New vinyl reissues: July 24, 2026

It’s another big ol’ week in the world of vinyl reissues, with the launch of an authoritative reissue series for one of the biggest bands of all time, the kick-off entry in the new Capitol Record Club, the latest Definitive Sound Series one-step pressing, two new MoFis, and nine—count ’em, nine—50th anniversary re-releases coming from the Rhino/Warner catalog. But before we get into all of that, a bunch of announcements landed yesterday that are going to make the upcoming weeks a real vinyl-palooza.

First off, the next two installments of the Vinylphyle series were unveiled, but I’ll get into the details for those below, as they’re already available and are shipping out this week. Next, the Definitive Sound Series announced that they’ve got Kacey Musgraves’s 2018 album Golden Hour on tap, with a one-step pressing due out August 28. Interestingly, this DSS was cut at 45 RPM on two LPs—the first time they’ve done a 45 pressing, I believe. The lacquer was cut by Levi Seitz at Black Belt Mastering from 24/96 flat master files and was pressed on super-silent Neotech vinyl, with the disc housed inside a tip-on gatefold jacket and a deluxe but relatively slender slipcase.

Meanwhile, Fontana Records’ Thousand Club series has added the third and fourth entries into its budding roster: Small Faces’ 1966 self-titled debut album, an absolute mod classic, and Caravan’s 1973 Canterbury prog opus For Girls Who Grow Plump in the Night. These were both cut from analog by Alex Wharton at Abbey Road, and Fontana’s series is among the few reissue lines that has access to original master tapes of British albums and is giving them AAA treatment. Most new remasters of classic British albums seem to receive half-speed mastering from a digital file, so this makes the Thousand Club a particularly auspicious and well-needed line—let’s hope other British labels and mastering labs take their cues from what Wharton and Fontana are doing. Small Faces comes with a signed card by drummer Kenney Jones and marks the first time it’s ever been cut from the original un-EQ’ed IBC Studios master tapes. It and the Caravan album both come in limited, numbered editions of 1000, due out September 25. Meanwhile, the first two Thousand Clubs releases—Camel’s The Snow Goose and Leaf Hound’s Growers of Mushroom—come out next week.

Also, one of the Vinyl Cut’s favorite local labels, Portland’s Jackpot Records, is reissuing the Wild Magnolias’ 1975 album They Call Us Wild, which was released in Europe but—despite the Magnolias hailing from New Orleans—never received a vinyl release in the US. The album was the second from the tribe of Mardi Gras Indians, who also performed as a funk band, much like the Wild Tchoupitoulas would one year later on their self-titled album. They Call Us Wild was cut from tape by Kevin Gray at Cohearant Audio and was pressed to red vinyl at Optimal. It comes out September 4.

But that’s enough about the future. Let’s look at what’s right in front of us this week.

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The Who: My Generation; Live at Leeds [Acoustic Sounds]

The big vinyl news last week was that Chad Kassem’s Acoustic Sounds/Analogue Productions is reissuing four Who albums (with more likely to come), with Chris Bellman’s mastering that he did 25 or so years ago for the now-defunct Classic Records, whose metalwork Kassem acquired some years back. Two of those are already pressed, printed, and shipping out this week. 1965’s My Generation—presented in mono, as the album did not receive a true stereo mix until 2002—is simply one of the best debut albums of all time, capturing the ferocious four-piece in all its early glory. Young Pete Townshend was already revealing himself to be one of the sharpest songwriters of the British rock scene, with songs like “The Kids Are Alright,” “Out in the Street,” and the immortal title track putting the ’Oo head and shoulders above their peers. And by the time 1970’s Live at Leeds came out, they had become a live force like no other,  as Townshend, vocalist Roger Daltrey, bassist John Entwistle, and the hurricane that was drummer Keith Moon came together to form a sonic juggernaut that has yet to be matched. These 2-LP cuts were done at 45 RPM, which means these masterings have never been widely available, as Classic Records only released Bellman’s 33 RPM versions. I’ll reserve judgment as to whether these cuts are the final word on these particular albums—I’d rather they were 33s, to be frank—but they’re definitely worth paying attention to, and Analogue Productions has more Who stuff on the way. Live at Leeds does not come in the folder-style sleeve as per the original, but rather in AP’s typical tip-on gatefold, but supposedly all the inserts have been reproduced.

