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50 years following the release of his self-titled first solo album McCartney, featuring Paul playing every instrument and writing and recording every song, Paul McCartney will release McCartney III on December 11th. Paul hadn’t planned to release an album in 2020, but in the isolation of 'Rockdown,' he soon found himself fleshing out some existing musical sketches and creating even more new ones. Before long an eclectic collection of spontaneous songs would become McCartney III: a stripped-back, self-produced and, quite literally, solo work marking the opening of a new decade, in the tradition of 1970’s McCartney and 1980’s McCartney II. Recorded earlier this year in Sussex (UK), McCartney III is mostly built from live takes of Paul on vocals and guitar or piano, overdubbing his bass playing, drumming, etc. atop that foundation. McCartney III spans a vast and intimate range of modes and moods, from soul-searching to wistful, from playful to raucous and all points between — captured with some of the same gear from Paul’s Rude Studio used as far back as 1971 Wings sessions. And Paul's array of vintage instruments he played on the new album have an even more storied history, including Bill Black of Elvis Presley's original trio's double bass alongside Paul's own iconic Hofner violin bass, and a mellotron from Abbey Road Studios used on Beatles recordings, to name but a few. Just as McCartney’s 1970 release marked Paul’s return to basics in the wake of the biggest band break-up in musical history, and the 1980 avant-garde masterpiece McCartney II rose from the ashes of Wings, McCartney III finds Paul back on his own, turning unexpected circumstances into a personal snapshot of a timeless artist at a unique point in history.

Born Samantha Owens in Liverpool, Jones began her recording career in The Vernon Girls, a female singing group affiliated with the Vernon Football Pools company; they created a popular Beatles tribute album in 1964 with producer Charles Blackwell, who launched Jones’ solo career that same year. Blackwell producer a debut solo LP for Ascot in 1968; two years later, Larry Page released sophomore set A Girl Named Sam, with Austrian wunderkind Mark Wirtz casting her in the broad realm of pop, though most of the songs describe romantic failures. The album thus has a tongue-in-cheek cover of Burt Bacharach’s “I’ll Never Fall In Love Again” and credible renditions of Aretha’s “You Make Me Feel Like A Natural Woman” and Jackie DeShannon’s “Put A Little Love In Your Heart.” Limited green vinyl 180gr press with one bonus track for RSD 2020.

Intervention Records is thrilled to bring Joe Jackson's "Summer In the City" Live in New York to vinyl for the very first time! Previously available only on CD, "Summer In The City" joins IR's wildly successful vinyl reissues of Jackson's early New Wave classics "Look Sharp!", "I'm The Man" and "Night And Day". Naturally, "Summer In The City" will street on vinyl in the summer of 2017, in August.
"Summer In The City's" repertoire is an amazing bridge that spans the greatest hits of Jackson's early canon with stunning new arrangements and covers from other great songwriters. Jackson classics like "Fools in Love", "You Can't Get What You Want" and "It's Different For Girls" meet with covers as diverse as Duke Ellington's "Mood Indigo", The Beatles' "Eleanor Rigby" and Steely Dan's "King Of the World".
"Summer In The City" was mastered to vinyl by Kevin Gray at Cohearent Audio from brand-new high-res master files. "Summer In The City" was recorded live in New York City in August of 1999 by Steve Remote and Co-Producer Sheldon Steiger. Sony's archivists and Battery Studios' Mike Piacentini compiled new high-res digital master files from the original DATs with the final mixes, and IR consulted with Remote and Steiger on key aspects of the recording to ensure the best possible source files were used. The result is an absolute sonic stunner, brought to new life on this double LP set!
"Summer In The City's" original album art has been rebuilt into a beautiful gatefold jacket by IR's art director Tom Vadakan.

