AJR -"The Maybe Man" Republic Records; Mercury Records/Republic; Alternative EXPLICIT

Celebrating the 30th anniversary of U2’s Zooropa, this limited edition transparent yellow vinyl pressing of the Grammy-award winning album coincides with the band’s performances at the Sphere in Las Vegas. Initially intended to be just an EP, Zooropa became a 10-track album recorded in 6 weeks in 1993, making it the fastest U2 album ever produced. Produced by Flood, Brian Eno and The Edge, the album went to #1 in the UK, US and more. It features the singles “Numb,” “Lemon” & “Stay (Faraway, So Close!).”

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.

2 LP, 180g reissue of original album, never before on LP. Numbered

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.

Placebo have unveiled their long-awaited 8th studio album. Nine years on from the release of their last outing Loud Like Love, Never Let Me Go is set for release on March 25^th, 2022.

Nowhere Generation’s unabashedly outspoken 11 songs explore the tight bonds and the distances we share, the struggles of everyday life, our personal failings and triumphs, as well as how the social and economic decks can be stacked against us. But Nowhere Generation also hints at the reclamation of ourselves, a call to resurrect who we are at our core, who we want to be and what we want to do with our lives, despite the rampant weaponizing of our culture. As lyricist Tim McIlrath wrote on “The Numbers”:  …these cold nights are almost unbearable, but purpose keeps us warm.

Nowhere Generation was recorded at The Blasting Room in Fort Collins, Colorado under the tutelage of Jason Livermore, Andrew Berlin, Chris Beeble and long-time producer/engineer Bill Stevenson (Black Flag, The Descendents) who has worked with the band on nearly all of their acclaimed releases since their sophomore effort, 2003’s Revolutions Per Minute, and is often described as Rise Against’s fifth member.

Jason Isbell's songs are filled with ghosts. They're haunted by spirits both welcome and unwelcome, by the personal and historical legacies that make us who we are. Nowhere Is this more evident than on his 2013 breakthrough album Southeastern. Isbell offers confessions. reflections. and promises that contront and make communion with those who have come before and remain wIth us still. Its twelve tracks represent an extended meditation on the concept articulated by another celebrated southern storyteller, author William Faulkner: "The past is never dead. It isn't even past."

Without exaggeration, Jason Isbell has become one of the most respected and celebrated songwriters of his generation. He possesses an incredible penchant for identifying and articulating some of the deepest, yet simplest, human emotions, and turning them into beautiful poetry through song. Isbell sings of the everyday human condition with thoughtful, heartfelt, and sometimes brutal honesty, and The Nashville Sound is no exception. The Nashville Sound is the critically acclaimed 6th studio album from Jason Isbell, and the 3rd album alongside his band, The 400 Unit. The album debuted at #4 on the Billboard Top 200 and #1 on the Rock, Americana / Folk and Country Albums charts, and earned the band 2 Grammys at the 2018 Grammy Awards: Best Americana Album and Best American Roots Song for "If We Were Vampires". 

But Here We Are is the new album from Foo Fighters, and marks the bands return after a year of staggering losses, personal introspection and bittersweet remembrances. A brutally honest and emotionally raw response to everything Foo Fighters have endured recently, But Here We Are is a testament to the healing powers of music, friendship and family. Courageous, damaged and unflinchingly authentic, the album opens with “Rescued,” the first of 10 songs that run the emotional gamut from rage and sorrow to serenity and acceptance, and myriad points in between.

But Here We Are is in nearly equal measure the 11th Foo Fighters album and the first chapter of the band’s new life. Sonically channeling the naiveté of Foo Fighters’ 1995 debut, informed by decades of maturity and depth, But Here We Are is the sound of brothers finding refuge in the music that brought them together in the first place 28 years ago, a process that was as therapeutic as it was about a continuation of life. 

Limited to one pressing, this 10^th Anniversary Viny Box Set Brings Together 2 of Five Finger Death Punch’s Best-Selling Albums (Pressed on Silver Metallic and Gold Metallic vinyl and housed in gatefold sleeves with updated album art), along with their long out-of-print live album, PURGATORY (TALES FROM THE PIT).  This 6-platter collection contains 6 bonus tracks and a 4-decal sticker sheet.  This will be a highly sought-after collectable among the band’s legion of devoted fans.  Five Finger Death Punch will have just wrapped up fall tour dates with Metallica and Ice Nine Kills in November.

