A morning mix of news for the vinyl inclined

In rotation: 9/18/26

Gainesville, GA | Moe’s Record Shop Creates a Home for Local Musicians: Every weekend, live music can be heard from the back of Moe’s Record Shop in downtown Gainesville, adding to the sounds of North Georgia’s local music scene. From album release parties to live shows, the local record shop offers more than vintage vinyl. Leonard “Moe” Lyons opened his shop in Gainesville in 2019. After moving to his current location in the downtown Gainesville square, live music became an important part of the store. “We moved to this spot in April of 2023, and we had a show that weekend and we’ve been having shows ever since then,” Lyons said.

Cleveland, OH | Get into the groove as Wax and Tracks Fest brings Midwest record stores to Cleveland: Vinyl Groove Records in Old Brooklyn hosts the only Cleveland music festival celebrating small, local record stores Saturday, Sept. 19. Independent record store owners and staff from all over the Midwest are coming to Cleveland and bringing their own crates of rare vinyls, new music and more to share with local music fans. Wax and Tracks Fest, now in its second year, is Saturday, Sept. 19, at Vinyl Groove Records, 5100 Pearl Road in Old Brooklyn. “…It is a love letter to Cleveland,” Cecilia Wolfe said. “[We’re] giving back to our community and also keeping the music alive, because Cleveland is the home of rock and roll, and people forget that we are a music city.”

Houston, TX | Midtown record shop Sig’s Lagoon’s new YouTube show is turning into a campy must-watch: On certain Sunday nights, Midtown record shop Sig’s Lagoon turns its heavily stocked music haven into a talk-show set for “Late Night at the Lagoon.” Debuting in April on YouTube, this mini-talk show is a silly 15-20 minutes that features interviews and performances filmed on the store’s first floor. Nick Walton, an employee and “keyholder” since last November, created “Lagoon” with producer/musician Evan Escalante, the son of owner/executive producer Tomas Escalante. “When I started, they were mentioning that they’d been wanting to do video content for a while,” says Walton, who handles directing and editing duties. “I have a background in radio, television, film, and music. So I was like, well, I can cook something like that up.”

Bristol, VA | Businesses and vibes thrive during Bristol Rhythm & Roots Reunion: Downtown Bristol, in both Virginia and Tennessee, has grown along with the 25-year-old festival. …A few doors down from Blakley-Mitchell, Cheap Thrill Records doesn’t have quite the lengthy State Street history, but owner Wyatt Lilly likes the decision he made to set up shop here. Lilly had two West Virginia stores, one in Princeton that he opened in 1995 and one in Beckley that he launched four years later. After some friends encouraged him to check out Bristol, he noticed that the music-centric downtown, with its iconic sign that says “Bristol Va Tenn A Good Place to Live,” was lacking a business like his. “If you’ve ever been down here when it’s not Rhythm & Roots, it’s just a totally charming downtown.”

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TVD Radar: Crowded House, Crowded House 40th anniversary 2LP reissue in stores 9/25

VIA PRESS RELEASE | Forty years after Crowded House introduced themselves to the world with one of the most enduring debuts of the 1980s, Capitol Record Club celebrates the milestone with an expanded 40th anniversary edition of Crowded House, featuring the original album alongside another LP’s worth of rarities, including a selection appearing on vinyl for the very first time. The album is out September 25 and is now available for pre-order.

Strictly limited to 2,000 individually numbered copies, the Capitol Record Club exclusive is pressed on ember red and raincloud gray vinyl and includes a collectible 22” x 33” poster. Mastered for vinyl by Levi Seitz at Black Belt Mastering from 24-bit/192kHz (Sides A, C) and 16/44.1 (Side D) digital sources.

