This double-CD set is essential listening – not just for Downliners Sect fans, but for anyone who's ever worn out copies of any of the first three Rolling Stones albums or owns anything by the Yardbirds, the Pretty Things, Them, the Graham Bond Organisation, the Animals, early John Mayall, the Shadows of Knight, or any of countless blues-inspired American garage bands. In content, it's approximately equivalent to Charly's Yardbirds Ultimate Collection, encompassing the complete contents of the Downliners Sect's three original LPs, from the bluesy "Baby, What's Wrong" to the pounding, proto-psychedelic "Glendora." Thus, listeners don't get the EP and demo tracks "Cadillac," "Roll Over Beethoven," "Beautiful Delilah," or "Shame Shame Shame," and "I Can't Get Away from You" and "Roses" are also missing from the other end of their history – all of which are present, along with a lot else, on See for Miles' Definitive Downliners Sect: The Singles A's & B's, which is the perfect complement to this set.

This double-LP live album features 13 live performances hand-picked from the band’s 2019 European tour and includes a musical score written by Stu Mackenzie that adds a ‘magical touch of alien melancholy’ throughout the record. Chunky Shrapnel is an adrenaline fueled psychedelic trip that captures the energy of a live concert while also creating something tailored and unique to King Gizzard.

Forty-fifth anniversary box set release from The Velvet Underground & Nico featuring the latest remastering. Set consists of 6 discs includes 29 unreleased tracks in a 92-page hardcover book packaging with a sticker of banana. Japanese edition features the high-fidelity SHM-CD format (compatible with standard CD player). The set includes both stereo and mono versions of the album "The Velvet Underground & Nico" (Disc 1-2), as well as Nico's 1967 solo debut CD "Chelsea Girl" (Disc 3), a studio session at Scepter Studio recorded to acetate, and unreleased recording footage from rehearsal at Andy Warhol's Factory in January 1966 (Disc 4), and a live show from Columbus, Ohio (Disc 5-6).

First ever posthumous tribute to the psychedelic rock luminary and pioneer, featuring all-new recordings by Lucinda Williams, Billy F Gibbons, The Black Angels, Margo Price, Mosshart Sexton (Alison Mosshart & Charlie Sexton), Neko Case, Mark Lanegan & Lynn Castle, Jeff Tweedy, Gary Clark Jr & Eve Monsees, Ty Segall, Chelsea Wolfe, and Brogan Bentley.

Excellent historywise, poor soundwise. A welcome '65 live recording by a band famous for including a young Jon Anderson at harmony vocals, though you wouldn't know by hearing only. Typical repertoire for the era, quite competent playing, excellent guitar parts sometimes sounding well ahead of their time…

It’s country music but not as we know it which begs the question: Have these Bad Kids of 21st Century rock ’n’ roll finally grown up on their ninth studio album? Are they at peace with themselves? Have they made a record their parents could listen to? The Black Lips new album Sing In A World That’s Falling Apart continues to flick the middle finger to one and all. This ain’t another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren’t the usual clichés about drinking, honkytonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre by not sounding or dressing their musical predecessors.

On their fifth album, The Murlocs reflect on those who leave a profound imprint on our lives: the saviors and hellraisers and assorted other mystifying characters. The most personal and boldly confident work yet from the Melbourne-based five-piece (which includes two members of King Gizzard and The Lizard Wizard); the album sets their storytelling to eleven infectious tracks written mostly on piano, lending a greater emotional intensity to the band’s restless and radiant brand of garage-rock.

The Gossip close Music for Men with a song called "Spare Me from the Mold," but Beth Ditto, Nathan Paine, and Hannah Billie could never be accused of conforming. They were still a relatively underground group when Standing in the Way of Control's passionate mix of punk, soul, and disco became their breakthrough – and they sounded so confident on it, it felt like the mainstream was coming to them rather than vice versa. They've got their own piece of the pop (and pop culture) mainstream now, and Music for Men feels aboveground in the best possible way. Befitting its major-label debut, this is the band's most polished music yet, a balance of Control's ferocity and the sleek remixes of the album's singles, but it's still not slick. Most of Music for Men finds The Gossip sticking to their roots and using their success to get their messages out to as many people as possible. These songs are just as empowering as their earlier work, though they're more subtly defiant.

Though it's not obvious from the cover, this 22-track CD compilation is basically a reissue of the New Colony Six's third and fourth LPs (1968's Revelations and 1969's Attacking a Straw Man), presenting the albums one after the other with their original track sequences. This was the era in which the Chicago band, which started off with a rawer garage pop sound, softened its approach considerably and found some modest national commercial success. Those who swear by the group's earlier work (particularly the excellent 1966 debut, Breakthrough) are likely to be disappointed by the far more mainstream harmony pop/rock of these records, though on the other hand, fans of groups like the Association might favor this era more than the previous one…

It's clear that a lot care goes into the Hives' seemingly immediate, fired-up sound: this is a band, after all, that has only released three full-length albums in its 11-year lifespan. While the 2002 collection Your New Favourite Band ended up winning the group many more fans thanks to its fortuitous timing with the garage rock revival craze (and also ended up being the band's most consistent release to date), it didn't do much to disguise the fact that the Hives hadn't released a new album since 2000's Veni Vidi Vicious. Two years later, Tyrannosaurus Hives arrives, and proves that the band isn't just a fossil from the days when everyone (or critics, at least) thought that the Hives and the other bands lumped in with the rock revival were going to change the face of pop music. It may have taken the Hives awhile to follow up Veni Vidi Vicious, but they didn't waste any time: Tyrannosaurus Hives is half an hour of highly compressed, high-contrast rock that is far and away the band's best album.