VIA PRESS RELEASE | Mercury Studios proudly announces Purpose: Celebrating 30 Years of the Classic Albums Seal I and Seal II, a celebratory concert film from four-time Grammy Award-winning British soul icon Seal out February 13.

Shot live at The Venetian Theatre in Las Vegas in 2024, this performance marks three decades since the release of Seal’s groundbreaking debut album, Seal, and its acclaimed follow-up, Seal II. Purpose: Celebrating 30 Years of the Classic Albums Seal I and Seal II will be available in multiple formats, including a 4K UHD+Blu-ray combo pack, along with a Blu-ray+CD combo and digital audio and video.

The 10-track performance boasts classic chart-topping anthems such as “Crazy,” “Future Love Paradise,” “Killer,” and “Kiss From a Rose,” as well as a few surprises. The concert also features Seal’s longtime producer, Grammy Award-winning producer, musician, and songwriter Trevor Horn (Yes, LeAnn Rimes, Belle and Sebastian), who joins his six-piece band as bassist and music director.

“He is this mentor that I’ve spent the last 34 years looking up to. He knows me as an artist better than anyone else,” Seal said. “Having him on tour caused me to bring a level of professionalism and discipline that I hadn’t had before.”

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VIA PRESS RELEASE | Interscope-Capitol Records today unveils the next installment in its acclaimed Definitive Sound Series (DSS), a premium audiophile limited edition of Beck’s Morning Phase, available December 12.

Widely regarded as one of Beck’s most acclaimed works, Morning Phase earned praise for its warm harmonies, expansive arrangements and cinematic scope. Produced by Beck, the album won three Grammy Awards: Album of the Year, Best Engineered Album, Non-Classical, and Best Rock Album.

Mastered by Levi Seitz at Black Belt Mastering from the original 96kHz/24-bit vinyl file created by the legendary Bob Ludwig, the AAA 180-gram high-definition vinyl LP ($99.98) was pressed at Record Technology, Inc., using the state-of-the-art One Step process, eliminating multiple stamper stages to delivering Beck’s sweeping compositions and layered production with heightened clarity and unmatched depth and clarity.

This edition marks the first DSS title presented in a heavyweight Tip On single-pocket gatefold jacket with the original photo insert, housed inside a uniquely designed slipcase. Limited to 3,000 hand-numbered copies, each DSS edition includes a certificate of authenticity detailing the mastering, plating, and pressing chain.

“The Definitive Sound Series represents the pinnacle of vinyl craftsmanship,” says Xavier Ramos, EVP D2C and eCommerce Strategy at Interscope/Capitol. “We’re proud to invest in these collectible pieces that reflect our respect for these iconic artists, their groundbreaking music, and the fans whose passion continues to keep these albums as relevant today as when they were first released.”

Celebrating Dennis Dunaway on his 79th birthday. —Ed.

Ten bonus points and a dead baby if you can tell me which album John Lydon called his favorite of all time. All time! That means he likes it more than KC and the Sunshine Band’s The Sound of Sunshine or the Eagles’ Hotel California even! Unimaginable! Well, if the dead babies reference didn’t tip you off, which it certainly should have, the former Johnny Rotten’s favorite rock album in the whole wide world, including the Sammy Johns record with “Chevy Van” on it, is Alice Cooper’s Killer.

1971’s Killer followed hard on the heels of that same year’s breakthrough LP for the band, Love It to Death. Which I prefer to Killer, but who cares? I’m not John Lydon. Anyway, Killer cemented the band’s reputation for writing songs of macabre weirdness, which they milked for all they were worth with a live show that included decapitations, gallows, giant snakes, the execution of Sacco and Vanzetti, 7,000 showgirls wearing glitter-encrusted Nazi jackboots and porcupine-spike bras, a full-scale reenactment of the crash of the Hindenburg, and an elderly Dr. Josef Mengele playing cowbell.

Okay, so I exaggerate. But the band’s gory and fantabulous live show delighted teens while deeply disturbing parents, who were convinced that Cooper’s magically morbid extravaganzas were going to instantaneously transform their kiddies into wild-eyed axe murderers. Which made the kids love it even more!

