New vinyl reissues: December 12, 2025
Greetings, and welcome back to The Vinyl Cut! Y’know, I thought the year-end deluge of reissues and re-releases was slowing down, but this week has proven otherwise. There’s just a staggering amount of new vinyl coming out in time for the holidays, and our weekly roundup is just scratching the surface.
But before we get to that, how do you like getting free vinyl? You like it just fine, I reckon, so this is a great opportunity to remind you about our first-ever vinyl giveaway, in which we’re sending to one lucky paid subscriber a big ol’ box full of Neil Young for free. To learn more about the 8-LP set, and to enter to win, click on this rectangle right here:
Ned Lannamann
Now, let’s get into all the new things that are hitting brick-and-mortar stores and online retailers this Friday. If you’ve already finished putting together your holiday gift list, you're probably going to find something here that requires a late-breaking change. Let’s see what’s about to land.
Pink Floyd: Wish You Were Here 50th anniversary edition [Sony]
Remember when you were young? Well, whether or not you shone like the sun, it’s been a half-century since Wish You Were Here came out, you old coot. The 1975 album was Pink Floyd’s first after the record-breaking The Dark Side of the Moon, and when you think about how impossible that blockbuster must have been to follow up, the quartet did all right considering. Wish You Were Here zigs away from Dark Side’s density in favor of simple musical ideas stretched out to epic lengths and long passages of near-ambient sounds. In spite of its experimentalism, it’s still one of the defining classic-rock albums of the ’70s, and to celebrate 50 years, it’s getting a deluxe overhaul. There’s a 3-LP package with the album plus two discs of outtakes, including early working versions, some of which appeared on 2011’s Immersion Edition box set and some that are new. But for the real toffs, there’s a bigger box with a fourth LP that includes two side-long tracks from their Wembley 1974 shows, two CDs, a Blu-ray, a 7-inch of “Have a Cigar” b/w “Welcome to the Machine,” a hardcover book, a poster, and a concert program. One wonders if all of the assorted Wembley stuff will ever be released as one multi-disc live album, as it’s been carved up and thrown to the winds over the years. If it’s a continuous live experience you need, the Blu-ray includes bootleg audio of a complete show Floyd played at the LA Sports Arena in 1975. NL
Definitive Sound Series: R.E.M.: Murmur/Chronic Town [Interscope] & Beck: Morning Phase [Capitol]
Universal’s Definitive Sound Series, their entry into the ultra-high-end vinyl world, continues this week with a pair of lovely new titles that they are selling direct-to-consumer online. We are most excited about the 2-LP reissue joining together 1982’s Chronic Town EP and 1983’s full-length Murmur, the first two major releases by Athens, Georgia, quartet R.E.M. These new one-step pressings were made using the original analog masters with the lacquers cut by Chris Bellman at Bernie Grundman Mastering. Also on deck is Morning Phase, Beck’s lustrous 2014 album that was meant to be a companion piece to his 2002 effort Sea Change. For this one, Universal was able to track down the 96kHz/24 bit files that Bob Ludwig created for the original release, which means this repress will surely do justice to an album that won a Best Engineering Grammy. RH
T. Rex: Electric Warrior [Rhino High Fidelity]
As of Thursday, this technically hasn’t been announced yet, but it’s been a poorly kept secret in the vinyl community—Rhino should make it official tomorrow (December 12), and orders will go live then. Electric Warrior is an explosive record; the 1971 album marked Marc Bolan & Co.’s shift from a folkier, more whimsical sound into a sashaying, gutter-beat style that essentially cast the mold for glam rock. Expect an all-analog cut by one of the usual suspects (Kevin Gray, probably?) taken from Reprise Records’ US copy tape rather than the Fly Records UK master, with the attendant liner notes and tip-on gatefold to boot. You can also expect the usual controversy, as this is a murky-sounding production that will befuddle and alarm those who just want a pristine-sounding copy of another Doobie Brothers album. Now, the word is that Rhino is releasing another High Fidelity title on Friday, and as far as I’ve seen, no one seems to have a clue what it is. One educated guess might be The Yes Album, since Rhino just released both Electric Warrior and The Yes Album as reel-to-reel tapes, but the betting odds seem to be low on that one. So, since the field is wide open to anything in the Warner catalog, I’m going to go out on a limb and confidently make my prediction: Vinyl lovers, please get ready to welcome into your life a top-of-the-line, all-analog, premium pressing of…