Released in 1986, Crowded House carried forward the melodic invention and personality of the New Wave era while transforming those influences into a warmer, more refined pop-rock sensibility that would help define the decade ahead. Neil Finn, Paul Hester, and Nick Seymour delivered the songs with infectious charm and unmistakable chemistry, but it was Finn’s songwriting, rich with indelible hooks, emotional nuance, and lyrical sophistication, that immediately distinguished the band from its contemporaries.

At the heart of the album is “Don’t Dream It’s Over, the reflective ballad of hope and resilience that became Crowded House’s signature song and a worldwide hit. Alongside favorites, including “Something So Strong” and “World Where You Live,” among others, the song helped propel Crowded House far beyond the musical moment from which it emerged. Four decades later, the album has transcended its era to become a timeless pop-rock classic and the foundation of Crowded House’s enduring international career.

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TVD Radar: The Zombies, Continue Here (Mono Remastered) in stores 10/30

VIA PRESS RELEASE | The Zombies, Rock & Roll Hall of Fame inductees and “British Invasion” pioneers, announce the release of Continue Here (Mono Remastered) on October 30th via Beechwood Park Records. The album is a never-before released collection of all non-album singles/b-sides released between their albums Begin Here and Odessey and Oracle (1964–1967) and follows the recent releases of Begin Here (Mono Remastered) and Odessey And Oracle (Mono Remastered). 

The volume of singles released by The Zombies was not unusual in the mid-1960’s. Recalls lead singer Colin Blunstone: “It was very much a singles-orientated market in those days. Albums were almost an afterthought. After the sudden success of “She’s Not There,” the band was under constant pressure from Decca Records to record and release a new single every six weeks! Rod (Argent) and Chris (White) would have to sit in the back of the tour bus to write songs every chance they got, and then we’d rush into the studio whenever there was a break. I tried my own hand at songwriting for the band during this time, and we recorded my two first songs, which are included in this new release!”

Few of these singles made an impact on the charts when originally released, however, the songs were soon embraced by other artists. A cover of “I Love You” by San Jose band People! made the Billboard Top 20 in 1968, while a 16-year-old Tom Petty began a life-long obsession with The Zombies after hearing “I Want You Back Again” on the radio (the song later became a regular feature of his live set with The Heartbreakers), and Sonny & Cher improbably cut their own version of “Leave Me Be” for 1966’s The Wondrous World of Sonny & Cher.

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Graded on a Curve: Ramones, Ramones

Remembering Dee Dee Ramone in advance of his birthdate tomorrow.Ed.

It’s easy to take this, the Ramones’ landmark 1976 self-titled debut, too seriously. Sure, it signaled a seismic shift in rock music, exploding like an M80 in the minds of every cretinous young thing who’d had it up to here with the pompous, bloated likes of ELP, Queen, and the Eagles. And sure, this baby is often celebrated as the first real punk rock LP.

But so far as declarations of war go, Ramones is a hilarious one. On it, the most famous band to ever come out of Forest Hills, Queens state their demands (they wanna be your boyfriend and they wanna sniff some glue; they don’t wanna go down to the basement and they don’t wanna walk around with you), dabble with fascism (“I’m a Nazi schatze”), and beat on the brat with a baseball bat.

The Ramones weren’t the first NYC band to give voice to the inchoate yearnings of teengenerates everywhere; the Dictators got there first with 1975’s Go Girl Crazy!, and they deserve their due. But unlike Handsome Dick Manitoba and Company, the Ramones got their yucks playing their songs at tempos that boggled the imagination; I saw the Ramones early on, without having ever heard a single note of their music, and the experience bordered on the traumatic.

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Inside the Record: Ultimate Ears Pro and a UE 350 Giveaway

There is a version of every record you own that you have never heard. Not a remaster, not a better pressing—the one the people who made it were hearing while they made it. Ultimate Ears Pro has spent three decades building the hardware that grants that access, starting in 1995 with a pair of custom monitors for Alex Van Halen and ending up in the ears of a startling percentage of the artists on your shelf.

