New vinyl re-releases: October 10, 2025

There are so many records to tell you about right now. What with Record Store Day’s Black Friday around the corner, the near-assaultive Rhino ROCKtober campaign, and the regular barrage of reissues that all need to come out in time for the holidays, there’s actually too much to keep track of. Fortunately, we’re here to help. We went through as many of this week’s vinyl reissues as we possibly could to bring you this guide to the latest and greatest. May it aid you in your weekend visit to your local vinyl purveyor.

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Okay. Let’s talk about some records!

UNIVERSAL

The majors have found themselves outgunned by the audiophile labels and their highly lucrative “one-step” pressings, so last year Warner got into the game, and now Universal follows suit with their DSS One-Step campaign, repackaging coveted records into highly priced premium editions. Universal seems to be following Warner’s lead here, as their first DSS discs are also pressed at RTI on their high-quality Neotech VR900-D2 vinyl formulation in a process overseen by Dorin Sauerbrier.

Of the pair of albums set to launch the DSS series, the more interesting is Dr. Dre’s The Chronic, which features an all-analog cut from the original master tapes done by Chris Bellman of Bernie Grundman Mastering. The 1992 album is obviously a classic, more or less defining G-funk and bringing gangsta rap to mainstream audiences; it also introduced a 21-year-old rapper named Snoop Doggy Dogg to the world. This Bellman analog cut, which spreads the hour-plus of music across two LPs, should sound pretty righteous, as the album can put any system through a workout via its trunk-rattling bass and a high end full of those era-defining sirenlike synths. The numbered edition of 3,000 comes in a fancy gatefold inside an even fancier slipcase.

The other DSS release is the 2000 debut by A Perfect Circle, the don’t-call-it-a-side-project from Tool’s Maynard James Keenan and former guitar tech Billy Howerdel. Mer de Noms and its kinda-sorta prog-flirting version of alt-metal comes on a 2-LP set which I imagine HAS to be cut at 45 RPM (the album’s only 44 minutes long), although the webpage on Capitol’s site doesn’t explicitly mention this. To their credit, they do excerpt the liner notes, which detail an interesting struggle to find the correct masters as well as the failure of their first attempt to cut it. In the end, this one-step was made from a 96/24 digital transfer of the analog master created back in 2008 by Ron McMaster, a version all involved parties agreed was the best-sounding one. It was cut to vinyl by Levi Seitz at Seattle’s Black Belt Mastering, was pressed at RTI, and comes numbered inside a fancy slipcase, like The Chronic. Tool-loving diehards and their techbro salaries will likely make short work of all 3,000 copies in seconds flat, although even they must be wondering, “Seriously, where’s Ænima?” NL

The Universal multinational conglomerate has a lot on its docket this week; let’s see what else they’ve got coming out on vinyl on all their assorted labels.

VIRGIN

After releasing 1984’s Junk Culture, an album that singer Andy McCluskey deemed their poppiest effort to date, Orchestral Manoeuvres in the Dark (OMD) upped the ante with the following year’s Crush. Working with producer Stephen Hague, the group polished its sound to a blinding, radio-friendly gleam that had the desired effect of breaking them more firmly within the commercial landscape of the US market. Crush topped out at number 39 on the Billboard album chart, with the first single, “So in Love,” reaching number 26 on the Hot 100. Those numbers are also why used copies of the LP are plentiful in shops these days. To celebrate the album’s 40th anniversary, a new 2-LP pressing (your choice of black or clear vinyl) hits stores this week. On the first disc is a remastered edition of Crush, and on the second are seven previously unreleased tracks from the album sessions newly mixed by OMD’s Paul Humphreys and a smattering of B-sides. RH

CAPITOL

The exhaustive John Lennon reissue campaign carries on with a massive box set that covers—with one significant abdrigement—the Some Time in New York City period of 1971 and 1972. That album was much maligned in its day, unfairly suffering from its progressive political content and the equal weight given to Yoko Ono’s songs. The album’s never been fully rehabilitated, and even now, this giant new Power to the People box set, with nine CDs and three Blu-rays, omits “Woman Is the N***** of the World,” which was the album’s lead single at the time. This undercuts the whole historical premise of the project and is a real mistake, in my opinion. Anyone who’s a big enough fan to purchase the dang thing is already well aware of the unfortunately titled song, making this an empty gesture. Oh, Some Time in New York City, can’t you ever catch a break?

