special 7" featuring "Open Up (That's Enough)" b/w "Rough Detective" as part of Vault Package #18. These two tracks were a fierce battle cry heralding the announcement of a brand new Dead Weather album that was to be released in a revolutionary fashion. Teased out over the past year and a half via a series of 7" singles, the physical versions of which were ONLY available via The Vault (Third Man's one-of-a-kind subscription mail-order service), the band promised this would culminate in a brand new album in 2015.

The third Dead Weather LP would be a full length album comprised not only of the previously released 7" singles, but newly recorded, previously-unheard material. Now The Dead Weather officially present their new album Dodge & Burn. The 12-track set will be released worldwide in September 2015 on Third Man Records and will feature eight brand new songs, along with the four previously released tracks remixed and remastered.

Alison Mosshart, Jack White, Dean Fertita and Jack Lawrence spent their rare and sporadic free moments over the past year recording together in Nashville. With the members of the band heavily involved in other projects, The Dead Weather will not be touring in support of the new album. Thankfully the thick and heavy Dodge & Burn will satisfy your urges for the dark magic that is The Dead Weather for a very long time.

Tracks

• 1 I Feel Love (Every Million Miles) 3:16
• 2 Buzzkill (Er) Mosshart/Fertita 3:08
• 3 Let Me Through 4:17
• 4 Three Dollar Hat 3:23
• 5 Lose the Right 3:18
• 6 Rough Detective White/Mosshart/Fertita 3:03
• 7 Open Up (That's Enough) White/Mosshart 3:50
• 8 Be Still 2:48
• 9 Mile Markers 3:46
• 10 Cop and Go 4:07
• 11 Too Bad Mosshart/Fertita 3:47
• 12 Impossible Winner 4:00

Limited vinyl LP reissue of this best-selling album. First released in 1983, this compilation of music from the original three films, (Star Wars/Empire/Jedi) is one of the best-selling albums ever released by the seminal film music label, Varèse Sarabande. Officially endorsed by Lucasfilm and composer John Williams, the outer packaging contains actual stills from each of the three original Star Wars films and a letter from John Williams that consumers can read on the back of the album. While it features music composed by Williams, the music contained on this release was performed by the Utah Symphony Orchestra conducted by Varujan Kojian. The album was produced for That's Entertainment Records and Varese Sarabande Records by George Korngold.

Tracks

• - Disc 1 -
• 1 Star Wars: Main Title
• 2 Princess Leia's Theme
• 3 Here They Come
• 4 The Empire Strikes Back: The Asteroid Field
• 5 Yoda's Theme
• 6 The Imperial March
• - Disc 2 -
• 1 Return of the Jedi: Parade of the Ewoks
• 2 Luke and Leia
• 3 Fight with Tie Fighters
• 4 Jabba the Hutt
• 5 Darth Vader's Death
• 6 The Forest Battle
• 7 Finale

Cage The Elephant Thank You, Happy Birthday on LP

Thank You, Happy Birthday is the eagerly awaited sophomore album from Cage The Elephant. Produced by Jay Joyce and recorded at Tragedy/Tragedy Studios in Nashville, TN, the album follows-up to the band's critically acclaimed 2009 self-titled debut. This new 13-song collection of raucous and inspired rock displays an expanded sound for the band and a bold reminder of exactly why they are one of the most loved groups in rock music today.

Cage The Elephant Thank You, Happy Birthday Track Listing:

1.  Always Something
2.  Aberdeen
3.  Indi Kidz
4.  Shake Me Down
5.  2024
6.  Sell Yourself
7.  Rubber Ball
8.  Right Before My Eyes
9.  Tangle
10. Sabertooth
11. Japanese Buffalo
12. Flow
13. Shiver