After 53 years of oblivion, Walkin Up con Los Walkers, the fundamental work of Argentinian garage-psych is being reissued again in Argentina from the original mono master tape. An iconic LP from “the other” youngster music—the one that was known as “beat music"—it was originally released in 1969 and has never been reissued in its original format until now. The band had previously released two LPs and several 45s which contained an exquisite selection of covers, from The Rolling Stones material to songs by Astor Piazzola, but with Walkin’ Up they entered history as excellent songwriters and conceptual artists. With a great use of studio production, unseen before in Argentina, they laid down a wide range of psychedelic sounds and structures that decades later are be considered as the Buenos Aires version of Los Shakers’ La Conferencia Secreta del Toto’s Bar—both albums under a huge influence from The Beatles’ Sgt. Pepper’s. Limited edition of 300 copies on 180-gram vinyl with the careful restoration and printing of the original artwork. Includes a printed postcard and a lavish 4-page booklet with photos and liner notes by journalist Víctor Tapia.

Ranging over themes of courage, fear, rebirth, growth and sanctity, ‘Bending The Iron Bough’, the second album by Bedless Bones, creates a realm of alternative myth and lore through nine unique songs where cool electronic textures court ethereal ambience. A tenacious explorer and seeker, Bedless Bones has added an electric guitar and various folk and acoustic instruments to her distinct sound palette, which is made complete by her signature dim-toned and airy vocals. Written and recorded in solitude at a remote location in Estonia, the album relies on subtle allusions and insights, reinforcing imagination and creative freedom.

Two previously unreleased collages for magnetic tape, both realized at the Studio di Fonologia Muisicale RAI in Milan. These pieces are precious testimonials to Aldo Clementi's intense and ongoing interest in electronic music in the 1960s. The electronic composition »Collage 2« from 1960 was his first experiment with electronic music. »Collage 3« dates back to 1966. It's an electronic collage on »Michelle« by The Beatles.

Hot Apple Band’s long-awaited debut album, So Long, Noodle House is a collection of 11 tracks recorded between 2019-2022, mostly at Jack Kinder’s home studio in Strathfield, Sydney. Once the pandemic hit, Jack and Lewis Mosley had ample time to give birth to the songs, allowing for this body of work so it could become all that it deserved to be. The resulting album will no doubt please long-time fans, with a number of songs being staples from the band’s live repertoire. So Long, Noodle House is symbolic sign-off on the band’s past and an exciting peek into what’s to come. The record covers broad ground, from 70s imbued alt-country and catchy Beatles-era pop, through to emotive folk and soft rock. Coming-of-age themes run deep in the album, as Jack Kinder's lyrics touch on life changes, friendship, shitty jobs and of course, love. With Kinder's smooth vocals, clever arrangements and gorgeous vintage production, and Lewis Mosley’s unforgettable lead guitar, slide and keyboard performance, Hot Apple Band’s debut has the same charm of some of the best records from the early 1970s, radiating George Harrison, Crosby, Stills, Nash & Young, Harry Nilsson and Fanny in a similar style to modern counterparts such as Drugdealer, Weyes Blood, Daniel Romano and The Lemon Twigs.

"I don't know what we was thinking, but the kids sure liked it." -Ringo Starr

The Beatles' classic single "It's Okay to Leave a Dog in a Hot Car" was the song of the summer of '66 and is now one of the greatest cases of lost media the world has ever seen. A multi-platinum monster when it was first released, a mix-up at the manufacturer caused the records to be pressed using an unstable experimental polymer that rendered them all into a volatile, toxic goo within months. Before the single could be repressed, the plates were destroyed for a tax write-off, and it is said that Paul McCartney burned the master tapes himself. We can't go back in time to bring you the Beatles' original, but we can give you the next-best thing: Joe Siris' wonderful recreation of the lost masterpiece.