Since we’re primarily concerned with vinyl here, we’ll tell you about the two vinyl configurations, which leave out a lot from the bigger Power to the People set. There’s a flabbergastingly expensive 4-LP version that includes, in full, the two “One to One” concerts that John, Yoko, and the Elephant’s Memory band performed at Madison Square Garden on August 30, 1972. These shows were the source of Lennon’s 1986 anemic Live in New York City album but were also featured in the recent One to One: John & Yoko documentary, where the remix sounded positively tremendous—so hopes are high that these records will sound pretty dang good. The more reasonably priced 2-LP version selects the highlights from both shows, for a standard live album that should be enough to satisfy most sane people. What’s not coming to vinyl (at least not yet) are the Some Time in New York City studio sessions, including an extra disc’s worth of jams, the 1969 and 1971 live recordings that made up Some Time’s second LP, and other live performances from assorted benefits and protests of the era. Also neglected for the time being are Lennon’s 1971 home demos, which include fascinating titles like “Pill,” “When the Teacher,” and “Chords of Fame.” Maybe some of this will trickle out on vinyl for next year’s Record Store Day. There’s also a Power to the People documentary on the way with more of the “One to One” concert performances. NL

VERVE VAULT

Yet another audiophile vinyl imprint is being inaugurated this month, but this time around, it’s one that carries the imprimatur of one of history’s greatest record labels. Dubbed Verve Vault, this new series will feature all-analog remasters, overseen by Sterling Sound Nashville’s Ryan K. Smith, with wax pressed at Optimal in Germany and—all together now—high-quality tip-on sleeves. Verve isn’t messing around with this new imprint, as proven by their first two releases: Sonny Side Up, a 1959 hard bop masterpiece headlined by trumpeter Dizzy Gillespie, but named after his accompanists, tenor saxophonists Sonny Stitt and Sonny Rollins; and The Composer of Desafinado Plays, the first US album by bossa nova great Antônio Carlos Jobim that presaged the massive success of his breakout, 1964’s Getz/Gilberto, by a year. Brace yourself and your bank accounts for what Verve Vault has planned for the rest of 2025 and beyond. They’ve got a deep library of amazing albums that you’ll want to hear in the best fidelity possible. RH

DEUTSCHE GRAMMOPHON

Two more titles enter Deutsche Grammophon’s Original Source Series: Emil Gilels’ 1972 recording of 20 of Grieg’s Lyric Pieces for piano is given a fresh new all-analog mastering from the original multi-track. Pristine pressing quality and perfectly flat, centered vinyl is vital for solo piano recordings—the slightest wavering of pitch can completely ruin everything, as can any unintended vinyl scrapes or scritches. With the reputation of DG’s Original Source pressings (done by Optimal) not living up to their price tag, let’s hope Gilels’ fingerwork isn’t marred by any problematic vinyl. The series is also re-releasing Trevor Pinnock and the English Chamber Orchestra’s 1978 recording of two of Bach’s Orchestral Suites. I believe this is the first time the Original Source Series has mined something from DG’s sister label Archiv Produktion, which focuses on historically informed performances. Again, this is all-analog from the multitrack (DG would start recording digitally one year later) and should sound vibrant and lifelike, barring any Optimal pressing mishaps. NL

BLUE NOTE

Way back in 1987, Mosaic released a 3-LP set compiling all of the singles that tenor saxophonist Ike Quebec recorded for Blue Note between 1959 and 1962, when the label was looking to get a foothold in the jukebox marketplace and leaned on one of their former success stories who knew how to write short, punchy, and, most importantly, catchy R&B-tinged jazz tunes. Blue Note themselves grabbed the baton in 2005, issuing the same material on a double-CD set. This week, those fantastic bop sides are getting the Tone Poet treatment with the release of The Complete Blue Note 45 Sessions. Produced by Joe Hartley, this triple-vinyl collection was mastered from the original master tapes by Kevin Gray and pressed at RTI. Considering the high batting average of the Tone Poet series, these bluesy, blowsy sides should sound present, bright, and deeply engaging. RH

Whew, I think that's enough from Universal. Here's what the other labels have in store.

