Back catalogue: 50s/60s

Review: Ace Records are she-pop experts who have kept a constant stream of high quality offerings from the 1960s coming. Featuring mostly British and American artists the label now widens its net to serve up a pair of high impact tunes from their well-received Ciao Bella! Italian Girl Singers Of The 1960s compilation CD. Brunetta's 'Baluba Shake' has big and cavernous drums, plucked guitar riffs and rollicking great chords next to lung-busting vocals. It's a real dancer. Things get more impassioned on the high speed funk chase that is Rita Pavone's 'Il Geghege.'

Review: This unique 7" features two different artists - Raye Cole and Rachel Maxann - doing their own renditions of the same song, in this instance, 'Find Myself Another Man'. These versions bring a modern twist to a rhythm and blues banger that will transport you back to the good old days, Raye's version adding a bit more of a hop to it while Rachel's version has a garage band and surf rock tinge to it. Both are late night blues without a doubt though andit'sanother case of hats off to Original Gravity records for always keeping things fresh with their ever-changing moods.

Review: Darron Robinson is a former frontman of London's Mod 'n' Soul group The Sha La La's and has been delivering impressive solo material with his latest double A-side single on Detour Records being his most uplifting yet. 'Ready Your Love (Be Happy)' and 'This Time I Can't Lose' embody the hopeful lyrics, energy and attitude that have become synonymous with Darron's writing. His skill as a songsmith continues to shine and has caught the attention of legendary Northern Soul DJ Richard Searling and BBC 6 Music's Craig Charles, who both featured his track 'When Love Comes' on their shows.

Review: Light In The Attic teams up with Laurie Anderson and the Lou Reed Archive for a thrilling retrospective, Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65. An expansive selection of songs all written by Lou Reed, during his mid-60s stint as the staff songwriter for the long-defunct label Pickwick Records, this is a rare glimpse of a master rock musician stepping out of the limelight over the course of 25 songs, yet still letting the form and contour of his voice and sensibility be heard. All this was achieved before Reed had at all launched his career with the Velvets; it may indeed be said that this pubescent 60s period was the firelighter to Reed's flame, as the label specialised in soundalike records that emulated the major pop hits of the day - it's no wonder Reed would absorb such emulations and take them in as his own, albeit with a Century-defining twist. Channelling everything from teenybopper pop to soul-inflected garage rock, whether byJeannie Larimore, The Hi-Lifes or The Hollywoods, we get a thorough look-in here as to what made Reed and his contemporaries tick, and what Reed made tick in turn, before the fame.

Review: Why Don't You Smile Now: Lou Reed at Pickwick Records 1964-65 offers a fascinating glimpse into Lou Reed's early work as a hired songwriter before his iconic days with the Velvet Underground. Released by Light in the Attic Records, this 25-song anthology captures the raw beginnings of Reed's journey in music. The double vinyl format showcases Reed's ability to navigate a range of styles, from the surf-infused doo-wop of the Hollywoods' 'Teardrop In The Sand' to the gritty garage-rock of the Roughnecks' 'You're Driving Me Insane.' This collection not only features Reed's contributions to Pickwick Records, a label known for its budget sound-alike recordings, but also includes the pivotal track 'The Ostrich,' a song that would eventually lead Reed to meet John Cale, laying the groundwork for the Velvet Underground. The anthology also highlights Reed's first collaboration with Cale on 'Why Don't You Smile,' which was later covered by Spiritualized. With detailed liner notes from Richie Unterberger and an essay by Lenny Kaye, this double vinyl release offers a deeper understanding of the roots of Reed's legendary career.

Review: Following the resounding success of the iconic 1957 compilation "My Pussy Belongs To Daddy," Ebalunga!!! proudly presents Girlesque, an exquisite solo album by the incomparable Faye Richmonde which was originally released in 1959. This gem once again captivates with its blend of genres and provocative song titles that all showcase Richmonde's sophistication, wit, and charm. Combining elements of pop, comedy, jazz, and erotic easy listening, Girlesque remains a popular choice for parties, much like its predecessor. With expert mastering by Grammy-nominated engineer Jessica Thompson, this reissue not only preserves the album's relevance but also enhances its sonic brilliance, inviting you to indulge in another masterpiece of the past.

Review: The Rolling Stones put out plenty of albums full mostly of cover versions other favourite blues, soul and rhythm & blues tunes and this one, Out Of Our Heads, is one of them from 1986. It was a number two album in the UK charts but marked the band's first ever Billboard 200 number one (maybe because at the time only the American version contained their biggest ever tune, '(I Can't Get No) Satisfaction'). Here the mono version gets reissued and contains songs made over a six month period including the top ten hit 'The Last Time.' Though these are covers, they are newly done in a guitar-based, thoroughly contemporary (at the time) style.

Review: Japanese band The Routes are based in Oita and channel explicit influences from blues, the British invasion and 60s US psych and garage. Their considerable discography reaches back to 2007's Left My Mind, but now they're back on Topsy Turvy with the wonderfully Kraftwerk-baiting The Twang Machine, which covers the German electro pioneers' greatest hits in The Routes' raw style. From 'Computer Love' to 'Trans Europe Express', all the biggest Kraftwerk tunes get a revision like you've never heard before, and it is, of course, excellent.