(To be confirmed.) NL
J Dilla: Donuts 20th anniversary edition [Stones Throw]
Stones Throw dips their toes into the world of audiophile vinyl this week, and they’ve picked the perfect album for their first foray: J Dilla’s 2006 masterwork Donuts. Released just three days before the producer’s untimely passing at age 32 and constructed, in part, during his time in Cedars-Sinai Medical Center, the collection of hip-hop instrumentals has become the Rosetta Stone for artists and beatmakers who are still trying to decipher Dilla’s skill for finding audio gold in bargain-bin vinyl and stitching it into complex, head-nodding grooves. The lacquer for this new edition was cut by Bernie Grundman, and the vinyl was pressed at Fidelity Record Pressing in Oxnard, California. RH
Counting Crows: Recovering the Satellites [Geffen]
Either you had a Counting Crows phase or you didn’t. In the early to mid-’90s, it was easy to be intrigued by the band’s pseudo-intellectual take on folk-rock Americana, even if you knew that there were scads of other bands and songwriters doing this very thing decades before Adam Duritz ever twisted his first dread. So it was a bit of a surprise that the Bay Area band ditched the R.E.M.-on-Prozac sound and Joshua Tree posturing for their second album, 1996’s distressed and stormy Recovering the Satellites, where the band actually plugged in, turned up, and let loose their inner squalls. Songs like “Catapult,” “I’m Not Sleeping,” and the title track were among the strongest things the band had yet set to tape. But alas, it was the soft-rock sing-along “A Long December” that became the hit, so Counting Crows, knowing what their fanbase wanted, turned down the gain, turned up the college-guy-trying-to-get-laid poetry, and moped their way into ever-diminishing returns. But Satellites still has those quicksilver moments, and it’s been reissued on 2 LPs from “the original 1/4-inch production master tape,” which sounds as promising as the Crows did for a brief spell back in 1996. NL
Blur: The Great Escape [Parlophone]
Blur may have won the Britpop battle, but they sure lost the war. In 1995, the UK press ratcheted up a rivalry between the band and Oasis, centered around the release of new singles by the groups on the same day. Blur edged out their so-called competitors with “Country House,” the lead single from the band’s fourth full-length, The Great Escape, landing the top spot on the British charts. In the long run, though, Oasis leapt well ahead of the pack and have recently been filling up stadiums around the world on their reunion tour. Blur, meanwhile, have to be content with a 30th anniversary re-release of The Great Escape this week. I wonder, though, how content listeners will be with it. In addition to hobbling the album with god-awful new artwork, Blur decided to squeeze the nearly 57-minute album onto a single disc so they could add a second LP of B-sides into the package. If I pick this up, I’ll likely stick to spinning that added disc to enjoy having the version of “To the End” with vocals from the luminous Françoise Hardy (originally issued on the CD single of “Country House”) and “No Monsters In Me” (B-side to “The Universal”) on wax for the first time and wait to find one of the 2-LP represses of the album itself. RH
Keith Jarrett: The Köln Concert 50th [ECM]
Fifty years later, the legend surrounding pianist Keith Jarrett’s solo performance at the Köln Opera House in Germany still looms large—so much so that there are multiple cultural tributes out or in the works, like the recently released film Köln 75 (a docudrama of how 18-year-old Vera Brandes put the event together) and apparently a graphic novel. ECM is keeping things simple with a repress of its already best-selling recording of the concert. So far as I can tell, the label is using an existing master of the LP, but is packaging it in a tip-on gatefold sleeve with an eight-page booklet including photos and a new essay. Important as this release was for both Jarrett and ECM, the need for this remains lost on me when I can probably snap up about six VG+ or better used copies of the original for the same amount as this reissue would cost me. Your mileage may vary. RH
Kathy Smith: 2 [Elemental]