WARNER

Warner’s own one-step program, Because Sound Matters, continues apace with a gussied-up version of Tom Petty’s Wildflowers. The 1994 album has generally come to be regarded as the high-water mark of Petty’s career, which maintained a pretty high consistency rating to begin with. The one-step comes from the analog master, from which Chris Bellman of Bernie Grundman Mastering cut seven new lacquers, each of which went on to create a one-step stamper. With 6,000 copies pressed, that’s roughly 850 copies pressed per stamper.

Wildflowers has always been a terrific-sounding album, so the likelihood of a phenomenal one-step here is pretty high. Initially cut from a digital file upon its original vinyl release in 1994, it was finally cut from analog by Chris Bellman for a 2016 box set, The Complete Studio Albums Volume 2 (1994–2014). It was then recut after Petty’s death for the massive Wildflowers reissue campaign in 2020, which saw the album receive various deluxe treatments, including different box set configurations. That was also an all-analog mastering from—you guessed it—Chris Bellman. So this one-step is Bellman’s third (and fourth, and fifth, and sixth, and so on) time cutting Wildflowers from the analog tape. Let’s assume he’s gotten pretty good at it by now.

Just how much better this Wildflowers can sound is, of course, the question. It’ll cost a pretty penny to find out. Since Wildflowers is a double album, this lists at $125. Pressed at RTI, it’s a numbered edition with a slipcase and a gatefold tip-on jacket, and the vinyl compound is the aforementioned Neotech VR900-D2, if that means anything to you.

Meanwhile, over at Rhino, it’s the calm before the storm—plus they’re busy launching their new reel-to-reel series (yes, this seems to be real... er, reel?). Next week, Rhino’s ROCKtober campaign will properly opens the floodgates with a tall stack of reissues, but this week, there’s just one: a green vinyl repress of Fleetwood Mac’s coke opus Tusk to tide us over. This most certainly will be cut from the same (well regarded) Chris Bellman plates that Rhino/Warner has been using since 2012. NL

CHRYSALIS

Naked Eyes remains an oft-forgotten name alongside the rise of fellow synthpop duos like Yazoo and Soft Cell in their native England, perhaps owing to the simple fact that they never had the success in their home country that they achieved here in the US (four singles in the Top 40). Their Stateside hits are likely the motivating factor behind the decision to release an expanded version of the American edition of the group’s 1983 debut rather than the version released in Europe (titled Burning Bridges). It's a shame as, to these ears, the album, released simply as Naked Eyes, is a fine but inferior listening experience with a wonkier tracklist and the edited versions of their hits—a sparkling rendition of Bacharach & David’s “Always Something There to Remind Me” and their original “Promises, Promises”—that don't flow together nearly as well as what the duo’s native Brits got to hear. The benefit of this new double-LP pressing (remastered by Phil Kinrade at AIR Mastering) is that the second disc is packed with B-sides, demos, and remixes, including a rare extended version of “Promises” with guest vocals by Madonna. RH

MORGAN BLUE TOWN

The lost 1970 album of Chimera—the duo of British cousins Lisa Bankoff and Francesca Garnett—is indeed a Holy Grail, as its reissue is aptly titled. Including contributions from Pink Floyd’s Nick Mason and Richard Wright, it’s a wildly varied collection that defies easy description but boils down to an omnivorous style of baroque acid-folk bolstered by a heavy rock edge and the cousins’ deliberately eerie and occasionally amateurish vocals. The recordings were finally released in 2002 as Chimera, and then again as Holy Grail in 2017, including a vinyl release for Record Store Day. That edition has been repressed, so now Chimera’s impossible-to-pigeonhole psych-prog-folk-what-have you can reach more listeners.