I have spent my listening life on the other side of that glass: speakers, a room, a needle, the compromises of moving air across fifteen feet. So, I sat in an audiologist’s chair and had impressions taken of my ear canals, then sat with UE Pro and blind-tested all eight monitors in its lineup until my own ears picked a winner, and about ten days later, took delivery of a pair of UE Premiers that fit nobody else on earth. Then I plugged them into a turntable. What came back wasn’t a smaller version of my system. It was a much bigger one. And because UE Pro would rather you hear this for yourself than take my word for it, they’re giving a pair away to one of you.

It starts with your ears, and that is where I had badly underestimated things. The mold is not packaging. It is the first component in the chain, and everything the monitor does downstream is built on top of it. A custom shell seals the canal completely, and that seal is what gives twenty-one drivers something to push against—without it, there is no real low end and no isolation worth the name. A universal tip approximates your ear. An impression doesn’t have to approximate anything.

I went to Ann Mundell-Noel at Amazing Hearing in Laguna Hills, and the appointment felt closer to a medical exam than a fitting, which is essentially what it is. She inspected both canals first, reading the depth and shape she’d be casting, clearing anything that would compromise the mold, and narrating every step a beat before she took it.

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Graded on a Curve:
Hank Williams,
Pictures from Life’s Other Side

Remembering Hank Williams, born on this day in 1923.Ed.

Hank Williams is an icon of early country music, but he recorded before the LP era really took hold, so posthumously assembled compilations dominate his legacy. These sets come in various sizes and levels of quality. The latest, Pictures from Life’s Other Side: The Man and his Music in Rare Photos and Recordings, offers 144 transcriptions from Williams’ Mother’s Best radio program on six CDs, all tucked into a magnificent hardcover book loaded with photos, many of them in color, that serve to broaden the life of the artist beyond the still too common reduction of strife and an early death. But if it’s vinyl you require, the 3LP distillation Only Mother’s Best is also available from BMG.

When it comes to concise surveys of Hank Williams’ exceptional musical abilities (by which I mean single or double sets), the gold standard remains Polydor’s 40 Greatest Hits. Released in 1978, it was distinguished at the time for its lack of production meddling. Those four vinyl sides weren’t rechanneled into stereo, and there was no additional posthumous meddling such as overdubs or duet fakery.

40 Greatest Hits was just pure Hank, and for those who favored his work, disappointment in the listening experience was impossible. That’s not the same as being fully satisfied, however, which is where box sets come into the picture. Mercury’s 1998 10CD The Complete Hank Williams is an award winner, but amongst the numerous two- and three-disc collections, there’s an even bigger assemblage, Time Life’s The Complete Mother’s Best Recordings…Plus!, which emerged in 2010 as a 15CD behemoth.

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A morning mix of news for the vinyl inclined

In rotation: 9/17/26

Rising Oil Prices Threaten Vinyl Record Costs, Industry Experts Warn: In September 2026, the price of a barrel of crude oil has climbed to roughly $110, a level that could push the cost of vinyl records higher. The link between oil prices and vinyl production dates back to the 1973 oil crisis, when a sudden quadrupling of oil prices forced record manufacturers to cut costs, resulting in thinner, lower‑quality discs. …The embargo lifted in March 1974, but the price of oil had risen from about $3 to nearly $12 per barrel, a 300 % increase. The spike triggered inflation, a shift to fuel‑efficient vehicles, and a significant impact on the recorded‑music industry. Vinyl records, made from polyvinyl chloride (PVC), a petrochemical by‑product of crude oil, became more expensive to produce.

Oxford, UK | Oxford record shop to close as redevelopment plans approved: A record shop in Oxford will have to close as a planning application lodged with Oxford City Council have been approved. Riverman Records has been successfully run by long-time record shop owner Andy Tucker in Walton Street, Oxford, since 2019. But a planning application submitted and approved by the landlords of the premises to Oxford City Council revealed a proposal to turn the shop into a one-bedroom flat. At the time the plans were lodged Mr Tucker said the plans “didn’t come as shock” as the building owner advised him that he was exploring the change due to new environmental standards for commercial properties coming into force. The shop owner said: “I knew that change was on the horizon.”