The enigmatic Californian singer/songwriter Kathy Smith vanished from the spotlight after two albums on Richie Havens’ Stormy Forest label, but her wide-ranging style includes gossamer folk, funk-inflected folk-psych, and smatterings of jazz. Smith performed at the 1970 Isle of Wight festival, but greater success seems to have eluded her. That makes her ripe for crate-digger rediscovery, which Elemental Records is facilitating this week by reissuing her second Stormy Forest LP, a 1971 effort aptly titled 2. Every cut on this thing is a gem, and the backing musicians are a murderer’s row, including Tony Levin, Jan Hammer, Warren Bernhardt, and Don Alias; Smith’s confident, comely voice should have been destined for bigger things. Or, perhaps, she may have consciously decided to step away from the insanity and corruption that is a career in the music industry, in which case, well done, Kathy. Elemental is having quite a week, also boasting reissues of Havens’ 1970 album Alarm Clock, Roy Ayers’ influential soundtrack to the 1973 film Coffy, and two garage-rock classics, the Standells’ Dirty Water (1966) and the Chocolate Watch Band’s No Way Out (1967). NL
Jorge Ben: MFB Especial 1972 - TV Broadcast & Milton Nascimento e Wagner Tiso: Ao Vivo 1981 (Live at Swiss TV) [Outsider]
Even during a military dictatorship, Brazilian music managed to thrive in the ’60s and ’70s with the rise of MPB (música popular brasileira), a homegrown genre that fused samba, jazz, rock, and baião in thrilling fashion. One of the stars of this new scene was Jorge Ben, a honey-voiced singer/songwriter who scored an early hit with “Mas Que Nada,” a bouncy tune that, when it was covered by Sergio Mendes, became a minor US hit. In 1972, Ben was invited to perform on national TV as part of a celebration of MPB, and his set is pure bliss, full of passion and subtlety and tart humor. I can’t speak to the provenance of this vinyl release featuring the audio from that on-air performance, but I’m cautiously optimistic to hear the finished product. Also coming this week from the Italian label Outsider is another MPB legend, Milton Nascimento, performing live for Swiss TV in 1981, accompanied only by his acoustic guitar and the keyboards of his longtime collaborator Wagner Tiso. RH
The Pogues: Rum, Sodomy and the Lash 40th anniversary edition [Rhino]
Locating the highly inebriated common ground between punk rock and traditional Irish music, the Pogues stumbled and stammered their way into moments of damaged, delicate beauty, many of which were contained on their second album, 1985’s Rum, Sodomy and the Lash. Producer Elvis Costello emphasized the band’s acoustic instrumentation, which paired perfectly with frontman Shane MacGowan’s perverse magnetism and remarkable songwriting and storytelling skills. For its 40th anniversary, the album gets the 2-LP treatment on red marbled vinyl, with the spare disc containing two B-sides, the 1986 Poguetry in Motion EP, a BBC session, a couple of live tracks, and, of all things, a cover of the Lovin’ Spoonful’s “Do You Believe in Magic?” NL
Depeche Mode: A Broken Frame; Sounds of the Universe; Ultra [Legacy]
The campaign of vinyl repressings of albums from synthpop group Depeche Mode continues this week with this trio of releases. Number one on your shopping list should be 1982’s A Broken Frame, the group’s second full-length that found them recovering from the departure of founding member and principal songwriter Vince Clarke. Martin Gore took the reins and proved himself more than able to carry the creative weight, as heard on future classics like “Leave in Silence” and “The Sun and the Rainfall.” Ultra, from 1997, found the band back in trio mode after keyboardist Alan Wilder left the fold, while also dealing with the fallout of frontman Dave Gahan’s near-fatal overdose the year before. Leaning on producer Tim Simonen, they plumbed the depths of this dark period with music inspired by the twin currents of industrial and trip-hop. 2009’s Sounds of the Universe, meanwhile, found the group dusting off some vintage analog synths and once again employing the creative input of producer Ben Hillier for an album that swings from light to dark and bitter to sweet with impressive ease. RH
Peter Grudzien: The Unicorn [Subliminal Sounds]
