Limited Edition. Special Edition. 3 CDs packaged in a cardboard box. Disc 1 (SP 70 - original album with restored version of track 1-1) packaged in blister pack. 2 discs of additional unreleased material (SP 50 and SP 60) presented in a paper folder. Discs are black. Includes "Patient Product Information" leaflet with credits - presented in the style of medicinal packaging. SP 50 and SP 60 mastered at Metropolis.

Containing the band's first 5 classic albums, this collection serves as the ideal extended introduction for new fans, while offering an easy way to bolster or complete collections for existing fans. Starting with 1979's ‘Three Imaginary Boys’, it continues through to ‘Seventeen Seconds’, ‘Faith’, ‘Pornography’ & concluding with 1984's ‘The Top’.

‘The Infotainment Scan’ was originally released in 1993 and was the band 15th studio album reaching no 9 on the album chart.
This set contains singles and demos as well as BBC sessions and three live shows from the era. Compiled in conjunction with Fall expert Conway Patton and has notes by Fall guru Daryl Easlea and have been mastered by long time engineer Andy Pearce with art by Becky Stewart.

Moody alternative rockers of the 1990s, feted by the British press, held to cult status in US. Collection includes: 'Attack Of The Grey Lantern' (1997); 'Six' (1998) Japanese Edition; 'Little Kix' (2000) Japanese Release.

After New Order released their own Substance compilation in 1987, it was perhaps inevitable that a similar and long-overdue collection would apply to Joy Division, especially given the out-of-print status of many of the band's singles. The end result turned up in 1988, and as a listen easily demonstrated that the same sheer sweep and energy that applied to the band over a full-length album similarly worked, even more so, with the focus of a 7" or 12" release. Though the earliest tracks like "Warsaw" and "Leaders of Men" were a strange sort of art punk, there was already something distinct about the group, and by the time of "Digital" and "Autosuggestion," it was perfectly apparent.

A 76 track celebration of all things Manchester from 1977 to 1981.
A comprehensive look at the city’s sounds featuring Buzzcocks, Joy Division, New Order, The Fall, John Cooper Clark, Durutti Column, A Certain Ratio, The Freshies, Slaughter & The Dogs, Magazine and many more. Includes tracks featuring many future stars of the Manchester music scene, such as Mick Hucknall (Simply Red), Martin Coogan (The Mock Turtles), Graham Massey (808 State), Mike Joyce (The Smiths) and Chris Sievey (Frank Sidebottom). Back in 2017, Cherry Red unveiled a mammoth 7-CD compendium entitled ‘Manchester North Of England’, which attempted to document the city’s vibrant music scene from punk to Britpop. Six years on, ‘Keeping Control’ is the sequel, a modest triple-disc retrospective concentrating on music from the punk and post-punk years.

H.M.S. Fable is the third album by Liverpudlian band Shack, released in June 1999 via London Records. It was the band's first album following their reformation after the interest generated by their previous much-delayed album Waterpistol and the album by offshoot band The Strands. H.M.S. Fable was well received by the critics: among the UK music publications, the album was placed at number 2 on both the NME and Uncut critics' poll of the albums of the year for 1999, and number 5 in Select magazine. The album was included in the book 1001 Albums You Must Hear Before You Die.

Legendary band The Damned were the first UK punk band to release a single back in 1976. Along with the Sex Pistols and the Clash, they helped to spearhead the punk movement in the UK. As their career developed they became one of the first gothic rock bands and were a major influence on the goth subculture. They’ve had 9 UK Top 40 hit singles during their illustrious career and their latest album ‘Evil Spirits’ was their first top ten album upon its release last year. This new anthology will be the first ever, spanning the bands career and fully curated by them. •Features five Top 40 singles including 1986’s hit “Eloise” •“New Rose” was the first single released by a UK punk band •“Neat, Neat, Neat” also features on the critically-acclaimed soundtrack of 2017 film “Baby Driver”

Arriving between the implosion of the Style Council and the commercial comeback of Wild Wood, Paul Weller’s eponymous 1992 debut is sometimes overlooked, but it’s one of his finest records, a smooth, soulful excursion pitched precisely between the sophisticated swing of the Style Council and the rustic rock of Wild Wood. In the wake of the disastrous unreleased house album from Style Council, Weller chose to dig into his roots, relying heavily on Curtis Mayfield records and a dash of Traffic’s jazz lilt, creating a cool groove of an album, one that warmed well to light elements of acid house, whether it’s the extended coda of “Kosmos” or the many remixes of the album’s singles (all collected on Universal’s 2009 double-disc deluxe edition). As pure sound, Paul Weller is seductive – it’s supple and relaxed, easing into its vamps and rhythms, maintaining its tone through shifts of tempos – but it sticks because its Weller’s best set of songs in years, anchored by the tight opening rocker “Uh-Huh Oh Yeh,” the soulful lament “I Didn’t Mean to Hurt You,” the insistent pulse of “Bull Rush,” the gorgeous shimmer of “Bitterness Rising,” and the revitalizing rush of “Into Tomorrow.”

After seven years, Japandroids have returned with Fate and Alcohol, their fourth and final full-length. Written in part while the Vancouver duo–guitarist-vocalist Brian King and drummer-vocalist David Prowse–were touring behind their 2017 ANTI- debut, Near to the Wild Heart of Life, the album is at once a return to form and a thrilling step forward, testament to the sort of chemistry that they've honed over the course of 18 years and hundreds of shows side-by-side.

The Decade box chronicles the ten-year period after I moved to New York City in the mid-nineties. It's the decade where I caught air, to use a sports metaphor. I wrote more songs, made more albums and toured more than any period before or since. Maybe it was the excitement and energy of living in a new city–I'd always been in love with Manhattan and it was a "pinch me" period where I couldn't believe I was finally living here. I went out constantly, fully embraced the city and nightlife and sights and sounds and that excitement came out in the music. It was that thing that writers always dream about, that state where you can barely keep up with all the ideas you're having. I didn't have time for writer's block. I was just a stenographer to the muse that wouldn't leave me alone or let me slow down.

Collection includes eight studio albums, one compilation, one live album and one tribute album by indie pop band Belle & Sebastian.

Sophisticated yet folk-tinged indie pop from Portland, with a literary edge provided by vocalist Colin Meloy. A collection of 11 CD, which includes seven studio albums by The Decemberists, also 3 EPs and one single.

Prelude To Ecstasy: Acoustics And Covers features the critically acclaimed studio album, plus curated acoustic versions and covers. CD is housed in a beautiful gatefold sleeve with new artwork.

Suede’s era-defining second album from 1994 celebrates its 30th anniversary this year. It was the last album to feature the band’s guitarist and co-songwriter Bernard Butler. It includes the classic hit singles ‘We Are The Pigs’, ‘The Wild Ones’, and ‘New Generation’. Art and design for this new format has been undertaken for Suede by official designer and photographer Paul Khera. On the reissue, bassist and founding member Mat Osman said this in a press release: “Your first album is songs you’ve been playing live for a long time. Generally, it’s almost set. The songs evolved in a certain way and you’re just trying to get them down. Dog Man Star was the first time where we just said, ‘Right, what happens if you push everything further? The slow songs, we take all the drums out. If we have a big closing song, we’ll have a fucking orchestra. To start the record, let’s have something that’s on one chord, and it’s just like a mantra. The kind of band we are, how far can we take it before it breaks?’”