Morgan Blue Town also has a repress of Sam Gopal’s 1969 debut Escalator on tap, reupping their 2017 reissue. This album has always possessed a degree of notoriety for featuring a pre-Hawkwind Lemmy on vocals and guitar, and for the band’s unorthodox approach to heavy psych featuring band namesake Gopal on tabla instead of a drum kit. I always think this album should sound cooler than it actually does—the tabla-meets-hard-rock blend is nifty for a couple of songs but gets pretty tiresome over the course of the full album. This new reissue adds the two bonus tracks from Morgan Blue Town’s 2017 version, originally included on a separate 7-inch, and places them on the main disc proper. NL

DEMON

Sparks have been wisely taking advantage of an increase in attention and acclaim for their witty, verbose, and catchy-as-all-get-out art pop in recent years. Their concert dates have been selling out regularly, and the Brothers Mael have been gracing fans with both new music and plentiful reissues of their work. The latest run of re-releases focuses on the mid-’70s stretch that gave us studio albums Indiscreet, from 1974, and Big Beat, released a year later. A three-CD set is out tomorrow with remastered versions of the two records and a disc of B-sides, rare tunes, and a live version of the big-band jazz goof “Looks, Looks, Looks.” What you’ll want to know is that both albums are also getting fresh vinyl pressings on colored wax and, unfortunately, as picture discs. My assumption is that these are cut from the same masters that were used for the 2015 Island Years box set and the breakout versions released in 2017, but I’m happy to be proven otherwise. RH

TWO-PIERS

Anglo-American band the Earlies—Lancashire meets West Texas—were never a prolific bunch, and the band’s ranks would swell and shrink depending on musical circumstances. Their debut, These Were the Earlies, is the sort of Beach Boys- and Kinks-gazing pop pastiche that defined indie music in the ’00s, but with impressive songwriting smarts and genuinely inventive arrangements, incorporating bassoon, mellotron, euphonium, and dozens of other wonderful sounds. In other words, it’s an album that doesn’t deserve to be forgotten, and Brighton label Two-Piers is making sure that it isn’t, offering up this 21st-anniversary edition to ensure it gets passed down to future generations. NL

CRAFT RECORDINGS

In the late ’70s and early ’80s, Sylvester’s music dominated the dance clubs of the world, with bona fide hits like the disco classics “You Make Me Feel (Mighty Real)” and the Patrick Cowley collaboration “Do You Wanna Funk?” So while we applaud the decision to reissue Step II, the 1978 album that he released on Fantasy Records, we have serious reservations about how this new vinyl pressing from Craft Recordings is going to sound. For this edition, the label has chosen “disco ball clear glitter” wax, a cute decision but one that we highly doubt will result in the kind of booming grooves that we want from music of this kind. And from the pictures on the label’s website, they opted to update the back cover so as to include all the titles of the bonus tracks you can get with the digital download. Curiouser and curiouser. RH

SONY/LEGACY

Patti Smith’s debut album Horses needs little preamble, and the 1975 art-punk classic is hitting its semicentennial, causing Smith and Sony—which now owns Arista, the label upon which Horses first galloped this earth—to give it a 2-LP deluxe treatment, letting a bonus disc’s worth of unreleased material out of the barn. Much of this looks super-intriguing, like the original RCA demo of “Gloria” and unreleased songs such as “Snowball,” an unfinished track that, with a little extra polish, could have easily joined the ranks of “Redondo Beach” and “Free Money.” Tantalizingly, the press release says the album itself is “remastered direct from the original 1/4” master tapes,” but considering that a CD release is also part of the promotion and the word “analog” doesn’t appear anywhere, I think it’s almost certain that a digital step was involved—sounds like it’s from a new analog-to-digital transfer, but it would be nice to know which mastering engineer prepared it, as well as who cut the lacquer. NL

SONY/CENTURY MEDIA

It never ceases to amaze me how much certain metal artists will return to the well to milk more hard-earned cash from their fans. Megadeth is, without question, guiltier than most on this front. In 2019, the thrash metal band reissued their debut album Killing Is My Business… and Business Is Good! with new album art, audio remastered by Sterling Sound’s Ted Jensen, and a second disc of live tracks and demos, all pressed in a variety of colors. Fast forward to 2025, and they’re doing it all over again with a 40th anniversary edition that’s just the main album, pressed on gold wax, with the original artwork back in place. But wait! There’s more! For $350, you can have a box set that includes a zoetrope slipmat, a “2-sided challenge coin with carrier sleeve,” a laser-engraved business card, and other ephemera. More fool me, I guess, as both versions of this new pressing sold out almost instantly. Good luck finding them on the secondary market, friends. RH