Marvin Gaye: Let’s Get It On [Definitive Sound Series]

The newest installment of Interscope-Capitol’s Definitive Sound Series arrives with a pull-out-all-the-stops pressing of Marvin Gaye’s 1973 sexual suite, Let’s Get It On. Having made an era-defining masterpiece with 1971’s What’s Going On, Gaye pivoted away from social commentary and hightailed it to the boudoir, making a funky, soulful collection of songs intended for seduction. The title track remains one of his finest tunes ever, and the rest of the album finds Tamla/Motown’s smooth, silky R&B sound all growed up and dressed to kill. The DSS edition, currently available on Motown’s site, was cut from tape by Chris Bellman and pressed on a high-quality Neotech vinyl compound. My first listens reveal that this pressing sounds pretty darn astonishing; I’ll have a full-length review in the coming days.

Counting Crows: August and Everything After & Sheryl Crow: Sheryl Crow [Vinylphyle]

Here’s something worth crowing about: The next two installments in UMe’s Vinylphyle series are here, and they’re both big ’90s hits historically underrepresented on vinyl. In the case of Sheryl Crow’s 1996 self-titled album—the follow-up to her massive debut, Tuesday Night Music Club—this is actually the first time it’s ever been released on vinyl. It includes new liner notes by Jim McDermott and the source for this one is ADA. To quote from the order page: “The pre-mastered flat mixes of this album were originally printed from the 2” 24-track to DAT tape. The final mixes were identified and sent to Justin Perkins who assembled new vinyl cutting masters using a digital/analog hybrid process captured in 96kHz/24bit.” Unlike most of the other Vinylphyles, it wasn’t cut by Joe Nino-Hernes but rather Jeff Powell at Take Out Vinyl. The 56-plus minute album, which includes a bonus track, is spread out across four sides of vinyl, cut at 33 RPM.

The other new Vinylphyle is Counting Crows’ 1993 debut August and Everything After. This one is all-analog, cut from the Ocean Way Studio master tapes by Nino-Hernes. Its 52 minutes are spread across four sides as well, matching its configuration on recent reissues from Universal. There was a 2-LP 45 RPM version from Analogue Productions cut by Ryan K. Smith in 2012 (and repressed in 2021), and that will likely be the point of comparison for this new Vinylphyle edition, which I believe is at 33 RPM (the listing doesn’t say otherwise) and comes with new liner notes by Rick Florino. Both albums should be available for ordering from the uDiscoverMusic site right now; if the early-access links I’ve included in the text above no longer work, try here.

Sparklehorse: Good Morning Spider [Capitol]

Capitol Records have launched a new reissue series bearing the name of Capitol Record Club, which was a mail-order subscription series from the 1950s and 1960s. For the new Capitol Record Club, no subscription is required, and they’re primarily focusing on albums from the 1990s that were never consistently available on vinyl. The first entry is Sparklehorse’s 1998 album Good Morning Spider, the second album from Sparklehorse and the first since frontman/songwriter Mark Linkous suffered an overdose that temporarily left him without the use of his legs. And while Linkous claimed many of Good Morning Spider’s songs were written before the accident, the album nevertheless became the de facto document of his recovery. It’s a striking concoction of unconventional sounds and gorgeous songs, and it’s been cut at 45 RPM across two LPs by Levi Seitz at Black Belt Mastering, with a bonus 7-inch that includes a collaboration with Radiohead’s Thom Yorke on a cover of Pink Floyd’s “Wish You Were Here”—and it’s limited to 3000 numbered copies.