Brandon, CA | New record store opens in the Shoppers Mall: Music lovers and collectors now have a new destination to explore as Sunshine Records opened its doors at Shoppers Mall in Brandon. The new store offers a wide selection of vinyl records, CDs, movies, collectibles, and pop culture merchandise, bringing a unique retail experience to shoppers in the city. For vinyl enthusiasts, the arrival of Sunshine Records will provide a welcome opportunity to browse both new and classic albums without leaving the city. The growing popularity of vinyl records has helped fuel renewed interest in music-focused retail stores across Canada, with collectors seeking everything from new releases to timeless classics.

Ville Platte, LA | Would Floyd Soileau have made Louisiana music history if he hadn’t messed up his gig as a DJ? “Ask him,” Todd Ortego prompted. Ask him what? “Ask Floyd about the time he played the wrong record,” he said. Ortego is already laughing on this August afternoon visit with Floyd Soileau as Soileau prepares to tell the story of how he started out as a disc jockey at KVPI-AM in his hometown of Ville Platte before opening a record shop in 1956. …It’s where he produced recordings of Louisiana artists, some of whom made it into Billboard magazine’s top 20. But it was a wrong record on the turntable at KVPI that set him on the recording path. Those were the days before vinyl gave way to CDs, which were finally overtaken by digital formats—the days when cover art was as important to the album as the music itself.

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TVD Washington, DC

TVD Live Shots: Danny Elfman at the Fillmore Silver Spring, 9/14

Danny Elfman has spent decades making gorgeous monsters. At the Fillmore Silver Spring on Monday night, the iconic musician and composer proved (again!) there are few artists alive who can navigate punk, new wave, industrial rock, and cinematic grandeur simultaneously the way he does. In Elfman’s care, it’s all part of the same twisted, weird universe. What an honor to be able to cover this for The Vinyl District.

The Fillmore was packed, and I’ll admit I was a bit surprised by that, especially on a Monday night. I feel dumb writing that now, because while Elfman plays the occasional festival (I had the pleasure of photographing him in 2024 at Sick New World in Las Vegas), this short, eleven-city tour is his first with a band since 1995. It’s no wonder the Fillmore was packed. So, this was hardly a Gen X nostalgia party, although there were plenty of people around who remembered Oingo Boingo the first time. Elfman devotees of all ages populated the Fillmore for what was an amazing and strange treat.

Elfman’s tour avoids turning him into a museum piece. Indeed, Elfman is working on a new album set for release this fall; his live shows incorporate both old and new material. The set moves through Oingo Boingo favorites, solo material, and newer songs, with “Sorry,” “Insects,” “Nothing to Fear (But Fear Itself),” “Native Intelligence,” “Just Another Day,” “True,” “Sayonara,” “Happy,” and the wonderfully jagged “Upside Down,” establishing the evening’s manic momentum. A personal favorite was “The River of Life,” a banger I hope to hear again soon.

Then came the fun detour into Elfman’s cinematic imagination. Donning a Jack Skellington-inspired jacket (momentarily covering up what is now his signature bare and tattooed torso), “This Is Halloween” unfolded with the menace one would hope for. It made me smile to see how it delighted the entire audience. Elfman’s performance—punctuated by a Cheshire Cat grin—doesn’t feel like a composer presenting greatest hits from a podium, backed by an orchestra. This is a rock ’n’ roll band with a movie studio growing inside it.

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TVD Radar: Stevie Nicks biography Lessons & Lace by Rachel Brodsky in stores now

VIA PRESS RELEASE | Acclaimed music and culture journalist Rachel Brodsky released her debut book titled Lessons & Lace, a Stevie Nicks biography on September 15 via Harmony/Penguin Random House.