STRUT

At one point unavailable for decades, the self-titled debut by seasoned Ghanian musician Ebo Taylor has been kept pretty handily in print the past decade-plus due to the efforts of Mr. Bongo, but now Strut Records is having a go. More reliant on traditional Fante musical styles than some of the Ghanian highlife Western ears are used to, the music takes on surprisingly Latin-like qualities, even amid the relentless Afrobeat rhythms and horn stabs. Strut’s reissue features “newly restored and remastered audio by The Carvery and See Why Audio” and includes brand-new liner notes, which has piqued our interest, even if an all-analog cut is almost certainly not in the cards. NL

COSMIC MYTH

If the name of this imprint doesn’t make it clear enough, Cosmic Myth is the outlet for the music recorded by intergalactic jazz keyboardist Sun Ra. Overseen by keeper of the keys, WFMU DJ extraordinaire Irwin Chusid, the label has been responsible for keeping copious numbers of releases by Ra and his Arkestra in print. This week, they train their efforts on Supersonic Jazz, a 1957 disc self-released by the group on El Saturn Records. The new double-LP set, produced by Chusid and Michael D. Anderson, combines Joe Lizzi’s remastered version of the original LP with a truly jaw-dropping collection of alternate takes and rarities. And walking you through it all in the liner notes is none other than Yo La Tengo’s Ira Kaplan. RH

SOUL JAZZ

A new Soul Jazz comp is always worth perking one’s ears up for, and Soul Jamaica looks to be another prime example of how the label achieves the perfect balance between complete listening satisfaction and serious crate-digger obscurity. The milieu this time is the Studio One archive, with lots of reggae-infused soul and funk—some familiar and some wildly unfamiliar—that showcases what Jamaicans were listening to in the late ’60s and early ’70s that didn’t fall strictly into the reggae, ska, and rocksteady narratives that got exported overseas. Highlights include an instrumental dance-party cover of Sly and the Family Stone’s “Sing a Simple Song” and a charming, skankable version of “Someday We’ll Be Together.” NL

SPITTLE MADE IN JAPAN

Spittle Made in Japan (SMIJ) is the newest sub-label of Spittle Records, a cult imprint that started in the ’80s releasing industrial and darkwave from Italy and was resurrected in the early ’00s with a much more global scope. As the name of this new offshoot should tell you, the focus of SMIJ is sounds from Japan, and they are continuing their already impressive run of reissues with a new batch of lesser-known albums originally released in the ’80s. The highlight of this bunch is Dance Till You Die, a 1981 no-wave gusher from Daisuck & Prostitute. The sax skronk and jagged rhythms bear the influence of James White, but they throw healthy amounts of noise and distress into the mix that the New York scene could never. I would also recommend Trap, the 1985 solo album by Chiko Hige, which lightens the Birthday Party-like rumble of most tracks with chintzy drum machine beats and Hige’s goofy vocal interjections, and Akebonojirushi’s Paradise Mambo, a head rush of ska, jumpy new wave, and overcaffeinated percussion tamped into the ground by vocalist Akira Hirata. Also on tap for this week from the label are two previously limited-edition releases from Osaka post-punk group Dendo Marionette and a new pressing of Harafuri from the powerhouse frontman Machizo Machida and his backing band Kitazawagumi. RH

MUSIC ON VINYL

The 1985 self-titled album by Cincinnati electrofunk outfit Sedan is coveted among boogie aficionados around the globe, and Dutch label Music on Vinyl is re-releasing it on vinyl for the first time in 40 years. It’s too bad an American label didn’t take up the reins for this release, as MoV is prohibited from selling it directly to buyers in the US, although you should be able to find a distributor that can get it into your hands without too much difficulty. It’s a pure party starter that’s guaranteed to fill any dance floor. NL

BYG/CHARLY

Seeking friendlier confines with which to ply their free jazz wares, scores of American musicians decamped to France in the late ’60s, many of them finding a welcome home at BYG Records. That label released a dizzying number of albums in a short span, including titles by Art Ensemble of Chicago, Dave Burrell, and Gong. One of the highlights of the BYG catalog is 1970’s Luna Surface, an explosive freakout brought to life by Alan Silva and his Celestial Communication Orchestra. Captured during a marathon weeklong recording session in August 1969 that resulted in a dozen or so individual LPs, this set is a glorious cacophony generated by an all-star cast of players: saxophonists Anthony Braxton and Archie Shepp, violinist Leroy Jenkins, bassists Malachi Favors and Bob Guerin, and drummer Claude Delcloo, among them. While this so-called “deluxe edition” offers up no added material, it does apparently feature remastered audio from the original BYG tapes and, glory be, liner notes from critic Kevin Le Gendre. RH

