New vinyl reissues: October 23, 2026

We have officially entered the silly season, when the record labels go into overdrive to put out as much stuff as possible in time for the holiday shopping season. This week of new reissues might be the biggest of the year so far, what with Rhino’s Rocktober campaign hitting cruising altitude, two new Vinylphyles, a new MoFi, new Definitive Sound Series and Because Sound Matters one-steps, the conclusion of the Rough Trade 50 series, and plenty of other goings-on. I’ll try to get into as much as I can, but there are waaay more worthwhile new reissues than I can write about, so be sure to consult the long list at the end for all the things I wasn’t able to devote a blurb to this week.

Counterbalancing that, it was a light week on announcements and preorders. I expect these will slow down as we approach the end of the calendar year. The biggest announcement of the week is Mobile Fidelity’s reissue of the B.B. King and Eric Clapton collaborative album from 2000, Riding with the King. It’s being released on 2 LPs at 33 RPM with a pair of bonus tracks, with mastering engineer Krieg Wunderlich cutting from the 24-bit/44.1kHz digital master. Preorders are live but the release date is TBD. Strangely, Clapton also separately announced that a grey-lemon colored vinyl pressing of this same album—with the standard mastering, not the MoFi one—is coming out December 4.

The only other real things of note are some 50th-anniversary colored-vinyl pressings of 1976 albums that the labels are scrambling to get out before the end of the year. They include a yellow vinyl pressing of perhaps the most important album of 1976, Stevie Wonder’s Songs in the Key of Life, including the bonus “A Something’s Extra” 7-inch but not the four outtakes that were released digitally in September. This was a real missed opportunity to make a true expanded reissue, with perhaps newly mastered audio and a third LP including the “A Something’s Extra” on one side (in what would be much finer fidelity than the 33 RPM 7-inch) and the surprisingly solid, newly uncovered outtakes on the other side. Alas, not to be. As it is, this unnecessary reissue comes out November 18.

We’re also getting a blue marbled vinyl edition of Queen’s 1976 album A Day at the Races, with unknown mastering. The last pressing featured a half-speed master by Miles Showell of Abbey Road, but that was for the Disney-owned Hollywood Records, and this new one comes from Sony, so… shrug? It’s due out December 11. And yesterday it was announced that Genesis’s two albums from 1976—A Trick of the Tail and Wind and Wuthering, the former featuring the introduction of drummer Phil Collins as the band’s new lead singer, and the latter being guitarist Steve Hackett’s final studio effort with the band—would be getting colored reissues, on “lava red” for Trick and “lone tree green” for Wind. These probably use the disliked 2007 remixes by Nick Davis rather than the original album mixes, but that remains to be confirmed. They’re scheduled to come out on December 18—making it likely that this green-vinyl Wind and Wuthering will come out before the much-anticipated 45 RPM 3-LP AAA version ever materializes from Analogue Productions.

Soapbox moment: These colored-vinyl 50th-anniversary pressings are disappointingly poor showings by the labels and bands involved. Rather than put together packages of value—that might contain, say, remastered audio, unreleased studio outtakes, contemporaneous live performances, thoughtful liner notes, or anything new or noteworthy to satisfy fans and allow listeners to understand and contextualize the music—they’ve opted for quickie colored pressings that use existing digital masterings, slapped “50th anniversary” labels on them, and called it quits. All four of these albums deserve better.

All right, I’ll climb down now. After all, it’s not like the market isn’t saturated with reissues already, as you’ll see from looking at what’s coming out this week.

First, here’s this week’s playlist, accessible only to our paid subscribers. You likely know the drill by now: Paid subscribers get access to these weekly playlists, plus lots of other perks, such as full site access to everything we’ve ever published, commenting privileges, and the ability to participate in our monthly vinyl giveaways.

Speaking of those giveaways, a big congratulations to paid subscriber Stewart, who is the lucky winner of our October contest! This one was for something pretty amazing: a test pressing of the Definitive Sound Series one-step of Beck’s Morning Phase. Stewart will get this mega-rare piece of vinyl—which sounds absolutely killer—shipped to his door. And not only that, he gets all the membership perks that I mentioned above… and best of all, his subscription directly supports The Vinyl Cut, a small independent publication that doesn’t rely on ad sales or any other form of revenue other than its paid subscribers.