I’ve said before that the perfect LP would have combined the first three tracks of Love It to Death—in which guitarists Glen Buxton and Michael Bruce play like men possessed by the Devil—and the first two tracks and “Dead Babies” from Killer. But that’s not the way it went down, and I have to (resentfully) live with it. I suspect they had slave-like contractual obligations with their record label that obligated them to put out two albums in 1971, when they’d have been much better served by only releasing one. That was how things were often done back in the day, when record companies behaved much in the same way as antebellum southern plantation owners.

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Based in Richmond, VA, The Melody Chamber features the songwriting talents of Wallace Dietz and Dan-O Deckelman, with both playing guitars and Deckelman contributing synth to an equation that’s boldly, and some might say brazenly, ’80s post-punk/ new wave/ college rock in orientation. For their debut album, Randy Mendicino plays the bass and Blee Child handles the drums.

It’s an admirable if not mind-blowing endeavor, available now on vinyl in the USA through Happy Happy Birthday To Me. For overseas buyers, the vinyl and CD are available through the To Good To Be True label.

There’s a considerable number of bands to which The Melody Chamber have been compared, including The Psychedelic Furs, R.E.M., The Church, The Smiths, The Cure, New Order, Echo & the Bunnymen, and even Wire Train. Indeed, that’s quite a range of like-minded reference points, but the band manages to avoid an England to Athens to Australia and back to England stylistic schizophrenia, even if The Melody Chamber playfully embrace the notion by describing their album as soundtracking an imaginary John Hughes film.

The main difference is that many of the bands that landed a spot in one of Hughes’ teen-focused flicks suffered from the era’s tendency for overproduction. The Melody Chamber has a consistently sharper (and occasionally tougher) sound, even when drifting into synth-driven territory. This is still a fairly subtle point of difference, and the influence that gradually comes to dominate is The Psychedelic Furs, largely in the vocal department.

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VIA PRESS RELEASE | Lost Highway Records will mark the 25th anniversary of the iconic O Brother, Where Art Thou? soundtrack by releasing a vinyl gatefold edition on February 20, 2026. The anniversary celebration will continue over the course of the year with a series of special events and activations. Pre-order O Brother, Where Art Thou? HERE.

To celebrate this milestone anniversary and new vinyl pressing, T Bone Burnett and Lost Highway will present an evening in celebration of O Brother, Where Art Thou? on the Grand Ole Opry on February 28th. As part of the Opry’s continuing 100th anniversary celebration, this special Saturday night show will feature artists from the original soundtrack and more. Certified 8x Platinum by the RIAA in 2007, the bulk of the soundtrack’s sales to date have been in CD format.

Now, the 25th anniversary edition gives vinyl collectors three new variations to choose from: Standard Black, Sunshine Gold, which will be available exclusively at the Lost Highway Records store, and Dapper Dan Red, available exclusively at independent record stores. The vinyl was pressed at David Rawlings and Gary Salstrom’s Paramount Pressing & Plating in Denver, known for its superior vinyl.

O Brother, Where Art Thou? was produced by T Bone Burnett for the 2000 Coen Brothers’ film of the same name, which was set in rural Mississippi during the Great Depression and starred George Clooney, John Turturro, and Tim Blake Nelson as three escaped convicts. The soundtrack climbed to the No. 1 position on the Billboard 200 after winning multiple GRAMMY® Awards, including Album of the Year.

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VIA PRESS RELEASE | After keyboardist/composer Bayeté a.k.a. Todd Cochran established his musical presence on the San Francisco scene playing in Bobby Hutcherson’s band, and before becoming a key member of the innovative band Automatic Man, which he co-founded with Santana drummer Michael Shrieve, he recorded a couple of solo albums for the Prestige label that feature some of the most far-out, futuristic music the legendary jazz imprint ever released.

The first, Worlds Around the Sun, created quite a critical stir and debuted his composition “Free Angela,” which was later recorded again by Santana and sampled widely by artists like Kendrick Lamar, De La Soul, and Jay Electronica. But it was this album, 1973’s Seeking Other Beauty, that represented the full flowering of his vision. As Bayeté says in the notes by Pat Thomas that accompany our Real Gone reissue, “While I’ve held space for the blues aesthetic and jazz in everything I’ve done, I was leaving one world and entering another, unmooring the ship and heading into a sea of unknowns, so to speak.”