Revered for meticulous reporting and unparalleled creativity throughout Rachel’s career, Lessons & Lace is a completely unique take on a biography. Structured according to different themes—rather than chronologically—each chapter centers on a different life lesson that Stevie has absorbed and later dispensed wisdom on.

Rachel will celebrate the release with an in-store book release event at P&T Knitwear in NYC on September 17, moderated by Rolling Stone Senior Journalist, Angie Martoccio. Stay tuned for additional book tour appearances.

Stevie Nicks is rock’s own Patron Saint of Lessons Learned. But in order to reach this point she had to endure a world that underestimated, misunderstood, dismissed, and mocked her. She battled sexist narratives, helped popularize a struggling mid-level rock band, became a successful solo act, and beat addiction, all while staying connected to her creativity, authenticity, and mysticism. Drawing on archival first-person interviews and insights from people in Stevie Nicks’ world, Lessons & Lace chronicles her remarkable story, featuring notable quotes that inspire hard-learned, life-changing lessons.

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Graded on a Curve:
The Waterboys,
Atlantic Rain: The
Lost Fisherman’s Blues Recordings

The late 1980s were not very kind to many music lovers. With the iconic music of the 1960s and 1970s long in the rearview mirror and the fast-food, video-age pop of the ’80s waning, those who would not embrace grunge and rap in the 1990s were at a loss for excitement about new sounds, or even the future of pop.

One album that came out in this period that harked back to the magic of the ’60s and ’70s, but was as cutting-edge and youthfully joyful as anything in music at the time, was Fisherman’s Blues, released in 1988 by The Waterboys. Though the album was not a mainstream pop hit, its highest album sales ranking was more than respectable, and it appeared on many year-end best-of lists.

Despite being an album from the UK in the tradition of Van Morrison, U2, and contemporaries such as Hothouse Flowers and The Pogues, it foreshadowed the Americana roots sound just emerging in many instances. The album was the group’s fourth and a dazzling mix of current and traditional roots styles that stood out amid the clunky drum machines and synthesizers of the time, much like Music From Big Pink by The Band stood out in the waning days of psychedelia in 1968.

It was also the group’s first album after the two they released that included Karl Wallinger, who went on to form World Party. Interestingly, the album included a song called “World Party,” co-written by Wallinger. The Waterboys have continued, with only the group’s leader, Mike Scott, as a constant. He has also recorded two solo albums.

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TVD Radar: The
Podcast with Dylan Hundley, Episode 214: Gerald Casale

I recently spoke with Gerald Casale, co-founder of Devo and one of the architects of a band that turned the theory of de-evolution into one of the most conceptually rigorous acts ever encountered, while also being wildly fun. Along with Mark Mothersbaugh and Bob Lewis, Casale built Devo out of Kent, Ohio, in the early 1970s.

Casale was a graduate student at Kent State on May 4, 1970, and witnessed the National Guard shootings that killed four students, two of whom he knew. That day shaped the worldview that de-evolution came from, and it runs through everything Devo has made since. We got into all of it: the origins of Devo, the band itself, politics, Kent State, his winemaking, and his new solo work.

In July, he released the single and animated video “Just Do It!,” the first track from his forthcoming solo album Wetiko. Built with satirical artist Max Papeschi and animator Maurizio Temporin, and co-written with composer Moimir Papalescu, the video is a blistering piece of political satire timed to America’s 250th anniversary.

We also talked about Devo’s recent and upcoming touring, including the co-headlining Cosmic De-Evolution run with The B-52s, and what it means to be finding a new generation of fans this far into the story. Jerry amusingly calls Devo the New Wave Grateful Dead. Artist, provocateur, songwriter, director, and winemaker. What an incredible life. He joined Radar to talk about all of it.