Want to join the club? Great!

Rhino Rocktober

Let’s start with Rhino, who are dominating the endcaps this week with their Rocktober campaign. Most interesting are the four new AAA Rhino Reserve pressings, all cut from tape by Matthew Lutthans at the Mastering Lab and pressed at Fidelity. We’re getting Mott the Hoople’s thunderous, sloppily majestic 1971 album Brain Capers, produced by legendary madman Guy Stevens (London Calling); Doug Sahm’s laid-back 1974 country-rock/tejano/blues record Groover’s Paradise, which the former Sir Douglas Quintet frontman recorded with the Creedence Clearwater Revival rhythm section; and two of singer/songwriter Randy Newman’s best, 1972’s Sail Away and 1974’s Good Old Boys, which invert American musical tropes for scabrously humorous commentaries on American history and society. A fifth Rhino Reserve, for Nada Surf’s 1996 debut album, High/Low, was cut from digital by Jeff Powell at Take Out Vinyl. (Note: The previously announced Rhino Reserve pressing for the Dream Academy’s 1985 self-titled debut, containing “Life in a Northern Town,” has been postponed until 2027.)

They’ve also got a mono mix of the Ramones’ unkillable 1976 self-titled album making its way to vinyl. The mix was first included in the 40th-anniversary CD box set from 2016 and was released on red vinyl in 2023 via a cut by Joe Nino-Hernes; that version came with a bonus 7-inch while this one, pressed on black vinyl, does not, but presumably this new one also uses the Nino-Hernes cut. The Best of Tony Joe White is a vinyl pressing of a 1993 Warner Archives CD collection that gathered up Tony Joe White’s hits from his stints on Monument Records and Warner Bros., spanning 1969 to 1973 and containing some absolutely vital Southern-swamp country-soul rock ’n’ roll.

Meanwhile, Devo’s last studio album, the 2010 reunion effort Something for Everybody, is getting a black vinyl pressing with four bonus tracks on an extra blue-vinyl 7-inch; it was mastered by Chris Bellman of Bernie Grundman Mastering. The Doobie Brothers’ Best of the Doobies is getting its second pressing on coke-bottle green vinyl; it previously was reissued on that color in 2020 as a Walmart exclusive, pressed by Clint Holley at Well Made Music. And Rhino have updated Rod Stewart’s 1979 Greatest Hits album with two newly prepared volumes: Volume 2 (on aqua vinyl) and Volume 3 (on yellow vinyl), which cover Stewart’s hits through the ’80s and ’90s, with cover designs that match the original.

On the less promising end of things: Rhino are also releasing four pull-outs from their Hootie & the Blowfish box set from 2025, including pressings of 1996’s Fairweather Johnson, 1998’s Musical Chairs, 2000’s covers album Scattered, Smothered and Covers, and 2002’s Hootie & the Blowfish, charting the band’s slide from mid-’90s omnipresence to early-’00s obsolescence. And Rhino has been magnanimous enough to repress Never Shout Never’s 2010 album Harmony on 45 RPM (it’s a short album), but yikes, this chirpy MySpace pop is perhaps best left in the memory hole along with Magic! and Plain White T’s. I guess the Obama era wasn’t all great.

Rhino Rocktober titles will be at brick-and-mortar record stores on the day of release; they should be available on Rhino’s site shortly thereafter, but support your local if you can. I’ll have reviews for the Rhino Reserve pressings of Mott the Hoople’s Brain Capers and Doug Sahm’s Groover’s Paradise here on The Vinyl Cut in the coming days.

Frank Sinatra: Sinatra at the Sands & Sublime: Sublime [Vinylphyle]

The two new Vinylphyles for the month of October are here, but first a quick word about one of the September releases. Most of you already know, but for those who don’t: UMe has recalled their Vinylphyle pressing of The Velvet Underground (the 1969 album by the New York band), which was touted as the “Closet” mix but actually contained Side 1 of the Closet mix and Side 2 of the more readily available “Valentin” mix. It seems like most folks were perfectly happy with the album as it was—both mixes are quite enjoyable, and the new mastering apparently sounded fantastic—but to their credit, UMe and Vinylphyle are going to repress the album with the Closet mix on both sides, making this first batch of mispresses destined to become collectors’ items. UMe/Vinylphyle will contact everyone who purchased the incorrect version when the new pressing is ready; you can also opt for a refund. Thanks to readers Richard and Peter for emailing me about this.

