Back catalogue: Rock

Review: Who doesn't love Toy Story? It's an on going classic with a heart of gold, some of The best animation in the film world and most loveable characters to ever make the silver screen. Whether young or old, snuggling down to watch this sone is always a treat, and now you can bring some of that magic onto your decks with the red vinyl compilation album. It brings together some of the best tracks and favourite musical moments of the movie such as, of course the most notable song of them all, 'You've Got A Friend In Me (Para El Buzz Espanol)' as well as 'I Will Go Sailing No More' and 'We Belong Together.'

Review: 1995 saw the unlikely pairing of David Bowie and Nine Inch Nails playing together in a live setting, as part of the latter's 'Self Destruct Touring Cycle' - this arm being the Dissonance tour. Bowie was celebrating his then-latest album 'Outside', while NIN were still reeling from the roaring fallout success of 'The Downward Spiral'. This new 180-gram LP version consists of a picture disc with fitting spiky red lettering, straddling the typographic connotations of both Ziggy Stardust and Trent Rezor. The recordings themselves are remastered and greatly-enhanced versions of the original KLLT-FM and Syndicated radio broadcasts, documenting two live appearances at the Riverport (MO) and Shoreline (CA) Amphitheatres. Be sure not to skimp on timeless restylings of 'Hallo Spaceboy' and 'Hurt', each artist lending strange charisma to each other's masterworks.

Review: The 21st Century has been quiet thus far for New Order, with only two full albums to date, and only an out-takes compilation in the last decade. Moreover, 'Music Complete' marks their first album to date without founding bassist Peter Hook, and the return of Gillian Gilbert to the ranks. Yet from this turbulence and inertia they've somehow managed to create a collection of songs that rank as their strongest set since 'Technique' in 1989. VIbrant, upbeat and colourful, yet driven by the same mix of electronic experimentation and effortless pop suss that characterised their '80s heyday, 'Music Complete' is the sound of a timeless and unique force newly revitalised.

Review: Ahead of their time? Ruined by excess and ego? A difficult act to market? New York Dolls are one of those stories about the fickle nature of industry and listeners, and the risks of hedonism. Emerging from The Big Apple in 1971, the group had a thoroughly modern sound for the time, combining hard and what was then a very fresh glam rock sound with early punk prototypes, years before people would learn what that means. New York Dolls was the spectacular self-titled debut from the band, put out by Mercury in 1973. Although a commercial failure, it's often cited among the greatest rock 'n' roll records of all time, but despite critical success it did little outside the US, where sales weren't great as it was, and the outfit would only last another few years - with various lineup changes - before calling time. This rare release charts what came before all that, including collector's item demos from their time playing as Actress.

Review: Who needs commercial success, anyway? At least not in the Big Apple during the early-1970s - long before Manhattan became a millionaire's enclave and most of Brooklyn out-priced normal people. The New York Dolls certainly didn't seem to mind that their rowdy and raucous take on rock 'n' roll, somewhere between The Who in full meltdown mode and Jimmy Hendrix and the seedlings of punk, didn't capture mainstream imaginations when they first started out.

Through countless lineup iterations things would slowly and slightly change, with the band's first two LPs considered two of the most sought after releases in cult guitar-dom (The New York Dolls and Too Much Too Soon). Actress predates all that, taking its name from the outfit the Dolls grew out of, but the blueprint for critical recognition is clear already - part psychedelic, party sweat and blood and tears, part lager and fighting, all befitting one of modern history's most hedonistic eras.

Review: Street Angel captures a distinct period in Stevie Nicks' career when she had just left Fleetwood Mac and was battling Klonopin dependency. The recording process was fraught, but in this tension emerges an album more brooding than the breezy pop rock she had comfortably rolled out in her solo career up to that point. The title track speaks volumes for the mood around the record, downcast but still possessing a fierceness that Nicks has carried throughout her catalogue. 'Blue Denim' strikes a softer note which sits comfortably alongside her work in Fleetwood Mac, but it's the spaces she explores beyond that which make this an essential part of her long and winding story in rock and roll.

Review: In the dramatic twists and turns of her career, Stevie Nicks overcame adversity more than a few times to assert her place as a true icon of American rock music. In the wake of her departure from Fleetwood Mac and her battle with Klonopin dependency, Tom Petty encouraged her to hunker down and write the songs which would become her 2001 comeback, Trouble In Shangri-La. Coming from a place of sheer honesty and with the clarity of her regained health, it was a critically acclaimed return to form which vindicated her self-doubt and reminded the world of her incredible voice and unforgettable songwriting.

Review: "I don't know where I'm going from here, but I promise it won't be boring," David Bowie famously quipped at his 50th Birthday concert in Madison Square Garden. That was 1997, and sadly we can now look back at the years between then and now as the last the icon would enjoy, although given the pantheons of unreleased material, music and other, we still have more than his legacy alone to learn from. He certainly kept his word, then, not least by opting to work with Trent Reznor and Nine Inch Nails, a band that found inspiration in myriad styles and sounds, from Human League to Pink Floyd, carving out a 'industrial electronic rock' niche for themselves. In addition to tours and one-off shows, recordings of their collaborations are remarkable, generating fresh wholes from the enormous sums of these parts.

Review: Three studio albums in, Noel Gallagher's High Flying Birds have managed to distance themselves from their frontman's legacy enough to become a household name in their own right. 'Who Built The Moon' sees Gallagher continue to assert his famed song-writing prowess whilst pushing his band in new directions with bluesy-rock anthems, smoky and atmospheric interludes and the satisfying electronic pop of tracks like 'She Taught Me How To Fly'. It's this willingness to explore and experiment that makes this album his most ambitious to date, and the finest post-Oasis work that either of the Gallaghers have produced.

Review: This broadcast was first aired on French TV having been recorded at the Bataclan club in Paris, on January 29, 1972. It got a first official release in 2004 having been bootlegged for many years before that from a recording taken from the sound board at the gig. Fans of The Velvet Underground will know that this was the first time the group members Lou Reed, John Cale and Nico had all been up on stage together.

Review: You can now get your hands on this superb live album from The Velvet Underground members Lou Reed, John Cale and Nico on plain black vinyl or, more excellently, this white limited edition version. This set was the first time the group members had all been up on stage together since the original band disbanded. It was first aired on French TV having been recorded at the Bataclan club in Paris, on January 29, 1972. It got a first official release in 2004 having been bootlegged for many years before that from a recording taken from the sound board at the gig. Due to a problem with tape transfers, the speed on some releases is slower than the original concert.

Review: Le Bataclan 1972 captures the moment at which Lou Reed, Nico and John Cale all came together at the legendary Paris venue for the first time since (the three founding members of) The Velvet Underground split up as a unified band. Proving that collaborative sovereignty can still go on strongly, despite the symbolic dissolution of what we call a 'band', this much-bootlegged gig was famous for the performers' conscious decision to perform each other's solo works, celebrating mutual individuality rather than complete unity. With 'Candy Says', 'Pale Blue Eyes' and 'All Tomorrow's Parties' all featuring, this isn't just a social experiment either - it has full appeal for new and old Velvet Underground fans alike.