WEWANTSOUNDS

On paper, Parisian label Wewantsounds are doing absolutely everything right with their reissue of Brigitte Fontaine’s 1968 avant-pop masterstroke Brigitte Fontaine Est… Folle. They’ve recreated the album’s brilliant gatefold cover art and added an obi—plus they’ve included a 20-page booklet with photos, lyrics, and liner notes in both English and French. Yes! (Oui!) What’s more, they’ve added a bonus LP with demos, instrumental versions, and other rare tracks. Now the only question is what the darn thing sounds like. Wewantsounds says the album is “newly remastered from the original tapes” but neglects to use the word “analog.” Still, a new transfer could be a mighty fine thing, allowing Jean Claude Vannier’s striking arrangements—at times minimal and other times lush—full room to breathe. It should be a damn-near definitive rendition of this lovely, left-field collection of art-spiked pop songs, not to mention all the bonus goodies that come with it. Now that the Superior Viaduct edition from 2012 is long out of print, this is looking like a pretty crucial pickup. NL

WATUSI

In 2010, Ben Chasny, the musician that often records as Six Organs of Admittance, was invited to be part of an artists residency at the Incubate Festival in the Dutch city of Tilburg. As part of it, he was taken on a tour of the chapels in the region dedicated to the Virgin Mary with the hope of inspiring new music. After six months of composition back in the States, he returned to the festival and performed a set of solo acoustic guitar works that mirror the quiet grace of William Ackerman but with a harder, buzzier edge. A recording of this live performance, bookended by a pair of droning pieces recorded the following year in Massachusetts and titled Maria Kapel, was released in limited numbers on Chasny’s own Pavilion Records but is getting a lovely reissue this week thanks to the Belgian label Watusi. RH

CANDID

The first appearance by jazz artist Charlie Mingus and his crackerjack ensemble (the lineup included, among others, Jaki Byard on piano, trumpeter Melvin Moore, and tuba player Red Callender) at the Monterey Jazz Festival was in 1964, and a year later, Mingus himself issued a recording of the celebrated set on his own Jazz Workshop label. That album, Mingus at Monterey, has been in and out of print over the past six decades, with the most recent edition being a limited RSD First pressing released in a run of 2,000 this past Record Store Day. Blessedly, we didn’t have to wait too long for the mass-market version of the double-LP set, with audio mastered by Michael Graves and a new lacquer cut by Jeff Powell. It’s an odd vinyl release, in that the closing section of the Duke Ellington medley that opens the set is cut off abruptly at the end of Side A before picking up again on the flipside. Same goes for the two longer originals that take up the rest of the album. Was this necessary due to edits in the original tapes or a decision to make sure this re-release was as close to the original as possible? Whatever the answer, it’s a shame, as it’s hard to get truly lost in the music when it comes to a brusque stop. RH

OTHER REISSUES OF NOTE
Franz Ferdinand: You Could Have It So Much Better 20th anniversary edition [Domino]
Jah Thomas: Yard Man Posse [Abraham]
Nathaniel Rateliff & the Night Sweats: self-titled 10th anniversary edition [Stax]
Olivia Newton-John: Stronger Than Before 20th anniversary edition [Primary Wave Music]
Willie Colón: Asalto Navideño [Craft]
Carlos Vives: La Tierra del Olvido [Gaira Musica Local]
Dolly Parton: Live from London [Dolly Records]
The Devil Wears Prada: Zombie EP [Real Gone Music]
Don Hinson & the Rigamorticians: Monster Dance Party [Real Gone]
The Deadly Ones: It’s Monster Surfing Time [Real Gone]
Frankie Stein & His Ghouls: Introducing [Real Gone]
The Ghouls: Dracula’s Deuce [Real Gone]
Jackey Beavers: Someday We’ll Be Together [Charly]
Demian: self-titled [Riding Easy]
Ana Caram: Blue Bossa [Chesky]
Clark Terry: Portraits [Chesky]
Acid Mothers Temple and the Melting Paraiso U.F.O.: Electric Heavyland [Riot Season]