All right, as for the two new Vinylphyles: By far the more interesting and musically enjoyable is a new mix of Frank Sinatra’s 1966 double live album Sinatra at the Sands, recorded in the Copa Room at the Sands Hotel and Casino in Las Vegas. This is ring-a-ding-ding at its apex, with Sinatra commanding the crowd with an arsenal of hits, standards, and belligerent stage patter. There’s also a 60th-anniversary 5-CD box set that includes five complete concerts from Ol’ Blue Eyes’s residency at the Copa, all newly mixed by Larry Walsh, who remastered much of Sinatra’s material for the CD age. Walsh has also remixed the album tracks for this Vinylphyle release, so it’s not AAA but rather ADA, with the original four-track multitrack master transferred to digital and mixed in that realm. Joe Nino-Hernes mastered and cut the lacquer, so it should sound pretty swell, kid.

The other new Vinylphyle is Sublime’s 1996 album Sublime, released two months after lead singer Bradley Nowell, in one of the all-time highest-ranking cases of terrible timing, overdosed on heroin and completely missed out on the absurd success his music experienced. Featuring such cringe-worthy karaoke classics as “What I Got” and “Santeria,” it’s been deemed a “classic” by the type of people who, y’know, don’t really listen to a whole lot of music. You’ve heard it, I’ve heard it, this goddamn thing has clogged up radio waves and playlists going on 30 years now and, with this new Vinylphyle edition, shows no sign of going anywhere. It was cut from a 2016 digital master by Joe Nino-Hernes and pressed at RTI, with new liner notes by Nate Jackson. You know the part where Nowell sings “I can play the guitar like a motherfuckin’ riot” and then plays perhaps the most un-riotous guitar solo in recorded history? Good times, good times.

Rodriguez: Cold Fact [Mobile Fidelity]

There’s some Mobile Fidelity news as well, which reader Don alerted me to: The long-awaited MoFi UltraDisc one-step of James Taylor’s 1976 compilation Greatest Hits has officially been taken off the books and will not be happening. MoFi have not ruled out the possibility of pressing it in the future, but for now it has been canceled. (Thanks for the heads up, Don!)

But Mobile Fidelity have more than made up for it with this new pressing of cult artist Rodriguez’s debut Cold Fact, which was released on Sussex Records in 1970 and sank without a trace in the US. Meanwhile, fanbases in South Africa and Australia steadily grew over the years, elevating Sixto Rodriguez to the superstar status his music deserved, without Rodriguez’s knowledge and without the fans knowing the man responsible was still alive and well in Detroit. His albums were given reissues by Light in the Attic and an excellent documentary, 2012’s Searching for Sugar Man, followed; Rodriguez passed in 2023 but seeing one of his two legendary albums getting the MoFi treatment (could 1971’s Coming from Reality be next?) is evidence that his music will be around for a long, long while. A quarter-inch analog copy tape was transferred to DSD and has been cut at 45 RPM to two LPs, in a limited edition of 4000.

Dr. Dre: 2001 [Definitive Sound Series]

Interscope-Capitol’s Definitive Sound Series is following up their 2025 one-step pressing of Dr. Dre’s 1992 classic The Chronic with a one-step of Dre’s 2001, which—don’t get confused now—came out in 1999. Like The Chronic, this was cut from analog tape by Chris Bellman at Bernie Grundman Mastering and was pressed on Neotech VR900-D2 compound at RTI. In other words, it will sound as transparent and clear as virtually all of the other DSS pressing have sounded thus far. 2001 features a murderer’s row of guests, including Snoop Dogg, Eminem, Mary J. Blige, Xzibit, Nate Dogg, Devin the Dude, Royce da 5’9”, and of course Tommy Chong. This one’s limited to 4000 and comes in a tip-on gatefold with a slipcase.