You can find all things Jerry at geraldvcasale.com and follow along with all upcoming Devo happenings at clubdevo.com and you can find Jerry and Devo across all socials, of course.

Radar features discussions with artists and industry leaders who are creators and devotees of music and is produced by Dylan Hundley and The Vinyl District. Dylan Hundley is an artist and performer, and the co-creator and lead singer of Lulu Lewis and all things at Darling Black. She co-curates and hosts Salon Lulu which is a New York based multidisciplinary performance series. She is also a cast member of the iconic New York film Metropolitan.

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Graded on a Curve:
Small Faces,
From the Beginning

Celebrating Kenney Jones on his 78th birthday.Ed.

Small Faces stand as one of the very finest groups of the 1960s. However, many know them mainly for Ogden’s Nut Gone Flake, their most ambitious and final album before Steve Marriott’s departure effectively ended their diminutive phase. The scoop is that all of the Small Faces’ ‘60s records are worthy of ownership, even the mercantile odds-and-ends collection From the Beginning. That disc and its self-titled predecessor are currently available as 180 g LPs. Are they cut to lacquer from the original quarter-inch production masters with front-laminated sleeves? Why yes indeed.

One gauge of the true greats is that the music improves, or at least maintains a high standard of quality, as the discs take their place in the racks. So it is with the Small Faces. With that said, the Decca period offers distinct and enduring appeal; more so than The Who, the Small Faces circa ’65-’66 are the true ambassadors of Mod. Utterly Brit in orientation, it wasn’t until the fourth LP that the group entered the US market.

The Small Faces consisted of Steve Marriott on vocals, guitar, and harmonica; Ronnie Lane on bass; Kenney Jones on drums and percussion; and, initially, Jimmy Winston on keyboards. Upon signing to Decca through the efforts of manager Don Arden, they released two singles in ’65. The first “What’cha Gonna Do about It” charted, hitting #14, while the second “I’ve Got Mine” didn’t. Shortly thereafter, Winston was replaced by Ian McLagan, the new keyboardist, assisting 3rd 45 “Sha-La-La-La-Lee” in reaching the #3 spot. A full-length followed a few months later.

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A morning mix of news for the vinyl inclined

In rotation: 9/16/26

Colorado Springs, CO | Downtown Colorado Springs sees new businesses open as others leave and close: Easy’s Record Store opens on Tejon Street. Several new business storefronts have been announced by the Downtown Partnership in Colorado Springs, alongside the closure or relocation of other businesses in the area. Several popular businesses in Colorado Springs closed, including Jax Fish House and Oskar Blues, signaling a transition for downtown. At the same time, a variety of shops opened in the area, including Easy’s Record Store, which held its launch event Thursday. …“Ryan and I both grew up in record stores and vintage shops, and in the ’90s you kind of hung out there too, and so I think that’s really where our mindset is for this space, is like a place that you can come poke around…”

Miami, FL | Beatles for sale! Miami record shop selling rare record for $5K: The cover, depicting the band covered in raw meat and decapitated baby dolls, shocked audiences upon release in 1966. For Beatles fans, it’s the stuff of legend: a rare 1966 album cover depicting John Lennon, Paul McCartney, George Harrison, and Ringo Starr, still mop-topped but well into their psychedelic era, covered in bloody, raw meat and decapitated baby dolls. No, you’re not tripping on acid-laced tea. This really happened. Known as the “butcher cover,” this edition of the band’s “Yesterday and Today” album elicited shock—and confusion—from fans upon release. Only 750,000 copies were printed before Capitol Records recalled the album, replaced the cover, and plastered over existing copies with a more innocuous image of the band standing around a travel trunk, McCartney sitting inside.

