RSD Essentials

Indie Exclusive * The astounding debut album that established the Subhumans as a genuine force to be reckoned with, ‘The Day The Country Died’ captured both the band’s serious anarcho punk ideology and their irreverent sense of humour. It was apparent from the off that here was a band that could not only stimulate your brain but also put a big shit-eating grin on your face as you jumped about to them. And the now-iconic artwork by Nick Lant – probably his most recognisable piece of work for the band - has adorned countless thousands of jackets and T-shirts since. Recorded over just four days during the heady summer of 1982, and released six months later in January 1983, when it quickly climbed to No. 3 in the UK’s then-important Independent Charts, this exhilarating collection of songs has endured for four decades, the band still regularly kicking their live set off with the opening track, ‘All Gone Dead’.

Indie Exclusive * With their eclectic influences and scintillating musicianship, Subhumans were never going to be content to trot out anarcho punk by numbers, but no-one was really prepared for the progressive brilliance of their sophomore album, ‘From The Cradle To The Grave’. Whilst the A-side contains nine short sharp bursts of energised punk, gleefully embracing all points of the spikey spectrum, from the breakneck thrash of ‘Reality Is Waiting For A Bus’ to the ominous dirge of ‘Wake Up Screaming’, it is the ambitious title track that really captures the imagination, its sprawling sixteen-plus-minute running time telling the sorry tale of the human life cycle across a myriad of dynamic acts. If anyone was still in any doubt, it was the band defiantly setting out their stall as a creative entity that existed outside the stifling constraints of perceived musical sub-genres. Committed to tape by the visionary John Loder at Southern Studios at the tail end of 1983, it was released in April 1984 to widespread acclaim – and only kept from the No. 1 spot in the Independent Charts by New Order!

Indie Exclusive * Arguably the highlight of their Eighties output, the third Subhumans album was recorded at Woodlands Studio, Castleford, during Spring 1985, and released early the following year, a few months after the band had split. Opening with the slightly incongruous instrumental, ‘33322’, what it lacks in rampant speed, it more than compensates for with some truly sublime compositions, assured arrangements and dizzying time changes. With a front cover illustration inked by vocalist Dick, ‘Worlds Apart’ saw the band find a veritable sweet spot in their song-writing, spawning many of their best-loved tracks, such as ‘Apathy’, ‘Businessmen’ and ‘Can’t Hear The Words’, but every single track on the album remains an understated masterpiece.

Indie Exclusive * So named because the CD version originally clocked in time-wise at 29 minutes and 29 seconds, ‘29:29 Split Vision’ was recorded in December 1985, just after the band had split up, and they wanted to bring some closure to that period by recording the new songs they were working on at the time, alongside some of their older material that hadn’t yet been properly recorded. Whilst the B-side hints at the underlying reasons the band split up – the inevitable ‘musical differences’, with the three newest songs on the release literally worlds apart (excuse the pun) from their classic material - the five songs on the A-side are veritable belters, and ‘Split Vision’ remains a frustratingly fascinating offering from this most unconventional of punk bands.

Indie Exclusive * The EP-LP was originally released in early 1986, after the band had split in November 1985, and collected for convenience the first four Subhumans EPs onto one disc. This includes the fiery six-track debut, ‘Demolition War’, that was first unleashed at the end of 1981, the powerful and provocative ‘Reason For Existence’ and the perennial ‘Religious Wars’, both from 1982, and the intensely angry ‘Evolution’, from May 1983, whose title track rages so effectively against the senseless tragedy that is vivisection. Whilst never intended to be released as a full-length album when first recorded, most of the eighteen tracks on offer are still staples in the band’s set to this day, and hang together very cohesively as an essential body of work.

Indie Exclusive * As the title suggests, this 1986 album compiled the eight-track ‘Time Flies… But Aeroplanes Crash’ 12”, originally recorded and released in 1983, and the four-track EP, ‘Rats’, that had been recorded during the summer of 1984 and released in early ’85. ‘Rats’ might just be the band’s most powerful and compelling release, the title track inspired by the Stop The City protests of ’84 that sought to highlight the undeniable links between first world capitalism and third world poverty. Whilst it’s something of a mish-mash, with several rowdy live tracks and a few, very enjoyable re-recordings of old Stupid Humans songs (Stupid Humans being guitarist Bruce’s pre-Subhumans band…), it contains two of the Subhumans’ best-loved tracks, ‘Work Rest Play Die’ and ‘Susan’, the latter something of an oddity as it’s a stirring piano piece, with lyrics written by Steve Hamilton, an old friend of the band.