My Chemical Romance: The Black Parade [Because Sound Matters]

Meanwhile, Tom “Grover” Biery’s other one-step program over at Warner has its first release in several months: a 20th-anniversary pressing of My Chemical Romance’s 2006 emo concept album The Black Parade. This double LP was also cut by Chris Bellman, but the pressing run is for 7000, so this one should be around for a while. A greedy assortment of standard pressings will also be available, in a variety of colors: “bloodline red,” “baby pink,” and “concrete grey.” These double LPs are not one-steps and are much more affordably priced, even with six additional bonus tracks. And there’s also a single-disc “laser hologram” pressing, which, from the images, looks like some sort of picture disc but might be like that one Styx album or the Superman II soundtrack, which actually had holograms pressed into the vinyl.

Brigitte Fontaine: Comme à la Radio [Wewantsounds]

French art singer Brigitte Fontaine has made a career out of retooling elements of pop and the avant-garde to suit her needs, leaving a lengthy trail of bracing, invigorating music that defies easy description. Paris label Wewantsounds did a stellar job reissuing Fontaine’s 1968 classic Brigitte Fontaine Est… Folle! last year, and now they tackle her 1970 follow-up, Comme à la Radio, which she recorded with Areski Belkacem and the expatriates from the Art Institute of Chicago. This album features singing and spoken word atop jazzlike instrumentation that evokes Arabian and African music as well as French folk and chanson and European art music. Fontaine’s fans include Beck, Björk, Sonic Youth, and Stereolab, who drew inspiration from her unconventional delivery and her sense of the dramatic. The Wewantsounds reissue includes a second disc of rarities and alternates, plus a bilingual 24-page booklet.

Laura Gibson: Empire Builder [Barsuk]; If You Come to Greet Me; Beasts of Seasons; La Grande [Jealous Butcher]

Oregon songwriter Laura Gibson has steadily built a catalog of stunningly affecting folk albums, and this week indie label Barsuk is reissuing one of her finest—her 2016 album Empire Builder, named for the passenger train that travels between Chicago and the Pacific Northwest. Meanwhile, another fine indie label, Jealous Butcher, is offering up three Laura Gibson reissues of its own, for her 2006 debut If You Come to Greet Me, 2009’s Beasts of Seasons, and 2012’s La Grande. And in the sort of inter-label amity that you don’t see too often, you can get a bundle of all four of these Gibson albums, packaged with a bonus acoustic album called Shadows on Parade, an acoustic version of the Beasts of Seasons album. In other words, in one fell swoop you can get an impressive hunk of the catalog of one of America’s best singer/songwriters, one whose wonderful albums have not always been readily available on vinyl. So don’t miss your chance to get them now.

Chuck Berry: Back Home & Muddy Waters: Sings “Big Bill” [Chess/Acoustic Sounds]

The Acoustic Sounds series from Chess Records carries on with two more heavyweights: Chuck Berry’s 1970 album Back Home marked his return to Chess after some years away from the Chicago label. It’s full of the rock ’n’ roll that Berry played a large part in inventing, with Berry ploughing his own furrow and still sounding like a visionary even after American and British bands had been ripping him off for the previous decade and a half. Muddy Waters’s 1959 album Sings “Big Bill” is a tribute to Bill Broonzy, the foundational Mississippi bluesman who was a huge primary influence on English folk and rock artists, in part because he was among the first Black American blues artists to tour the UK. Needless to say, he was a huge influence on Waters as well, who transposes Broonzy’s Delta blues to electric Chicago. Both discs were cut from tape by Matthew Lutthans and pressed at QRP. Although my exposure to this Chess series has been limited so far, the two Etta James titles I picked up are dynamite, so I’d expected these to be the same.