The Spirit of ’76 [Rhino]

Rhino’s July campaign of 50th anniversary reissues continues with nine more titles this week. Three of them are in the Rhino Reserve line, meaning analog cuts by Matthew Lutthans and nice pressings from Fidelity. Gordon Lightfoot’s 1976 album Summertime Dream is best-known for containing the unlikely hit “The Wreck of the Edmund Fitzgerald”—a six-minute narrative ballad about a maritime calamity in Lake Superior, where a freighter sank in November 1975, drowning 29 men. But the rest of the album is one of Gordo’s best, with his Canadian folk-rock reaching its commercial apex. Meanwhile, Rod Stewart’s A Night on the Town from 1976 was his second LP after relocating to America the previous year, and similar to Atlantic Crossing, one side is rockers and the other is ballads, which ended up being the singles, like “Tonight’s the Night (Gonna Be Alright),” “The Killing of Georgie (Part I and II),” and his cover of Cat Stevens’s “The First Cut Is the Deepest,” which was a hit for P.P. Arnold in 1967. And Todd Rundgren’s Faithful is one-half wide-ranging originals while the other is made up of faithful covers of songs from 1966 and 1967, including “Good Vibrations,” “Strawberry Fields Forever,” and “Most Likely You Go Your Way and I’ll Go Mine.”

Meanwhile, Rhino is also releasing 50th anniversary pressings of other 1976 albums, like Chicago’s Chicago X (that’s the one with “If You Leave Me Now” and the chocolate bar cover), the Monkees’ Greatest Hits, as released on Arista in 1976 (itself a repackaging of the 1972 Bell Records comp Re-Focus), Linda Ronstadt’s ballad-heavy Hasten Down the Wind (cut from tape by Chris Bellman), and the J. Geils Bands’ double live album Live: Blow Your Face Out (remastered from analog by Bernie Grundman, although the advance blurb does not explicitly say it was cut from tape). And for Grateful Dead fans, they’ve got the retail edition of the Grateful Dead’s Steal Your Face (initially available as a dead.net exclusive), as well as the 1976 self-titled debut of Bob Weir’s side project Kingfish, which is a truly terrible album.

Howlin’ Wolf: Howlin’ Wolf (mono) & Muddy Waters: Muddy, Brass and the Blues [Chess/Acoustic Sounds]

Two more from Acoustic Sounds’ Chess Records series are here. Howlin’s Wolf’s self-titled album from 1962, often referred to as the “Rocking Chair Album,” was his second for Chess, and like the first, it collects several singles that were recorded and released in the preceding years, many of them written by Willie Dixon. Wolf’s renditions of classics like “Spoonful,” “Little Red Rooster,” and “Back Door Man” provided fertile soil for many white-based blues practitioners to try their hand—no small thing when we’re talking about bands like the Rolling Stones, Led Zeppelin, and Cream. Meanwhile, Muddy Waters’s 1966 album Muddy, Brass and the Blues put the Chicago blues legend in front of a horn- and organ-driven ensemble, putting his style within arm’s reach of soul music. Unlike the Howlin’ Wolf album, it’s not a stone-cold classic, but these Acoustic Sounds cuts are cut by Matthew Lutthans at the Mastering Lab and pressed at QRP, so they’ve very likely never sounded better.

Mojave 3: Ask Me Tomorrow; Out of Tune; Excuses for Travellers; Spoon and Rafter; Puzzles Like You [4AD]

After Slowdive’s initial breakup in 1995, three of its members—guitarist Neil Halstead, bassist Rachel Goswell, and drummer Ian McCutcheon—turned down the volume and formed a dreamy country-folk outfit called Mojave 3, enlisting keyboardist Alan Forrester and guitarist Simon Rowe to round out their ranks after completing 1995’s debut Ask Me Tomorrow. Four more Mojave 3 albums followed over the next decade or so, and now 4AD is reissuing them all on vinyl, in most cases the first time they have been available on wax since their original releases. 2000’s Excuses for Travellers may be the best one overall, but all five find the band exploring more pastoral acoustic sounds, eventually incorporating more psychedelic and indie-pop elements by the time of their later albums. A limited 5-LP box set was briefly available before selling out, but the albums, featuring new Abbey Road mastering, are also available individually.