Self-released in 1974, Peter Grudzien’s psych-country opus The Unicorn was, like Patrick Haggerty’s Lavender Country project, the product of an openly gay artist working in a genre where, at the time, he was less than welcome. But unlike Haggerty, Grudzien has never received a cultural reclamation, despite the efforts of folks like WFMU’s Irwin Chusid and other collectors of private-press records like this. Sweden’s Subliminal Sounds is, at least, keeping the music in circulation. They’ve previously reissued The Unicorn as part of a 2-LP set in 2007 that included a disc of tracks culled from Grudzien’s many cassette releases, but this week, they’re dropping a limited-edition repress of the album proper with new liner notes and added photos—anything to help new ears find these zonked, quasi-religious epics akin to early T. Rex or Jandek. RH
Byard Lancaster: Us; Mother Africa [Souffle Continu]
In 2024, the French reissue label and bookstore Souffle Continu released a definitive box set containing four albums saxophonist/flautist Byard Lancaster recorded for the Palm label in 1973 and 1974. Now two of those albums are being released separately, Us and Mother Africa (both from 1974), and they showcase Lancaster’s fearless bushwhacking through dense thickets of free jazz, as well as transcendent passages of thoughtful meditation. These stand-alones bear the same remastering job by Gilles Laujol; Mother Africa contains a bonus track while Us includes an extra 7-inch, matching the original 1974 release. NL
Gary Numan: Telekon 45th anniversary edition [Beggars Arkive]
The folks at Beggars Banquet are giving you some options with their reissue of Telekon, Gary Numan’s 1980 collection of synthetic-sounding electropop brilliance. The copy up for grabs this week is the “deluxe expanded edition,” which includes exclusive artwork, four bonus tracks, a replica of the program from the Telekon tour, and a sparkle vinyl pressing. If you’re not into the whole instant-gratification thing and want to save a few bucks, you can hold out until January 30 to get the standard vinyl version. It’s on black wax but doesn’t have the booklet or the special artwork. In either case, the audio for each version was remastered by Geoff Pesche at Abbey Road. RH
Fields of the Nephilim: Dawnrazor [Beggars Arkive]
In addition to the Gary Numan reissue out this week, Beggars is re-releasing Dawnrazor, the debut album from goth rockers Fields of the Nephilim. Originally issued in 1987, the LP was an instant indie success in the UK and managed to permeate the global underground, with later groups like Health and Cold Cave taking inspiration from the Nephilim’s dark, seamy compositions. Not only does this reissue clear up any sound quality issues by stretching the nearly 60 minutes of music over two LPs, but Beggars is putting to rest any confusion about the different versions of Dawnrazor that have been released over the years by including all 14 album tracks on this vinyl edition. RH
Lil Ced: Playin’ by the Rules [Now-Again]
Now-Again Records has been devoted to cataloging and archiving the grassroots Memphis rap scene of the mid-’90s, and the latest installment collects the work of rapper Lil Ced, originally circulated on bootleg cassettes and limited-run CDs. Ced and his compatriots offer a raw, ice-cold take on the gangsta rap that took the nation by storm in the ’90s, but with Southern hip-hop elements in the crisp hi-hats and a Midwestern influence in the near-melodic rhythmic flow on the mic. These tracks are a far cry from the immaculately produced songs that were making waves on the radio, as they recorded spontaneously and on the cheap, but they’re as full of power and gravity as anything the majors were releasing. NL
The Dismemberment Plan: Emergency & I [Barsuk]
After two albums of arch, disjointed art-rock, DC quartet the Dismemberment Plan finally found the groove they were looking for on 1999’s Emergency & I. With a concerted effort to tamp down the goofier aspects of their previous efforts, the band mixed and matched their post-punk, P-Funk, krautrock, and indie influences into a mosaic that was colorful, sharp, and, when complemented by the frontman Travis Morrison’s lyrics and powerhouse of a voice, poetic. Released initially on DeSoto, the label run by Jawbox members Kim Coletta and Bill Barbot, this new pressing is out via Seattle imprint Barsuk, who previously handled Morrison’s infamous 2004 solo album Travistan. Previously released on vinyl in 2011 and last year, this fresh 2-LP repress of the album on orange wax includes in-depth liner notes and four bonus tracks taken from singles released around the same time as the album. RH
The Essex Green: Everything Is Green [Dust and Memory]