Marlena Shaw: The Spice of Life & Tinkerbells Fairydust: Tinkerbells Fairydust [Fontana/Thousand Club]

Fontana’s Thousand Club is full of surprises, and their two new entries display the series’ omnivorous tastes. On one end of the spectrum is Marlena Shaw’s indelible soul-jazz classic The Spice of Life, released on Cadet in 1969 and featuring production from the genius Charles Stepney. In what I believe is a first for the UK series, it was cut Stateside by Matthew Lutthans at the Mastering Lab—which makes sense, considering that the master tapes reside here in the US. It’s already sold out its limited run of 1000, so let’s hope there’s a plan to let more people hear the Lutthans tube cut of this generational masterpiece. The other is a British obscurity: the 1969 self-titled album from Tinkerbells Fairydust, which was recorded for Decca but not widely released at the time. It’s the kind of fabled lost psych that gets collectors salivating, with a baroque feel and a storybook vibe that’s neatly summed up by the band’s twee-er-than-twee name. This was cut from tape by Alex Wharton at Abbey Road. The first round of Thousand Clubs was pressed at Optimal, while the second round was pressed by GZ, so we’ll just have to wait and see where this batch originated from.

Peter Hammill: Fool’s Mate; Chameleon In the Shadow of Night [Proper]

While the albums Van Der Graaf Generator released in the 1970s are rightly acknowledged by heads as some of the most adventurous and artistically rewarding prog rock ever recorded, the concurrent solo career of VDGG frontman Peter Hammill sometimes gets overlooked. But Hammill’s solo albums are frequently just as brilliant and breathtakingly strange, and Proper Records have reissued the first two—1971’s Fool’s Mate and 1973’s Chameleon in the Shadow of Night, neither of which has had a vinyl airing since the 1980s. Significantly more stripped-down and acoustic-based than his work with VDGG, the albums nonetheless feature Hammill’s beautifully turbulent songwriting and theatrical delivery.

Devo: New Traditionalists & Sparks: A Woofer in Tweeter’s Clothing [Rhino High Fidelity]

The new Rhino High Fidelity titles for October were announced on Friday of last week, too late for me to put in last week’s post, so I’m including them here. 1981’s New Traditionalists is Devo’s fourth album, following the breakthrough of their hit “Whip It” and seeing the band move into darker, more politically pointed territory. And Sparks’ 1972 album A Woofer in Tweeter’s Clothing is their first after changing their name from Halfnelson, featuring spiky glam rock à la Roxy Music and over-the-top theatrical pieces like “Moon Over Kentucky.” Both choices are slightly outside the box for the Rhino High Fidelity series, as they are for adventurous, off-kilter albums that have their devotees but never quite coincided with the mainstream. As with the previous Rhino High Fidelity releases, both were cut from tape by Kevin Gray and pressed at Optimal, and they come in tip-on gatefolds with liner notes. First run is a numbered, limited edition of 5000; it’ll be interesting to see if 5000 Sparks fans bite.

Rough Trade 50

Earlier this year, Rough Trade embarked on a 50-album series to commemorate the label/record store’s half-century mark, with one album from each year of its existence. Dropped in batches of 10, these limited-edition reissues don’t feature new or unique masterings (I don’t think), but they come with new liner notes and special packaging. And now we’re in the home stretch, and this final batch covers 2016 to 2025, with albums both familiar and obscure representing Rough Trade’s role as one of the most resilient and taste-making record slingers around. Here’s the rundown. Charles Bradley: Changes (2016); Idles: Brutalism (2017); Confidence Man: Confident Music for Confident People (2018); Fontaines D.C.: Dogrel (2019); Rina Sawayama: Sawayama (2020); Floating Points, Pharoah Sander, and the London Symphony Orchestra: Promises (2021); Black Country, New Road: Ants from Up There (2022); Lankum: False Lankum (2023); MJ Lenderman: Manning Fireworks (2024); and Pulp: More More More (2025).

