Back in stock: 50s/60s

Review: Interest in The Beatles will never wane, but in light of the huge recent documentary from Peter Jackson it is at a real high at the moment. As such it is the perfect moment to drop a new recording of music from one of their many session for the BBC. In all, the band cut over 300 tunes for the Beeb and most of them in 1963 when they were in the corporation's studios almost weekly. There were 10 more shows in 1965 and their final one came in May 1965 hosted by Denny Piercy. It included tunes like 'I'm A Loser' and 'Honey Don't' amongst many more.

Review: Sometimes rockabilly-touting Stray Cats member Brian Setzer's big band revival reaches full throttle on this high-energy release, where rockabilly flair meets swing-era showmanship. 'Gettin' in the Mood' kicks off with a playful nod to Glenn Miller's 'In the Mood', reworking it into a brass-laden dancefloor shaker. Elsewhere, Setzer tackles 'Mack the Knife' with effortless swagger, his sharp guitar licks cutting through bold horn arrangements. The collection thrives on its ability to modernise the big band sound without losing its vintage charm, fusing the finesse of jazz standards with the drive of rock & roll. Brian Setzer's big band revival strikes an electrifying balance between rockabilly grit and the exuberance of swing-era showmanship. Opening with a fresh take on Glenn Miller's 'In the Mood', Setzer transforms the iconic brass-heavy tune into a high-energy anthem, infused with his trademark guitar swagger. It's a bold reinterpretation that never lets up. On 'Mack the Knife', Setzer's precise guitar licks cut through the brash brass arrangements with the kind of effortless cool that's become his signature. But it's not just a nostalgia tripihe brings a contemporary edge to these swing standards, revamping them without losing their original flair. Tracks like 'Gettin' in the Mood' highlight Setzer's uncanny ability to update the sound of a bygone era, blending vintage swagger with a rock & roll punch. The result is an album that fuses the sophistication of big band jazz with the raw energy of rockabilly.

Review: Formed in London in 1964, The Eyes burned briefly but brightly-releasing a handful of 7"s that would go on to shape decades of mod, garage, and shoegaze revivalism. This retrospective finally assembles those cult recordings in one place, including the iconic 'When The Night Falls', whose wild, feedback-laced riffing prefigured psychedelia's edge, and 'I'm Rowed Out', which blends taut beat dynamics with pop-art swagger. 'You're Too Much' and 'My Degeneration' channel the kinetic rush of the Who's early work but with even sharper guitars and a more menacing sneer. Remastered from original sources with rare demo cuts added, it captures the group's vital energy-fuzz, hooks, and visual identity all intact. A complete, overdue portrait of a group that should've had their own LP in the 60s but ended up shaping the decades that followed instead.

Review: Tacoma garage rock legends The Sonics are revisited here across seven 7" singles, covering their key material from 1964 to 1966. The set includes foundational tracks from the Etiquette years - 'The Witch', 'Psycho', and 'Strychnine' - alongside Jerden-era cuts like 'Head On Backwards' and 'Like No Other Man', all remastered and sequenced with clarity. It's the first time material from both periods has been presented together on vinyl. 'Keep A Knockin' and 'Louie Louie' sit comfortably beside the band's originals, which are leaner, noisier, and often more aggressive. 'Boss Hoss', 'Cinderella', and 'Shot Down' showcase the group's punchy rhythm section and blown-out recording style, while 'Have Love Will Travel' and 'High Time' ride the line between r&b cover and full distortion assault. 'Maintaining My Cool', long circulating in other formats, makes its vinyl debut here in its rare Audio Recording version. The pressing includes a booklet with photography by Jini Dellaccio, but the real appeal is in the sequencing - no filler, no novelty, just the most direct catalogue survey of a band that never needed polishing.

Review: West Grand digs deep into the Motown vaults with A Cellarful Of Motown, licensing a nearly forgotten stockroom of the stuff from Universal Music. Just one LP is enough to cover the best of a wider treasure trove, notably with two standout Ric-Tic cuts yet to be heard widely. Packaged simply with a white sleeve, front sticker, inner bag, and exclusive press release sheet, this drop comes thanks to Paul Nixon, whose A Cellarful Of Motown! CD series inspired the project and follows the success of earlier West Grand singles.