Isafjørd, meaning literally fjord of ice, is a shining new ethereal Post-rock band from Iceland. Named after the town that both of their fathers came from, Ísafjörður, Aðalbjörn Addi Tryggvason (Sólstafir) and Ragnar Zolberg (Sign/x-Pain of Salvation) sculpt beautiful and desolate pop, as bright and dark as the sub-arctic seasons. Isafjørd’s new album “Hjartastjak” is an infectious rush of euphoric melancholy, quiet-loud dynamism, lush instrumentation and unforgettable atmospheric landscapes of song.

Meeting on the road, night creatures of the same renowned Reykjavik music scene, Ragnar playing live session bass for Sólstafir, Addi and Ragnar’s musical paths finally intersect in Isafjørd with a sound that reaches like a stalactite from the past into a gleaming future. Holed up in the middle of winter, in an old house with a broken piano in the freezing cold, “Hjartastjaki” is an album of songs that were written straight from the heart, sometimes in a single day.

Their chemistry as immediate as the climate they survive in, Isafjørd is a real meeting of spirits, with Ragnar’s sleek and cherubim voice a brilliant counterpoint to Addi’s dusty and aching cries, over orchestrated build-ups of soaring piano and sliding guitars. The catchy and haunting music that Addi and Ragnar create in Isafjørd is at once familiar in that lived-in, well-worn way a great song can touch your soul. Having both lived in Norway and speaking Norwegian, Addi and Ragnar speak the same language of the heart, as their Nordic melancholy makes for deep and mountainous music. Isafjørd’s songs are sincere icebergs of tundra-anthems that bring to mind Fields Of The Nephilim and Duran Duran jamming in a frozen valley, where the creative 80s New Wave meets GodSpeed You Black Emperor. With influences that range from Cardigans, Beatles, early Judas Priest and Neil Young, Addi and Ragnar have struck a vein of gold that crystallizes their own heritage of wide-screen Metal gloom into something new.

Now coming of age, matured into a shimmering diamond of Icelandic pop at its finest, Isafjørd is on another plain from Addi’s own Sólstafir, where their cinematic metal roots have been re-traced into sweeping glacial song-craft. A country known for their honest and heart–wrenching emotional take on pop music with Björk and Sigur Rós, Isafjørd gives a new definition of “landscape music”. When an album feels like a place you want to inhabit and experience, “Hjartastjaki” is a journey that you’re going to want to take.

One of the greatest reggae singers of all time, Dennis Brown made an incredible impact during a career that spanned four decades, his reign cut short by his tragically early death from a collapsed lung in 1999, aged just 42. First released in 1995 under the title Take A Stand and also known as Temperature Is Rising, the album Love Is So True was expertly produced by Anthony Dehaney, alias Bunny Gemini, at the Record Factory studios in Kingston, then home to some of the better dancehall being cut in Jamaica. Along with saxophonist/arranger Dean Fraser and the Fire House Crew and ‘Rhythm Twins’ Sly and Robbie, the featured musicians include the stalwart keyboardist Ansel Collins of “Double Barrel” and “Stalag” fame, guitarist Lascelles Beckford and bassist Danny ‘Axe Man’ Thompson of the Gifted Roots band, trumpeter David Madden of Zap Pow, and keyboardist Dennis ‘Jah D’ Fearon. The keen musicianship brought forth by these players helped coax the best out of Brown on songs such as “Never Let Your Heart Be Troubled,” which rides a tough re-cut of the “Full Up” rhythm, and “Temperature Is Rising,” on a durable re-cut of the “Far East”/“Jah Shakey” rhythm; “A Little Respect” makes use of a bouncing update of “Pressure And Slide,” the meditative “Sea Shore” is on a great dancehall cut of “Real Rock” and the anti-rude boy “Gangster” is voiced on a beautiful dancehall interpretation of “Freedom Blues.” There’s even a dancehall take of the Beatles’ “You Won’t See Me,” delivered as only Dennis Brown can, as well as a likeable re-make of Dennis’ own “Have You Ever.”

Mikey Erg's new 7” is chock full of classic pop punk along with a Beatles cover for good measure.