Guerssen & Vampisoul

Guerssen has four offerings this month, with the Spanish label uncovering obscurities of all kinds. Irish Coffee is not Irish at all; rather, they were a Belgian hard rock band, and their 1971 self-titled debut has echoes of Deep Purple and Uriah Heep. The Velvet Illusions were a psychedelic/garage band from Yakima, Washington, who recorded a series of singles in LA in 1967. Acid Head collects those original singles from the group, all of whom were teenagers at the time. Massachusetts psych band Flat Earth Society was commissioned in 1968 by the candy company F.B. Washburn to record an album named after their Waleeco products, which included a chocolate-coconut candy bar and hard ribbon candy. The album was available through mail order via an address on the candy wrapper; this reissue reinstates the planned stereo mix, which was summed to mono on the original release. And the Twilights’ 1968 album Once Upon a Twilight was recorded by the Adelaide band in Melbourne after they had taken an unsuccessful trip to Britain to try to make it big. The Bee Gees-indebted album reflects everything they learned in the hot pot of Swingin’ London. The limited colored-vinyl pressing of Once Upon a Twilight is already sold out, but the black vinyl edition—delayed at the moment—should be appearing in the coming months.

Two splendid choices from Spanish label Vampisoul are also heading our way. Brazilian performer Erasmo Carlos made the brilliant Carlos, Erasmo in 1971 with an all-star cast of Brazilian tropicalía and psychedelic musicians, including Sérgio Dias, Manoel Barenbein, Rogério Duprat, and Lanny Gordin, and features songs written by Caetano Veloso, Marcos Valle, and Jorge Ben. The album was slotted for an October 23 release date by Vampisoul but seems to have vanished from their site… their US distributor, Forced Exposure, looks to be getting it in stock on November 27. The other new Vampisoul title this week is the second album from New York funk band Mandrill, 1972’s Mandrill Is, which contains hard-hitting funk and R&B with some Latin and jazz elements. That one can be found on the label’s site; Forced Exposure is getting it on November 27 as well.

Jazz Alley

Perhaps fortunately, it’s a relative quiet down Jazz Alley this week, with only a couple of items of real note. Verve’s excellent Acoustic Sounds series drops a solitary release this month instead of their usual two (some of the expected releases have been pushed back, giving us a chance to catch our breath). It’s Coleman Hawkins’s 1965 album for Impulse!, Wrapped Tight, with the veteran tenor saxophonist coming near the end of a long run of classic performances and recordings; this would be his last album released before his death in 1969. Over on Time Traveler Recordings, Zev Feldman’s reissue series of the Muse Records catalog continues with Clifford Jordan Quartet’s Night of the Mark VII, a live Paris set from 1975 that has become a collectors’ grail, making this new AAA pressing a veritable godsend. Both of these, coincidentally, were cut from tape by Matthew Lutthans at the Mastering Lab; the Hawkins was pressed at QRP and the Jordan at Optimal.

Quick Takes

• Chumbawamba: Tubthumper [Integral]—Containing “Tubthumping,” the irritatingly massive ’90s hit that is now stuck in your head. First time on vinyl! LINK.
• Willie Colón and Héctor Lavoe: The Good, the Bad, and the Ugly [Craft/Fania]—Latin album from 1975, featuring Rubén Blades and Yomo Toro. Cut AAA by Dave Polster at Well Made Music. LINK.
• De La Soul: Stakes Is High [Chrysalis]—30th anniversary pressing of the 1996 album of the foundational hip-hop group. 4-LP set. LINK.
• The Doors: Unbound and Dangerous [Rhino]—Live recordings from 1970. LINK.
• Ngozi Family: Bad Character [Now-Again]—Now-Again Records continues their stellar Zamrock reissues with this 1977 album from Paul Ngozi and his Ngozi Family outfit. LINK.
• Buck Owens and the Buckaroos: At the Mint, Vegas 1968 [Sundazed]—Lost live album from 1968 of the Bakersfield country outfit. Cut by Kevin Gray and pressed at Independent Record Pressing. LINK.
• Amy Winehouse: Back to Black [Republic/UMe]—A 3-LP set celebrating the 20th anniversary of Winehouse’s nouveau-R&B blockbuster, with demos, B-sides, and live tracks. A zoetrope picture disc of just the album itself is also available. LINK and LINK.