David Bowie: Heathen; Reality; A Reality Tour; The Next Day; Blackstar [Parlophone]

Last September, we got I Can’t Give Everything Away [2002–2016], a massive box set that collected the final works of David Bowie, starting with his 2002 reunion with producer Tony Visconti (Heathen) and leading up to Bowie’s death on the heels of Blackstar’s release in January 2016. It was also the sixth and final entry in Parlophone’s series of box sets to comprehensively cover Bowie’s complete recorded output (although Bowie fans will be quick to point out that the two Tin Machine albums and the 1990 Sound + Vision tour have not been boxed up yet). Now the individual albums from the I Can’t Give Everything Away box are receiving individual breakout releases, and if they match the box set pressings, they should sound strong and clear. These assorted albums have all generally been available in recent years but have currently fallen out of print, making their return to vinyl welcome. This is also the first time Blackstar has been reissued on vinyl in 10 years—considering it’s the best of this bunch, its return is doubly welcome.

Freddie Hubbard: The Artistry of Freddie Hubbard [Verve/Acoustic Sounds]

I didn’t see enough to warrant a full Jazz Alley roundup this week, but I’d be remiss not to tell you about the latest in Verve’s Acoustic Sounds series. Freddie Hubbard’s The Artistry of Freddie Hubbard first came out in 1963 on the Impulse! label (now under the Verve umbrella). It finds the trumpeter, formerly of Art Blakey’s Jazz Messengers, fronting an ensemble that adeptly handles hard bop and modal ideas across three Hubbard originals and a pair of standards by Duke Ellington and the Gershwins. The ensemble includes Curtis Fuller on trombone, John Gilmore on tenor, Tommy Flanagan on piano, Art Davis on bass, and Louis Hayes on drums. This new pressing was cut from the original analog tape by Matthew Lutthans at the Mastering Lab and was pressed at QRP.

Jon Anderson: Olias of Sunhillow & Donald Fagan: Kamakiriad [Mobile Fidelity]

Two more MoFis are here. Fittingly, Jon Anderson’s Olias of Sunhillow is celebrating its 50th anniversary this month; it was part of a group of five solo albums that the members of Yes recorded in between 1974’s Relayer and 1977’s Going for the One. Anderson’s entry is, as you might expect, both fey- and fay-sounding, with the delicate-voiced singer sounding elfin and otherworldly on an ecologically-minded science fiction concept album. Describing the fate of an alien race looking for a new home on another planet, it no doubt crossed a young James Cameron’s pot-addled ears at some point in the 1970s, with its ravishing music and intricate artwork presaging Avatar by decades. It’s a fun, silly album that has a few really beautiful moments on it; MoFi’s edition is limited to 2000 copies and is cut from a DSD transfer of the master tape. Performed entirely by Anderson, he subjected the album to endless amounts of overdubs, resulting in a slightly dull, muted finish to certain elements of the recording, so it will be interesting to see if MoFi can excavate some of the sound and provide the proper lushness that this hare-brained opus deserves. They’re also issuing Donald Fagan’s Kamakiriad as a 2-LP 45 RPM UltraDisc one-step pressing in an edition of 4000. Fagan’s 1993 solo album is chock full of MIDI synths and slick jazz-funk; its precision likely appeals to certain Steely Dan fans, but for this one it’s just too cold-blooded.