The Essex Green might not be the first band that comes to mind when discussing the Elephant 6 Collective, but the Brooklyn-by-way-of-Burlington, Vermont, group remains a crucial part of that nebulous scene. And their candy-coated pop—which draws from the sounds of ’60s outfits like the Cyrkle, the Free Design, and Eternity’s Children—certainly fits nicely within the neo-psychedelia of their friends in the Olivia Tremor Control and the Apples In Stereo. The first Essex Green album, 1999’s Everything Is Green, sees a reissue this week through new Spanish imprint Dust and Memory. It’s essentially a straight reproduction of the original vinyl edition, right down to the transparent lime-green wax. RH
Munster and Vampisoul
The maniacs at Spanish reissue labels Munster and Vampisoul are at it again, with a phenomenal batch of reissues sliding their way across the Atlantic and making all the American labels look timid by comparison. These first two come from Vampisoul: Brazilian female vocal quartet Quarteto Em Cy’s 1972 self-titled album features intoxicating harmonies and just-as-intoxicating arrangements by Edu Lobo and Luiz Eça. With elements of bossa nova, MPB, sunshine pop, and jazz, it’s a soothing but peculiarly intense listening experience. Next, Jazz Raga, Hungarian guitarist Gábor Szabó’s 1967 album for Impulse!, may be a bit more familiar to American ears, with an unusual transposition of lysergic psych on top of jazz, pop, and Indian music. Originals aren’t too hard to come by, but there’s no harm in having this genuinely strange album back in print. Meanwhile, Munster is repressing Now-Again Records’ 2017 collection from Zimbabwean band Wells Fargo. Watch Out! compiles several of their mid-’70s singles, which stir together rock, R&B, Zimbabwean folk melodies, and decidedly Meters-esque funk into a unique stew. Lastly, Munster has a reissue of the seminal 1981 debut LP by Orange County’s Adolescents, who were among the originators of the hardcore sound that dominated the West Coast punk scene shortly thereafter. This has been reissued in the States countless times by Frontier Records, but it’s a record that should never fall out of print, and Munster’s edition includes a poster. NL
Guerssen Records
Not to be outdone, the Spanish reissue label Guerssen also has a simply insane trio of fantastic reissues this week. Eduardo Bort’s 1975 self-titled album is a gem of Spanish rock, with heavy prog, psychedelic, and pastoral elements. Apart from the Spanish lyrics, this slab sounds like it should have been blasting out of every Camaro and shag-carpeted van during the ’70s. It’s not too late. Meanwhile, Everlasting Tributes was a 1972 private pressing from Champaign-Urbana, Illinois, band the Finchley Boys, sourced from recordings they had made a few years prior. They played harmonica-augmented blues rock in the vein of the Butterfield Blues Band and Canned Heat, but they spiced it up onstage by incorporating a live boa constrictor into their stage show, long before Vince Furnier started investing in eyeliner. Lastly, Guerssen subsidiary label Out-Sider resurrects their 2022 collection of forgotten San Francisco heavy rock band Boogie. In Freak Town collects the extant recordings of the power trio, including live and rehearsal tapes where they show their formidable power, which reached Blue Cheer levels before the band disintegrated after an undercover drug bust. NL
Jazz Alley
Welcome back to Jazz Alley, the back corner where we tell you about the vast reserves of recovered, remastered, recut, reprocessed, repressed, and reissued jazz that’s designed to make the shelves of vinyl collectors creak ominously. And I know we say this every week, but this one is absurdly packed, so let’s dive in: Analogue Productions continues their partnership with Verve with Clifford Brown & Max Roach, a 1954 10-inch that became a full-length with some additional tracks from 1955; Brown and Roach are joined by Harold Land, Richie Powell, and George Morrow for an ensemble called by some as “the definitive bop group of the era.” And Wes Montgomery’s Bumpin’ is a midnight-blue 1965 set with Latin elements and Montgomery’s immaculately smooth guitar. Those are both cut from tape by Matthew Lutthans at the Mastering Lab and pressed at QRP. Meanwhile, Max Roach has another reissue coming from Verve’s own Verve Vault series: 1961’s Percussion Bitter Sweet also features the talents of Eric Dolphy, Mal Waldron, Booker Little, and of course Abbey Lincoln, for a fiery session that includes political undertones and injections of social justice. And Archie Shepp’s 1964 LP Four for Trane was produced by none other than Coltrane himself, and it’s set at the edge where post-bop trickles into the avant-garde. Both Verve Vault titles were cut from tape by Ryan K. Smith of Sterling Sound and pressed at Optimal.