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

The Arch: Noisetalgia 1986–2026 [Antler]
Arovane: Atol Scrap [Keplar]
Brooks & Dunn: Brand New Man [Music on Vinyl]
Richard Cheese: The Lounge Awakens; Licensed to Spill; Big Cheese Energy [Coverage]
The Cramps: Songs the Lord Taught Us [Capitol]
Marshall Crenshaw: The Bootleg Sounds of Marshall Crenshaw: 1984–1987 [Yep Roc]
Cuby + Blizzards: Desolation: Expanded Edition [Music on Vinyl]
Miles Davis: At Newport 1958; E.S.P. [Music on Vinyl]
The Deep: Psychedelic Moods [ABKCO]
*Jackie DeShannon: When You Walk in the Room [Liberation Hall]
Desmond Dekker: Essential Artist Collection [Trojan]
Bruce Dickinson: Accident of Birth [Sanctuary]
Ani DiFranco: Not a Pretty Girl [Righteous Babe]
DMX: The Great Depression [UMe]
Dr. John: Gris-Gris Gumbo Ya Ya: Singles 1968–1974 [Omnivore]
Fu Manchu: In Search of [At the Dojo]
Gotcha!: Words and Music from Da Lowlands; Four: It’s the Terra P-Funk from Beyond Space [Music on Vinyl]
John Hammond: Rough & Tough [Chesky]
Larry Heard: Ice Castle [Alleviated]
Chris Isaak: Baja Sessions [Sun]
*Kansas: Leftoverture [Sony]
Salamat Ali Khan: Metamusik Festival Berlin ’74 Vol. II [Black Truffle]
King Diamond: Halloween (picture disc) [Metal Blade]
Lamb of God: Sacrament [Sony]
Leftover Crack: Mediocre Generica [SBAM]
*Levellers: Levelling the Land [Warner UK]
Lord of the Lost: Empyrean [Out of Line]
Lordi: The Arockalypse [Music on Vinyl]
LP: Lost on You [BMG]
The Manic Street Preachers: The Holy Bible Live [Sony]
Johnny Mathis: Christmas Essentials [Sony]
*MLO: Io [Forever]
Mos Def: The Ecstatic [Rhymesayers]
*The Nerves: Best Collection [Third Man]
Organized Konfusion: Organized Konfusion [Nature Sounds]
Outkast: Big Boi & Dre Present… Outkast; Idlewild [Sony]
Augustus Pablo: East of the River Nile [Shanachie]
Paquita la del Barrio: Me Estas Oyendo: Lo Mejor de Paquita la del Barrio [Craft]
Phish: The White Tape [Jemp]
Elvis Presley: Christmas Peace [Sony]
? and the Mysterians: 96 Tears [ABKCO]
Ra: Duality [Music on Vinyl]
Eliane Radigue: Complete Feedback Works [Alga Marghen]
Dianne Reeves: Christmas Time Is Here [Blue Note]
REKS: Rhythmatic Eternal King Supreme [Get On Down]
Pete Rock: Soul Survivor [Sony Legacy]
Roxette: Look Sharp; Have a Nice Day [WEA]
Santana: Lotus [Music on Vinyl]
Shakira: Dónde Están los Ladrones?; Laundry Service; Fijación Oral Vol. 1; Oral Fixation Vol. 2; She Wolf; Shakira [Sony]
Sham 69: Tell Us the Truth; That’s Life [Music on Vinyl]
Strawbs: Grave New World Live [Witchwood]
Swervedriver: Raise: Demos [Outer Battery]
Gabor Szabo: Dreams [Mr Bongo]
*The Traveling Wilburys: Vol. 1; Vol. 3 [Dark Horse]
A Tribe Called Quest: The Low End Theory [Sony]
12 Stones: 12 Stones [Enjoy the Ride/Craft]
Van Halen: A Different Kind of Truth [Rhino]
Suzanne Vega: Tales from the Realm of the Queen of Pentacles [Cooking Vinyl]
Various Artists: Cosmic Cowgirls & Female Outlaws 1951–1979 [Two Piers]
Various Artists: Greatest Chesky Audiophile Jazz Recordings [Chesky]
*Various Artists: Mekong Shellac: Cambodian Artifacts from the 78RPM Era [Sublime Frequencies]
Various Artists: Never Say When [Fourth Dimension]
Various Artists: Northern Soul: Still Burning soundtrack [Charly]
Various Artists: Sweet Inspiration: Guilty Reggae Pleasures [Trojan]