OTHER REISSUES OF NOTE:
(*star denotes inclusion in this week’s paid-subscriber playlist)

Argentina: Best Of [ZYX]
Kane Brown: Different Man [Sony]
Buraka Som Sistema: From Buraka to the World; Komba; Buraka [Enchufada]
Cher: 3614 Jackson Highway (retail) [Rhino High Fidelity]
Common: Resurrection [Sony]
Cuby & The Blizzards: Desolation [Music on Vinyl]
*The Damned: Damned Damned Damned [Sanctuary]
Dance Gavin Dance: Whatever I Say Is Royal Ocean; Downtown Battle Mountain II; Mothership [Rise]
DJ Jazzy Jeff & The Fresh Prince: He’s the DJ, I’m the Rapper [Sony]
DJ Quik: Quik Is the Name [Sony]
Dokken: Erase the Slate [Deko Music]
*Echo and the Bunnymen: Songs to Learn & Sing [Rhino]
*Egg: The Civil Surface [Esoteric]
50 Cent: Best of 50 Cent [Universal]
*Ella Fitzgerald: Live at Falkoner Theatre Copenhagen 6th February 1966 [Gearbox]
Emerson, Lake & Palmer: Works Live [BMG]
*The Four Tops: Four Tops Live! [Elemental Music]
GAS: November 89 [Kompakt]
Gene Loves Jezebel: Discover + Glad to Be Alive [Beggars Banquet]
Michael Giacchino: Lost Season 3 soundtrack [Varèse Sarabande/Craft]
The Goo Goo Dolls: Let Love In [Warner]
Gun Outfit: Early Tapes Vol. 1 [LG]
Hawkwind: Sonic Assassins: Live 1977 [Atomhenge/Cherry Red]
INXS: Kick (retail) [Rhino High Fidelity]
*The Internet: Ego Death [Sony]
Tommy Jay: Tommy Jay’s Short Sagas of Sorrow: The Lost 1974 Tapes [Hozac]
*Keane: Under the Iron Sea [Interscope]
Himiko Kikuchi: Don’t Be Stupid; All Right; Woman [Teichiku]
KKD: In a Secret Room [Raw Culture]
L.A. Guns: Riot on Sunset: The Best Of [Cleopatra]
Jerry Lee Lewis: Killer in Stereo: I’ve Been Twistin’ [Sun]
Magnum: On a Storyteller’s Night [Revolver]
*John Martyn: One World; Grace and Danger [Proper]
*Dave Matthews Band: Everyday [Sony]
Joni Mitchell: Court and Spark (retail) [Rhino High Fidelity]
Necropolis: Lock Up [Dissonance/Cherry Red]
Newsboys: Take Me to Your Leader [Girder]
*Juice Newton: Angel of the Morning: The Very Best Of [Cleopatra]
P.M. Dawn: The Bliss Album…? [Friday]
Protector: Urm the Mad [High Roller]
Q-Tip: Amplified [Sony]
Rozz Rezabek: 1979 Pop Session [Hozac]
Saccharine Trust: Surviving You, Always [SST]
Sia: This Is Acting [Sony]
*Sleater-Kinney: Call the Doctor [Sub Pop]
The Smiths: Best… I; Best… II [Rhino]
Snow Patrol: Eyes Open [UMR]
Dusty Springfield: Dusty in Memphis (retail) [Rhino High Fidelity]
The Stone Roses: Sally Cinnamon [Warner UK]
Streetlight Manifesto: Everything Goes Numb; Somewhere in Between; 99 Songs of Revolution: Vol. 1; The Hands That Thieve [Pentimento Music]
Sum 41: All Killer No Filler [Universal]
*The Surf Riders: Ten Tons of Wet [Sonic Wax]
Teengenerate: Live at the Empty Bottle [Hozac]
Toadies: Rubberneck [Interscope]
*Peter Tosh: Legalize It [Sony]
Piero Umiliani: Fantasy [Four Flies]
Van Der Graaf Generator: Orbital Mechanics (BBC 1970 & 1971) [Lumi]
Terri Wells: Just Like Dreamin’ [Sonic Wax]
X-Ray Spex: Obsessed with You: The Early Years [Do Yourself In]