Stillwater, OK | Nine bands, one stage, seven Months: ‘The Showcase’ debuts: Velvet Fudge opened its doors in February 2026. Since then, it has seen vinyls come and go from bins and shelves as customers search for what to add to their collection next. But what’s really special about Velvet Fudge, and what makes it more than just a hole-in-the-wall record shop on Lewis Street, is the venue space. Connected to the record shop is an unassuming concrete room. Bobby Wintle, who owned the space when it was ‘The Bait Shop,’ referred to it as a “DIY punk venue.” The Showcase occurred on March 27. It featured nine bands, all of which were performing on the same evening and stage. It was a come-and-go show, lasting from approximately 4 p.m. to 11 p.m., and is Velvet Fudge’s largest event to date.

Utsunomiya City, JP | Snokey Record in Japan’s Utsunomiya City Offers Vinyl That Is Meant to Be Part of People’s Lives Through Music: Located on the second floor of a small building right next to Orion-dori street, the bustling downtown area in the city of Utsunomiya, Snokey Record is meant to be a part of people’s lives through music. Rock, jazz, Latin music—the shop’s shelves are packed with a variety of different records, mostly Western music, including many obscure titles. The owner, Masaaki Takezawa, 55, sources the inventory himself, and the collection numbers roughly 10,000 albums. As Takezawa drops the needle onto a record from behind the counter, the enthusiastic vocals of American soul singer Phil Flowers filled the room. It was a cover of Bob Dylan’s “Like a Rolling Stone.” The sound was pleasing to the ear, and you would find yourself naturally drawn in.

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The TVD Storefront

TVD Radar: Teenage Sex and Death at Camp Miasma OST performed by Alex G in stores 10/26

VIA PRESS RELEASE | Waxwork Records releases the Teenage Sex and Death at Camp Miasma Original Score performed by Alex G. The film marks third collaboration with director Jane Schoenbrun, with Alex G having previously scored 2022’s We’re All Going to the World’s Fair and 2024’s I Saw the TV Glow.

This is separate release from the Original Motion Picture Soundtrack previously released in August, which featured Alex G’s collaboration with Paul Buchanan (The Blue Nile) and the licensed needle drops from the film. The film’s music has already seen coverage from the likes of Pitchfork, Stereogum, The Fader, Paste, Spin, Dread Central, Phantasmag, amongst others.

Alex G’s full score is the backbone for director Schoenbrun’s latest and much-talked about film, with his music deftly navigating between the delicate and the prismatic. It is available via blizzard-colored (white with blue haze) vinyl from Waxwork Records.

Visionary director Jane Schoenbrun (I Saw the TV Glow) presents a new kind of horror remake in Teenage Sex and Death at Camp Miasma. Bursting with imagination and surreal wit, their latest genre-bending wonder affirms there’s no such thing as a guilty pleasure.

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TVD Radar: Spice Girls, The Singles Collection
14-disc, 7″ color vinyl box sets in stores 11/6

VIA PRESS RELEASE | To celebrate the 30th anniversary of debut album Spice, The Spice Girls’ are releasing The Singles Collection—the first-ever complete collection of all the group’s singles, including B-sides and previously unreleased recordings.

With five brand new messages from each of the Spice Girls, The Singles Collection is a must have for music fans and is available as two limited-edition 14-disc box sets, the collection will be released on 7” color vinyl and CD on November 6, 2026. Pre-order here.

2026 marks 30 years since the release of the band’s debut album, Spice, which became one of the best-selling albums of all time. The Spice Girls exploded into the charts in 1996, reaching #1 in 37 countries and launching a cultural “Girl Power” movement that inspired millions.

From “Wannabe” to “Holler,” “Spice Up Your Life” to “Goodbye,” The Singles Collection brings together the singles, original artwork, B-sides, and previously unreleased recordings from the Spice Girls’ archive in a handbag-inspired box, finished in white holographic gloss and matte black foil.

Both editions feature previously unreleased recordings from the Spice Girls archive, including “Do You Think About Me,” one of the group’s earliest demos, now available for the first time. The CD edition goes even deeper, with an exclusive disc featuring four previously unreleased demos.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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