That ship ended up at a dazzling destination reached by few; early ‘70s electric Miles is a clear point on the compass, but so are Parliament-Funkadelic and Lonnie Liston Smith, if he were playing a fuzzed-out clavinet instead of a Fender Rhodes. Bayeté went on to collaborate with everybody from Peter Gabriel to Herbie Hancock to Stanley Clarke, but Seeking Other Beauty delivers the full measure of the man.

This is a first-ever reissue, featuring an all-analog pressing in either black vinyl or “plasma” vinyl, accompanied by an added insert. In its attitude, emotion, and performance, this recording captures an urgency that people are feeling again today. If you’re a fan of music that features a mosaic of influences—spiritual jazz with a fluid futuristic slant, akin to some of the Black Jazz label titles we reissued on Real Gone—this record is for you.

Remembering Gregg Allman, born on this day in 1947. —Ed.

You can say what you want about yours truly, but you’ve got to grant me this much; not knowing jack squat about a thing has never stopped me from writing about it. No, I am not one those lily-livered sorts who let something as minor as complete ignorance stand in the way of stating an opinion.

Take the Allman Brothers. I’ve been a detractor for years, based largely on an LP (1971’s At Fillmore East) I’ve never actually listened to. But the way I see it, I don’t have to listen to it; it’s enough for me to know that it contains such interminable blues numbers as “Whippin’ Post” and “In Memory of Elizabeth Reed” for me to write it off out of hand. The road, as Gregg Allman sang, may go on forever, but that’s no reason a song should.

But the recent passing of brother Gregg inspired me to give the Allmans another listen. I mean, ignorance may be its own reward, but sooner or later you have to suck it up and learn something, as unpleasant as that is. That said, I lacked the intestinal fortitude to give At Fillmore East a spin. But 1972’s double-LP Eat a Peach, why not??

And so I did. And I’m here to say that actually listening to the Allman Brothers mostly corroborates what I already believed about the Allman Brothers; to wit, they’re a powerful blues band when they keep things short, and they’re a great band when they write songs that break out of the blues idiom, but set them loose to meander and they’ll wear out your patience, and then wear it out some more.

Indeed, on “Mountain Jam” they wear out your patience to the tune of exactly 33 minutes and 38 seconds. You actually have to take Side Two off and put Side Four on to listen to “Mountain Jam” in its entirety, which cannot be an easy thing when you’re as stoned as you have to be to want to listen to “Mountain Jam” in its entirety. Many an argument must have taken place over which wildly tripping hippie was going to stagger to his feet and do the album turning. Well I say kick out the jam, brothers and sisters. Kick it right off the LP.

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VIA PRESS RELEASE | The Tom Petty Estate today announces the surprise release of a vinyl store exclusive in stormy “Cool Blue.” This mottled version of The Live Anthology – From The Vaults Vol. 1 is an ultra-limited edition pressing and a special treat for fans with tracks chosen by the man himself.

A total of just 2,000 individually numbered copies will be made available; purchase here. These recordings capture an intimate and powerful portrait of Tom Petty & The Heartbreakers legendary onstage performances featuring a dynamic deep track set list featuring “Like A Diamond,” “Think About Me,” and “Ballad of Easy Rider” and more.

Tom’s personally curated disc was originally included as the final bonus disc in a limited edition 5CD box of The Live Anthology (a 2009 Best Buy–exclusive) and has never before been available as a standalone vinyl release.

On Black Friday, fans were able to purchase the turquoise version of Petty’s archival vision, retailed exclusively at indie record stores with a pressing of 11,000 internationally.

Over his 40-year career, Tom Petty became a beloved American rock & roll icon, world renowned for his songwriting and his incredible band the Heartbreakers. In addition to the 13 studio albums he made with the Heartbreakers, Petty recorded three solo albums, including the acclaimed Full Moon Fever, Wildflowers, and Highway Companion. Petty was also a member of the supergroup Traveling Wilburys and in the pre-Heartbreakers band Mudcrutch.

