Universal Music are to release a five-CD super deluxe edition of the soundtrack to Cameron Crowe’s film Almost Famous (released in 2000). The semi autobiographical comedy drama follows the exploits of a young Rolling Stone journalist as he tours with the (fictional) band Stillwater. It was well-received at the time and won plenty of awards including a Best Original Screenplay Ocscar for Crowe.

Following the success of the four 7' singles box sets, we present the singles - A-sides, B-sides and EP tracks from the legendary Who on CD. 86 tracks from the Brunswick, Reaction, Track and Polydor labels including classic hits, and rarely heard B-sides. The Box also features the band s first single, as the High Numbers Zoot Suit b/w 'I'm The Face. Five CDs, in separate wallets, housed in a rigid, lift-off box with a 48 page booklet featuring track by track annotation and period photos.

An explosive debut, and the hardest mod pop recorded by anyone. At the time of its release, it also had the most ferociously powerful guitars and drums yet captured on a rock record…

A throwback to the era of 7" vinyl singles, the Who merge modern technology with a retro aesthetic with their First Singles Box. Featuring 12 CD singles in picture sleeves, the set contains classic tracks like "My Generation," "I Can See for Miles," and "Won't Get Fooled Again," along with their accompanying B-sides…

For about a year after the Woodstock Music and Art Fair in 1969, it seemed as though everyone wanted to stage a rock festival. However, The Rolling Stones' disastrous Altamont free concert (documented in the film Gimme Shelter) forever tarnished the image of the rock festival in the U.S., while in Europe, the 1970 Isle of Wight Festival was fortunately less deadly than Altamont, but nearly as controversial. Staged by two men with greater ambitions than practical experience (not unlike Woodstock), the festival was held on a small island off the British coast, where some of the finest rock talent of the day – Jimi Hendrix, The Doors, The Who, Miles Davis, Joni Mitchell, Donovan, Jethro Tull, Joan Baez, Leonard Cohen, and Kris Kristofferson, among many others – were scheduled to play over the course of five days.

Tommy is the fourth studio album by the English rock band The Who, a double album first released in May 1969. The album was mostly composed by guitarist Pete Townshend as a rock opera that tells the story about a deaf, dumb and blind boy, including his experiences with life and his relationship with his family. Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, and attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Who's breakthrough.

The Who's second album is a less impressive outing than their debut, primarily because, at the urging of their managers, all four members penned original material (though Pete Townshend wrote more than anyone else). The pure adrenaline of My Generation also subsided somewhat as the band began to grapple with more complex melodic and lyrical themes, especially on the erratic mini-opera "A Quick One While He's Away." Still, there's some great madness on Keith Moon's instrumental "Cobwebs and Strange," and Townshend delivered some solid mod pop with "Run Run Run" and "So Sad About Us."

The Who‘s 1967 album The Who Sell Out will be reissued as a seven-disc super deluxe edition box set in April. The album was originally planned by Pete Townshend and the band’s managers (Kit Lambert and Chris Stamp) as a loose concept album with jingles and commercials linking the songs. This approach was partly because the record label were demanding a new record and Townshend felt as if he didn’t have enough songs!

It's not billed that way but given the Who's productivity since their initial split in 1982, it's difficult not to view 2019's Who as the band's final album. It's only their second album in 37 years, and if it takes them another 13 years to complete a third – that's the length of time separating Who from 2006's Endless Wire – both Pete Townshend and Roger Daltrey will be well into their eighties, a seemingly unlikely age for new work by rockers. Then again, the Who have long outlived Townshend's youthful desire to die before he gets old, a fact he began to contend with during the mid-'70s, when he chronicled his middle-aged disappointment on Who by Numbers.