In celebration of the 30th Anniversary of Pearl Jam’s historic second studio album Vs., which features hits like “Daughter,” “Elderly Woman Behind the Counter in a Small Town,” and “Rearviewmirror” the album is now being released as a 2LP at 45 RPM on 180g heavy weight vinyl. 

This recording has never before been released or even bootlegged.  It captures the Jimi Hendrix Experience at a unique moment in their illustrious career.  Before a sold out audience of 17,000 people, the Experience overwhelmed an unsuspecting audience with a superb show that encompassed his renditions of songs by the Beatles, Bob Dylan, Howlin’ Wolf and Muddy Waters as well as signature songs such as “Purple Haze” and “The Wind Cries Mary”. Are You Experienced, the group’s debut album, had not yet been released by Jimi’s label Reprise. 

The Love Movement is the fifth studio album by A Tribe Called Quest. Originally released on September 29, 1998, by Jive Records, it is a concept album exploring the lyrical theme of love containing 15 album tracks and 6 bonus tracks over 3-LPs. The album features the singles “Find A Way” and “Hot Sex” and has been certified Gold by the RIAA.

Before These Crowded Streets is the third studio album by Grammy award-winning rock band, Dave Matthews Band. Originally released in spring of 1998, the album received both critical and commercial success. Dethroning the Titanic soundtrack, which sat atop the Billboard 200 for 16 consecutive weeks, Before These Crowded Streets was certified triple-platinum and began the band’s impressive streak of six No. 1 albums in a row. The LA Times said: On this album, the band places an even higher premium on musical proficiency. Songs such as “Rapunzel” and “The Stone” are built around vertiginous polyrhythms and serpentine riffs that dart around Matthew’s clenched vocals, yet always manage to lock into an enjoyable groove.

The band continues to play a majority of the songs from this album in their nightly sets while on tour as it’s been a favorite among fans for over two decades. The 25^th anniversary edition comes as a standard black 2LP vinyl with an exclusive new booklet featuring rare photos. Lacquers cut by Chris Bellman at Bernie Grundman Mastering.

The funk fans have been waiting for this one. Finally available on vinyl, Grant Green's near perfect slice of jazz funk and soul, Live at Club Mozambique, remastered and rendered back in the Motor City. Grant Green's band had been playing a series of live dates at Detroit's Club Mozambique, (before it became a fabled Male dance club) when this session was recorded live on two cold January nights in 1971. Powerhouse drummer Idris Muhammad and soulful tenor star Houston Person were brought in to supplement Green's current band featuring Ronnie Foster on organ and Clarence Thomas on Soprano and Tenor Sax and Blue Note producer Francis Wolff recorded. This treasure was never released, though, and (conjectures aside) remained in the Blue Notes vaults for 35 years before a 2006 CD release. Sounding incredibly fresh and live, you'd be hard-pressed to find a more real stamping of Grant Green at the top of his game. The lp blends extremely hypnotic and wild funk such as their opening cover of a local funk hit ''Jan Jan'' by the Fabulous Counts next to laidback renditions of early 70's soul favorites ''Walk on By'', ''Patches'' and ''One More Chance'' by the Jackson 5. It perfectly captures the magic of hearing a legendary band effortlessly doing their thing in a small club while the audience unwinds after a long work day. Green pulls it all together with his melodic genius and perfect delivery. Great artists make it seem so easy. No pretensions here, just a great band burning up the stage with unmistakable chemistry on what might be the ultimate jazz funk time capsule. Maybe you can't go back in time, but if you close your eyes and light a cigarette, you might be convinced you're sitting in a wood-paneled club on Detroit's Westside enjoying Grant Green and his band tear it up.

313 Series
Detroit has long held a shared respect with New York; a similar outlook on authenticity. Tough to describe, but you know it when you see it. Third Man Records and Blue Note Records share this respect and also a commitment to integrity regarding the musical legacies they support that extends to the collaboration happening on the 313 Series partnership. The five unique albums from the Blue Note catalog chosen for limited edition re-release by Blue Note Records President and Detroiter Don Was represent the best of the Motor City; innovative sounds, incredible playing and that inexplicable something you know is real.