That’s not all, not even close. Mack Avenue continues their authoritative reissue series of the Strata-East label with three more fresh ones: The Heath Brothers’ Marchin’ On! from 1976 features Strata-East label head Stanley Cowell on piano and explores blues, gypsy jazz, and bop; bassist Cecil McBee’s 1974 debut Mutima delves into spiritual jazz sounds, including a lengthy bowed piece called “From Within”; and Cowell and Charles Tolliver team up for Music Inc., the 1970 LP that was Strata-East’s very first release. All three were cut from tape by Kevin Gray and pressed at RTI. Not to be outdone, Blue Note drops a couple more into its vast Classic Vinyl Series. Johnny Griffin’s 1957 A Blowing Session features a three-sax lineup that also includes Coltrane and Hank Mobley, and backing by Art Blakey, Paul Chambers, Wynton Kelly, and Lee Morgan. And Jimmy Smith’s House Party from 1958 also includes Morgan, Blakey, Lou Donaldson, Kenny Burrell, and others. The two Blue Note titles were cut from tape by Kevin Gray and pressed at Optimal. How’re your shelves holding up? NL
OTHER REISSUES OF NOTE:
Aborted: Global Flatline; The Necrotic Manifesto; Retrogore; Termination Redux; La Grande Mascarade [Supreme Chaos]
Asphyx: Crush the Cenotaph [Supreme Chaos]
The Band: The Best of The Band [Capitol/UMe]
Pétur Ben: Metalhead soundtrack [Svart]
Chuck Berry: Rockin’ Rollin’ New Year’s Eve [Liberation Hall]
Dickey Betts & Great Southern: Southern Jam New York 1978 [Rockbeat]
Ian Boddy & Chris Carter: Caged 25th anniversary edition [Mute]
Budgie: Live in Reading 1980; Live in Reading 1982 [Noteworthy Prod.]
Brand New: The Devil and God Are Raging Inside Me [Interscope]
Bring Me the Horizon: That’s the Spirit [Legacy]
Crematory: Klagebilder; Pray; Infinity [Rock of Angels]
Craig David: Born to Do It 25th anniversary edition [CMG]
Death Cab for Cutie: Kintsugi [Barsuk]
Detective: It Takes One to Know One [Org Music]
Neil Diamond: All-Time Greatest Hits [Universal]
Al di Meola: One of These Nights, Part 1 [Inakustik]
DJ Cam: Underground Vibes 30th anniversary edition [Diggers Factory]
Tha Dogg Pound: Dogg Food [Death Row/Gamma]
Candy Dulfer: Big Girl 30th anniversary edition [Music on Vinyl]
Brian Ellis: In the Dark [Star Creature]
Steve Forbert: The Things I See (10th anniversary remix of Compromise) [Rolling Tide]
Griot Galaxy: Live on WUOM 1979 [Two Rooms]
Françoise Hardy: In Deutschland; Canta Per Voi In Italiano [Omnivore]
Hatfield and the North: self-titled [Musea]
Héctor “El Father”: The Bad Boy: The Most Wanted Edition [Machete]
Shinsuke Honda: Banka [Studio Mule]
Iron Maiden: Life After Death 40th anniversary edition [BMG]
Sven-Åke Johansson: Sabeltanz [Edition Telemark]
Loscil: Sea Island [Kranky]
Makaya McCraven: Universal Beings [International Anthem]
Jackie Mittoo: Keep On Dancing [Hang High]
Thelonious Monk: Bremen 1965 [Sunnyside]
Moodymann: Black Mahogani II EP [Peacefrog]
90 Day Men: (It (Is) It) Critical Band 25th anniversary edition [Numero]
Osibisa: Monsore [Charly]
Petr Ostrouchov: Želary [Animal Music]
Pallbearer: Foundations of Burden (2025 Redux) [Profound Lore]
Mike Parker: Epilogue [Field]
Alan Parsons Project: Tales of Mystery and Imagination: Edgar Allan Poe [Cooking Vinyl]
Ranking Dread: Lots of Loving [Lantern]
Simon Rattle & Berliner Philharmoniker: Holst: The Planets [Warner Classics]
Snoop Dogg: The Doggfather [Death Row/Gamma]
Sparks: Halfnelson [Friday Music]
The Stranglers: Live at the Hammersmith Odeon 1982 [Room on Fire]
Tedeschi Trucks Band: Everybody’s Talkin’ [Music on Vinyl]
Thin Lizzy: Live and Dangerous [Friday Music]
Viagra Boys: Consistency of Energy/Call of the Wild [Year0001]
The Walker Brothers: No Regrets [Music on Vinyl]
John Williams: Catch Me If You Can score [Geffen/UMe]
Various Artists: Bollywood Nuggets Vol. 2: The Instrumentals [Akenaton]
Various Artists: Music from the Land of the Sky: 1925 Asheville Sessions [Rivermont]
Various Artists: Other Music soundtrack [Unbranded]