One of those bands forever in between. Too pop for punks, too punk for pop. Too clean for garage nostalgia, and too weird for Americana. Hard to classify, their sound is a mixture of Sixties Beatles-esque melodies, sunshine-pop atmospheres, punk attitude, country, rhythm and blues, surrounded by dreamy landscapes, folk-revival lyricism and sometimes even bordering on psychedelia. All the records they grew up with, or bought during their travels, are in the cocktail. 'Storms', their brand new full-length record, is a step forward to this brave non-concept concept. A labor of DIY, recorded by their former drummer Brown Barcella and Alessio Lonati, produced and mastered by their best friend Riccardo Zamboni and released on their own Wild Honey Records.

Celebrating the 50th Anniversary of the Rocky Mountain High album and song, John Denver's Windstar Records is reissuing the album on limited edition Transparent Blue Vinyl. Originally released September 15, 1972, Rocky Mountain High was Denver's first Top 10 album, propelled by the self-titled single. In 2007, the title track was made a state song of Colorado. The album has gone on to earn 2x Platinum status and the title track certified Gold. In the early 1970s, Denver was one of the first artists to share an environmental message through his music, and fans responded. John understood that responsibility came with having a public voice. The album's iconic namesake Rocky Mountain High was written while Denver was camping in the Rocky Mountains during the Perseid Meteor Shower, with lyrics expressing the love and wonder John Denver felt for his adopted state of Colorado, and speaking of environmental sustainability. Released while war was raging in Vietnam, the album's second single "Prisoners" tells a story of prisoners of war. The album also features Denver's take on songs by The Beatles and John Prine, and the five-part Season Suite finds reflection through the seasons.

Billy Preston’s mastery of the organ was such that he was commissioned for collaboration by The Beatles, The Stones and countless others, his classic Hammond work a defining element of ‘Get Back.’ Released in 1964 when Preston was still 19, The Most Exciting Organ Ever mixes swinging originals such as ‘Low Down,’ ‘Soul Meetin,’ ‘The Octopus’ and ‘Billy’s Bag’ with expressively soulful covers of standards such as ‘If I Had A Hammer’ and ‘Don’t Let The Sun Catch You Crying,’ ably showcasing Preston’s awesome dexterity and unmatched ability on his chosen instrument. With every track a winner, the title rings true!

The first color pressing of this title. We’re talkin’ Tex-mex Rock ‘N’ Roll! In this show from January 21, 1981, Doug Sahm (aka Sir Doug) reunites with original band members Augie Meyers and Johnny Perez, along with the legendary Alvin Crow on guitar and Speedy Sparks on bass for a no-holds-barred, rip-snortin’ Texas rock ‘n’ roll revival. Back in the day, the SIR Douglas Quintet was Texas’s answer to the British Invasion. With the arrival of the Beatles, Sir Doug & Co. saw their chance to break out the rough, Chicano-influenced rock they had been playing in the joints around San Antonio. They donned English-looking suits and hit the charts with “She’s About A Mover” in 1965. Nobody was quite sure where they came from, but they rode the English-pop wave to fame. There’s something contagious about Augie’s cheesy, pumping Vox organ chords and Sir Doug’s chang-a-chang rhythm guitar over Johnny’s Mexican drumming style, drenched in psychedelia, that stood out from everything else at the time. And it still does today. You may not be able to sit down through “She’s About A Mover” or “Mendocino,” but that’s OK. Doug is no longer with us, but you can be sure that somewhere he’s still kickin’ out the jams. - Terry Lickona (Producer Austin City Limits®)

Following on from the global success of ‘Abbey Road’, Apple Corps and USM are proud to present the next multi-format Beatles album reissue of ‘Let It Be’.