For an undertaking like this you have to walk the extra mile. The original tapes were sent to Third Man's Detroit mastering and pressing facility where their extensive all analog re-mastering process ensured that the albums delivered live up to the tradition they are part of. The Third Man Records team's commitment to audio purity means no corners can be cut; sound and mastering engineer Warren Defever's goal being to provide the closest possible approximation of the magic found on the original master's tape brought to your living room. From the lacquers cut in the studio on the Neumann VMS-70 Cutting Lathe to the 180 gram vinyl pressed across the hall, every step of the process is tested in the facilities against exacting standards. That's the Detroit way and the reason why the musical legacy from the 313 area code remains beloved around the world.

Grant Green - Guitar
Ronnie Foster - Organ
Idris Muhammad - Drums
Clarence Thomas - Soprano Sax, Tenor Sax
Houston Person - Tenor Sax

Recorded live at Club Mozambique - Detroit, MI 1971 by Francis Wolff

More than 20 years in the making, this December finally sees the release of i/o, Peter Gabriel’s first album of new material since 2002’s Up. During 2023, Peter has been releasing a new song from the album on the occasion of every full moon. Being revealed roughly every four weeks, each track has been allowed to find its own time and space, to enjoy its own orbit. “It’s a little like getting a Lego piece each month,” Peter explains. Now it’s time to stand back and admire the final, completed creation. And what a creation – 12 tracks of grace, gravity and great beauty that provide welcome confirmation of not only Peter’s ongoing ability to write stop-you-in-your-tracks songs but also of that thrilling voice, still perfectly, delightfully intact. Throughout the album the intelligent and thoughtful – often thought-provoking – songs tackle life and the universe. Our connection to the world around us – ‘I’m just a part of everything’ Peter sings on title track i/o – is a recurring motif, but so too the passing of time, mortality and grief, alongside such themes as injustice, surveillance and the roots of terrorism. But this is not a solemn record. While reflective, the mood is never despondent; i/o is musically adventurous, often joyous and ultimately full of hope, topped off as it is, by the rousingly optimistic closing song, Live and Let Live.  Always looking to push the boundaries, i/o is not simply a collection of a dozen songs. All 12 tracks are subject to two stereo mixes: the Bright-Side Mix, handled by Mark ‘Spike’ Stent, and the Dark-Side Mix, as reshaped by Tchad Blake. “We have two of the greatest mixers in the world in Tchad and Spike and they definitely bring different characters to the songs. Tchad is very much a sculptor building a journey with sound and drama, Spike loves sound and assembling these pictures, so he’s more of a painter.” Peter has also invited a range of visual artists to contribute a piece of art to accompany each track. The dozen artists make an exceedingly impressive team of collaborators: Ai Weiwei, Nick Cave, Olafur Eliasson, Henry Hudson, Annette Messager, Antony Micallef, David Moreno, Cornelia Parker, Megan Rooney, Tim Shaw, David Spriggs and Barthélémy Toguo. Having handpicked the artists, Peter recognises that “They have the same obsessive attention to their visual work that we musicians have in sound.”

Time Fades Away was the first live album released by Neil Young. He is backed on the album by The Stray Gators, the band who played on Harvest, and including the superb musicians Ben Keith, Jack Nitzsche, and Tim Drummond. David Crosby and Graham Nash are special guest musicians. The album followed the release of Young’s hugely successful album Harvest, and when it was released in 1973 it featured all previously unreleased songs. To commemorate the 50thanniversary of this album the track “The Last Trip To Tulsa” (originally released as a B-side to the 1973 single of “Time Fades Away”) has been added to the album. This limited-edition LP is pressed on clear vinyl.

The surprise companion to The National’s April release First Two Pages of Frankenstein, Laugh Track is the band’s most freewheeling, all-hands-on-deck album in years. If Frankenstein represented a rebuilding of trust between group members after 20+ years together, the vibrant, exploratory Laugh Track is both the product of that faith and a new statement of intent. Reveling in the license to radically upend its creative process, The National honed most of this material in live performances on tour, and captured those invigorated versions in impromptu sessions at producer Tucker Martine’s Portland studio. Two nights later in Vancouver, the nearly eight-minute album closer “Smoke Detector” was recorded during soundcheck, completing a body of work bristling with spontaneity and vintage rock energy that makes a perfect complement to the songs found on its more introspective predecessor.