Back catalogue: All genres

Review: There'll Never Be Another You, recorded live in Zagreb, Croatia, in 1985, features Chet Baker on trumpet, piano, and vocals, accompanied by guitarist Philip Catherine. This album captures the essence of Baker's intimate, melancholic style, showcasing his talent across four duos. The duo's chemistry shines through on tracks like 'Beatrice,' 'Leaving,' and the title track, 'There'll Never Be Another You.' Catherine's guitar complements Baker's performance beautifully, adding depth and texture to the music. Now available on vinyl for the first time!

Review: Alan Parsons' The Time Machine stands as a remarkable achievement in his discography, set to be released on clear green 180-gram vinyl in a striking gatefold package with a four-page booklet. This album showcases Parsons at his creative zenith, featuring a blend of stellar tracks that highlight his evolving sound. The album flourishes with emotional ballads such as 'Ignorance Is Bliss' and the poignant 'The Very Last Time', enhanced by a standout female vocalist. The ethereal 'The Call of the Wild' and the intriguing mix of electronic and classical elements in 'Far Ago and Long Away' reflect Parsons' willingness to explore new musical landscapes. Featuring guest performances from renowned artists like Tony Hadley and Colin Blunstone, alongside contributions from Ian Bairnson and Stuart Elliott - who are no strangers to Parsons' work - it perfectly encapsulates his musical journey making it a valuable find for those who appreciate his legacy.

Review: Scratch Came Scratch Saw Scratch Conquered is the 2008 album by Lee 'Scratch' Perry, legendary Jamaican producer, composer and singer known for his innovative studio techniques and pioneering contributions to dub music. From his Black Ark Studio in Kingston, Perry produced for artists like Bob Marley and the Wailers, Junior Murvin, and The Congos. Relocating to Switzerland later in his career, Perry continued to innovate, collaborating with The Beastie Boys, The Clash, and George Clinton. This album is the second in a trilogy created with English musician and producer Steve Marshall, also known as John Saxon. Featuring guest appearances by George Clinton and Keith Richards, Scratch Came Scratch Saw Scratch Conquered showcases Perry's enduring influence and creativity. The 2LP limited edition is pressed on translucent green vinyl and housed in a gatefold sleeve, with only 1500 individually numbered copies available. This release is ideal for fans of Perry's groundbreaking work in dub and beyond.

Review: The legend of the late great musical maverick and fascinating soul that was Lee 'Scratch' Perry will never diminish, such was the impact of what he did in the world of dub and reggae. He sure did a lot of it, too, so reissues will always come thick and fast with the latest being Jamaican E.T.. It came on February 5, 2002 via the Sanctuary/Trojan label and went on to win the 2003 Grammy Award for Best Reggae Album. His psychedelic dub roots are at the heart of each tune with elements of modern, roots and lovers rock all featuring. Check his cover of 'I'll Take You There' for the real highlight here.

Review: Hey, Mr. Music! The expertly rediscovered North West London soul singer Candy McKenzie (sister of Bunny McKenzie) hears her Trojan Records debut, and only album, reissued through MOV. "Upset" by Lee Perry of all people - the late great dub producer titularly "introduces" McKenzie as person of interest here - this sole LP from McKenzie, first unearthed in 2011 but recorded unmistakably in the 80s - betrays a nonconformist character, crossing blurrily between percussive lovers rock and bubbly new wave. McKenzie's vocal style is aplomb and vigorous, and is well contrasted to the otherwise soothing laryngeals of Perry's many other femme familiars, such as Susan Cadogan.

Review: Back in 2010 before his sad passing, the great Lee "Scratch" Perry dropped Revelation, an album made at his second studio in Switzerland, which is where he lived after spending most of his life working from his legendary Black Ark Studio in Jamaica. For this one, he collaborated with Keith Richards and George Clinton to complete what was a three-part series made with English musician and producer Steve Marshall aka John Saxon. It was accompanied day a full-length film offering behind-the-scenes access to the making of the album, which now gets reissued on limited and numbered gatefold 180-gram audiophile translucent yellow vinyl. A real modern classic.

Review: Influential DJ, producer, and Acid Jazz and Talkin' Loud founder Gilles Peterson has curated his jazz favourites from the iconic Dutch jazz label Timeless. The selection includes Pharoah Sanders' cosmic 'Moonchild', Carter Jefferson's vocal jazz on 'Why', Tom Grant's danceable 'No Me Esqueca', and Art Blakey & The Jazz Messengers' 'In Case You Missed It'. While Peterson compiled a Japan-only CD in 2015, this version adds previously unreleased gems like 'Mode For Joe' by Cedar Walton Trio and 'Gibraltar (Alternate Take)' by Kirk Lightsey Trio feat. Freddie Hubbard, making it essential for collectors.

Review: This vinyl reissue of Plush's 1982 album is a joyous celebration of a hidden gem from the golden era of r&b. Originally overlooked, Plush were more than just another band; they were more a collaboration of talented artists including Bobby Watson, Rene Moore and Angela Winbush. Together, they crafted a blend of dance music featuring the vocals of Siedah Garrett, Tony Phillips, and Ambrose Price II. Discovered by chance in 1983 with the radio hit 'We've Got the Love,' often mistaken for Dynasty, Plush faded into obscurity despite its promising start. With production reminiscent of Shalamar and Leon Sylvers III, Plush's self-titled album encapsulates the vibrant r&b trends of early 80s with infectious melodies and pulsating rhythms. The standout single 'Free and Easy,' penned by Moore and Winbush, embodies the era's transitional r&b sound, driven by a pronounced bass line and upbeat percussion. Despite its short-lived presence, Plush's legacy is revived through this reissue, allowing modern listeners to appreciate its rich musicality and Angela Winbush's influential contributions. 40 years later, this album oozes nostalgia about a great time in dance and rhythm and blues.

Review: The tenth studio album by the American female soul vocal group Pointer Sisters is here reissued by MOV, harking back to a certain, unmistakably breakout moment in glitzy, metropolitan electro-soul that emerged just over 40 years ago. The Pointer Sisters broke into the late 70s and 80s charts especially, at the height of the glam era, and rocked the style as it would visibly cross into Studio 54-esque synthpop and disco. Suitably motoric and 'Automatic', this was far from the Pointers' debut album and yet it was also their most popular, attesting a rare example of a group who found their wave well past their industry initiation. Consecutively, on an almost track-by-track basis, the record moves between pacy rock & roll/r&b and glammy electronique, typifying the distinctly vanguard-edging mood of the 1980s West Coast.

Review: An ironic title, given that this, Presely's seventh album and a Billboard chart topper to boot, actually collects together many of the King's finest singles onto one LP that first saw the light of day in 1959. Presumably, it's for album fans because single fans will have already own the wax on 45. But there's no denying the world shattering efficiency of the music contained within, from 'That's All Right', his world-changing debut single, to 'Mystery Train' and 'Shake, Rattle & Roll', the latter being a particular dancefloor filler in its time.

Review: Popular post-grunge band Puddle of Mudd's 2003 album Life On Display - their second full length - has somehow never before been pressed to vinyl, until now. The record was produced by John Kurzweg and managed to achieve Gold status with several singles going on to become hits such as 'Away From Me,' 'Spin You Around,' and 'Heel Over Head.' This reissue features a four page booklet with lyrics and listening to is an immediate ticket back to the turn of the millennium when baggy jeans, over-gelled hair, wallet chains and Etnies were all the rage.