January 1969 – The Beatles planned to return to live performance, setting up in Twickenham Film Studios, London, for 21 days of rehearsals. They then decamped to their new studio in their Apple office building in Saville Row and on January 30th performed their last ever live group performance on the rooftop. All of this was filmed for a proposed documentary (eventually released in 1970). During the rehearsal process, they asked Glyn Johns, who had been hired to help with the live sound, to attempt a mix to create an album. This was never released, becoming known as one of the great ‘lost’ albums in rock history and is now included in this Super Deluxe Set. The album was delayed further and in fact became their 12th and final official album release on 8th May 1970 following additional production by American producer Phil Spector.

The Beatles iconic final studio album being released to coincide with the worldwide release of Peter Jackson’s 3 part documentary ‘The Beatles: Get Back’
New stereo mix of the original album by Giles Martin

Housed in a sturdy LP-sized full-color cardboard slip-case and includes a hardback full-color book with discs in papersleeves

Blue sticker affixed to the shrinkwrap: 'The Beatles Anniversary EDITION..."

Blu-ray audio: Dolby Atmos - 96kHz/24bit DTS HD Master Audio 5.1 - 96kHz/24bit High Res Stereo, 1080p23.98 - Aspect Ratio 16:9 - All Regions

Hidden video on blu-ray: Navigate to track # 2 ”Something” on disc menu, press navigation arrow to the right and select the appearing video link.

The definitive inside story – told in revelatory detail – of the making of the legendary album and all that surrounded it: the locations, the artworks, the film, the documentary and the people who were there.

In 1971, John Lennon & Yoko Ono conceived and recorded the critically acclaimed album Imagine at their Georgian country home, Tittenhurst Park, in Berkshire, England, in the state-of-the-art studio they built in the grounds, and at the Record Plant in New York. The lyrics of the title track were inspired by Yoko Ono’s ‘event scores’ in her 1964 book Grapefruit, and she was officially co-credited as writer in June 2017.

Imagine John Yoko tells the story of John & Yoko’s life, work and relationship during this intensely creative period, featuring 80% exclusive, hitherto-unpublished archive photos and footage sequences of all the key players in situ, together with lyric sheets, Yoko’s art installations, and exclusive new insights and personal testimonies from Yoko and over 40 of the musicians, engineers, staff, celebrities, artists and photographers who were there – including Julian Lennon, Klaus Voormann, Alan White, Jim Keltner, David Bailey, Dick Cavett and Sir Michael Parkinson. It transports readers to home and working environments showcasing Yoko’s closely guarded archive of photos and artefacts, using artfully compiled narrative film stills, and featuring digitally rendered maps, floorplans and panoramas that recreate the interiors in evocative detail. John & Yoko introduce each chapter and song; Yoko also provides invaluable additional commentary and a preface.

All the minutiae is examined: the locations, the key players, the music and lyrics, the production techniques and the artworks – including the creative process behind the double exposure polaroids used on the album cover.

With a message as universal and pertinent today as it was when the album was created, this landmark publication is a fitting tribute to John & Yoko and their place in cultural history.

'Tells their love story like never before' Rolling Stone

'A luxurious scrapbook … Beatles geeks will salivate over it' Observer

'Deeply desirable … especially for [those] who covet the rare and beautiful … to see how this avant-garde duo lived and created art is powerfully inspiring' Harper's Bazaar Australia

'A Lennon fan could hardly ask for more' Washington Post

'Fans will be particularly enchanted' USA Today

'This book is near perfect' Spill

'Here, in a new book of interviews past and present, we see how their love affair, the making of the album and their pacifism intertwined' Financial Times

About the Author: John Lennon (1940–1980) was an English singer, songwriter and peace activist who co-founded the Beatles, the most commercially successful band in the history of popular music.

Yoko Ono is a globally renowned multimedia artist, singer, songwriter and activist. She married John Lennon in 1969 and became his creative partner and muse. She continues to work to preserve his legacy, funding, among other projects, Strawberry Fields in Manhattan’s Central Park, the Imagine Peace Tower in Iceland and the ‘Imagine There’s No Hunger’ campaign.