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Jerry Kasenetz and Jeffry Katz met at the University of Arizona, started producing bands, and went on to create a bubblegum music empire in the form of Super K Productions. Their stable of artists included the likes of the Music Explosion, The 1910 Fruitgum Company, and Ohio Express, and their “practices” were morally dubious at best.

Kasenetz and Katz were capable of anything, and anything reached its peak with the Kasenetz-Katz Singing Orchestral Circus, a supposed “supergroup” made up of ALL of the members of the above bands as well as those of lesser-known Super K Productions acts as Lt. Garcia’s Magic Music Box, which bequeathed us the racist but catchy “Latin Shake,” which if you check out the single on the Kama Sutra label you’ll see it has a photo of a pudgy-faced geek on it. And then there’s J.C.W. Rat Finks, who gave us the “Hong Kong Flu.” On which the singer says he’s got it and wants to give it to you. Because he loves you. Be grateful he doesn’t hate you.

The Kasenatz-Katz Singing Orchestral Circus’s 1968 eponymous debut captured a live show at Carnegie Hall on June 7, 1968. How K&K and their despised stable of bubblegum acts managed to score a gig at prestigious Carnegie Hall remains a mystery. For the longest time, I thought the concert was just another K&K invention, and I’m not alone. But a look at the Carnegie Hall website confirms—they were actually there!

Their second album, the very title of which is hard to discover, was a low even for K&K. It featured the band’s three “name” acts as well as the past-their-prime Shadows of Knight and Professor Morrison’s Lollipop, which gave us perhaps the worst-ever bubblegum kiddie anthem ever in “Itchy Itchy.” It’s so catchy you’ll want to see your dermatologist.

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VIA PRESS RELEASE | Ed Hamell, aka Hamell On Trial, delivers an early Christmas gift to the world with his new 13-track album Dirty Xmas. Having previously recorded for a variety of labels, including Mercury, Ani DiFranco’s Righteous Babe Records, and New West, Hamell has made a string of singles, EPs, and albums for San Antonio-based Saustex Records.

This new, succinct volume has everything his fans have come to expect: ribald humor, heartbreak, and social and political commentary that’s tempered with a unique brand of humanity.

The musical palette ranges from novelty, anti-folk, and indie pop, with dashes of poetry and beats. With producer Matt Labozza he has crafted an album that is a mixture of holiday-themed and more everyday sorts of tunes that’s punctuated with humor and heartbreak.

You have new naughty holiday standards like “Xmas Carol,” “Rudy,” and “Dirty Xmas” rubbing up against more personal tunes like “Dream,” and contains perhaps his greatest achievement yet as a songwriter, “Adele.”

It’s being released digitally and on 180 gram crimson vinyl in a strictly limited edition of 110 and packaged with an Hamell original painting that can be displayed on your wall OR affixed to the cover (along the lines of his early 2025 release Harp (For Harry) and has a special message for all ye faithful listeners etched in the runout bands.

Pre-orders have begun shipping. Purchase includes the full digital download immediately, and the album is now available on all major streaming platforms.

VIA PRESS RELEASE | Todd Rundgren has never stood still for long. Across a career that is positively littered with abrupt changes of direction, unexpected shifts in outlook, and startling flashes of off-kilter brilliance, it is difficult (if not impossible) to truly pin down who he is, what he does, and why he does it. It was inevitable, then, that one day he would gather up all those different identities and attitudes, and take them all on the road on his own.

Nobody knew what to expect when Todd Rundgren announced his next tour would be strictly solo, some three dozen shows sprawling across the first four months of the year, and launching at the New Orleans House of Blues on January 20, 2003. There would be no band, no backing musicians, nothing beyond Todd and his songs—and they were certainly destined to be shuffled in and out of the set as the mood took him.

Guitars, samplers, piano, backing tapes—”Some people feel I’m playing with pre-recorded music… or some nonsense,” he quipped. But no. “I have the whole band standing by and ready to broadcast through this tiny little device.” Of course he was joking, but it’s fun to imagine the alternative.

So it is, as anyone versed in Cockney rhyming slang will already have punned, Todd on his tod… (ah, but did you know the expression actually refers to an American jockey, Todd Sloan?), and Solo In Clearwater—making its physical (double colored vinyl and 2 CD) debut today—is as representative as any recording from this magical, mercurial, outing.

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