Format:PLC (no jacket) Size:30.8 x 24.0 cm Extent:320 pp Illustrations:1362 Publication date:9 October 2018 ISBN:9780500021842

The definitive exploration of John Lennon’s first major solo album after the break-up of the Beatles.

Described by Lennon as ‘the best thing I’ve ever done’, and widely regarded by critics as his best solo album, John Lennon/Plastic Ono Band was released alongside the remarkable Yoko Ono/Plastic Ono Band on 11 December 1970. With first-hand commentary by John & Yoko, members of the Plastic Ono Band and other key figures in their lives, and packed with evocative and revealing letters, artworks and photographs, this incisive volume offers new insights into the raw emotions and open mindset of Lennon after marriage to Ono and the break-up of the Beatles.

Following their wedding in March 1969, Lennon and Ono decided that their future musical endeavours should be credited to a conceptual vehicle, the Plastic Ono Band. The band featured an ever-changing line-up of musicians, including Eric Clapton, Klaus Voormann, Ringo Starr, Alan White, George Harrison, Billy Preston and Jim Keltner, all of whom played live with Lennon and Ono, and contributed to their recordings. The fearless honesty that John & Yoko inspired in one another in their search for truth, meaning and peace had a huge impact on Lennon’s song writing, resulting in the creation of tracks that are intensely personal and unlike anything previously heard in popular music, including ‘Mother’, ‘Working Class Hero’ and ‘God’. This book takes those lyrics as a starting point and explores Lennon’s life, relationships and world view during this transformative period.

'A comprehensive, fascinating, well-produced, and finely printed publication that captures a moment of contemporary culture with breadth and depth. It brings then into now – and shows how similar and different life is today' Will Gompertz

'A handsome tome… never less than fascinating… The album was a high point in an astonishing career and the book does it justice' The Sun

'A hardback compendium of first-hand accounts about the band drawn from interviews over the years… It contains photos, lyrics, drawings and letters, and will be as interesting to Lennon completists as The Beatles Anthology was to general fans 20 years ago' Daily Telegraph

'A fine tribute to this intensely creative time in the couple’s joined-at-the-hip lives… A sumptuous and lovingly created example of the bookmakers’ art, an encyclopaedic extravaganza of reminiscences and memorabilia' The Budapest Times

About the Author: John Lennon (1940–1980) was an English singer, songwriter and peace activist who co-founded the Beatles, the most commercially successful band in the history of popular music. Yoko Ono is a globally renowned multimedia artist, singer, songwriter and activist. She married John Lennon in 1969 and became his creative partner and muse. She continues to work to preserve his legacy, funding, among other projects, Strawberry Fields in Manhattan’s Central Park, the Imagine Peace Tower in Iceland and the ‘Imagine There’s No Hunger’ campaign.

Format:PLC Size:30.8 x 24.0 cm Extent:288 pp Publication date:29 October 2020 ISBN:9780500023433

Mike Etten is a songwriter, composer, and multi-instrumentalist based in New York City. One of the founders of the Brooklyn DIY venue and collective Le Wallet, Etten recorded and played in various experimental, chamber, punk and country projects throughout the last decade, including PC Worship, Ashcan Orchestra and Dougie Poole. Amidst extensive touring and performing, Etten started writing his long-awaited solo debut, Love Wash, a twisted slice of fringe Americana, composed of carefully crafted and self-recorded song experiments that are equally catchy and off-kilter… Love Wash has echoes of a post-Beatles solo record, recorded in the Northwest in the mid-90s; transient in its influences yet tied together with the aesthetic of its approach. Sequenced like the best, most damaged early K / Kill Rock Stars records and driven by fingerpicked acoustic guitar, sweeping drones, euphoric synths, lush vocals and soaring Dead Man leads, Love Wash is a beautifully rich pop record at its core and an ambitious journey of an album that started as bedroom demos and evolved into a layered studio exploration.”—Justin Frye (PC Worship)