RSD Essential 036 * Think Indie Exclusive * The Offspring preserve the essential ingredients of their chosen genre--guitars grinding out three chords, shouted vocals, and plenty of vitriol--and layer them over a melodic base that packs considerable popular appeal. The singles from Smash, the Offspring's breakthrough album, still receive considerable radio airplay: "Gotta Get Away," "Come Out and Play," and "Self Esteem." With these and Smash's 11 other tracks, the band chronicles the adolescent experience with clarity and surprisingly incisive wit. That pretty much describes all of their albums, but this is the one to get. It's got more shape than their earlier material and isn't as disturbingly poppy as their more recent recordings; it's the perfect blend of riffs and rage. Smash is the best-selling independent album of all time with over 20 million sold worldwide. Alongside Rancid’s And Out Come the Wolves and Green Day’s Dookie, Smash signaled the arrival of punk rock as a commercial force upon it’s initial release in 1994.

First Time on Colored vinyl. Following a decade of stagnation and waning interest, legendary singer-songwriter Warren Zevon, who masked his soft side with his sarcastic, lyrical prose, entered the new millennium with his acclaimed 10th studio album Life'll Kill Ya. Though the album predated Zevon's fatal cancer diagnosis by two years, its title track, as well as standout cuts like "My Shit's Fucked Up" and "Don't Let Us Get Sick," brought the album critical praise as a "mournful lament on the aging process and the inevitable decay that accompanies it." Available now for the first time on colored vinyl. Ship To Shore PhonoCo's reissue of Life'll Kill Ya features expanded liner notes and rare photos from Jorge Calderón, Zevon's son, Jordan, and Dawes' Taylor Goldsmith. Other highlights include "Porcelain Monkey," which puts Elvis Presley in Zevon's sardonic crosshairs, a cover of Steve Winwood's "Back In The High Life Again" sounds as if it were written for Zevon, and "Fistful of Rain" is a melodious examination of the fickle nature of fame. Engineered as a comeback vehicle, co-produced by Paul Q. Kolderie and Sean Slade (the producing duo responsible for Radiohead's Pablo Honey), Zevon's songwriting collaborator Jorge Calderón added a lighthearted accent to Zevon's musical portraits of doom and gloom. Despite helping with a successful comeback, Life'll Kill Ya's content was revealed all too true when, in 2003, Zevon passed away of pleural mesothelioma. "I mean, the fact that life will kill you is just that," Zevon told Rolling Stone upon the album's release. "I think you have to spend a fair amount of time realizing that you will be, so that you'll remember to enjoy everything you possibly can every minute you're not. You always want to try and tell younger people that, which is very difficult because they don't really hear it because they feel a life has been imposed on them. And of course, they're absolutely correct."

"Indie Exclusive * 60th Anniversary *Originally released in 1963, this is US soul star Wilson Pickett’s debut record as a solo performer, following an earlier career with gospel group The Violinaires, and R&B vocal group The Falcons. Pickett developed his electric singing style on the streets of Detroit, and was heavily influenced by Rock & Roll’s Little Richard. 'If You Need Me' and 'It's Too Late' were the biggest hits and led to his signing with Atlantic Records. Pressed on heavyweight cream colored vinyl, six decades later in stereo format. "

Indie Exclusive * 50th Anniversary * After signing with the Canyon label in 1970, Irma Thomas began working with producer and composer Jerry “Swamp Dogg'' Williams. The demise of Canyon forced the late release of this record, which was eventually issued on Williams’ Fungus Records in 1973. Featuring strong domestic-situation songs and a powerful ‘rap’, these sides were recorded with Swamp Dogg’s backing band (who truly had that ‘Muscle Shoals’ sound) and delivers a hard socking, gospelfide, funk-filled Southern Soul gem. To mark the 50th anniversary of this record’s first release, it is reissued here on heavyweight turquoise colored vinyl.

Indie Exclusive * Kenny Rogers fame as a solo musician in country and pop music has somewhat overshadowed this band’s impressive array of hits during the late sixties. Billed until 1969 as just “The First Edition”, the group developed a unique sound blending folk and country with psychedelic rock. Their first major brush with fame was the release of "Just Dropped In (To See What Condition My Condition Was In)", a psych single with Rogers on lead vocals. Rebranded as “Kenny Rogers & The First Edition” the group went on to work with producer and record executive Jimmy Bowen who produced the sessions herein. A unique double album pressed on trans-violet colored vinyl, transferred from the original master tapes.

Indie Exclusive * Pressed on black ice vinyl, with a transparent ruby red 7” that includes two previously unreleased bonus tracks featuring Bilal and Talib Kweli * A small pressing of a standard black variant will be in the marketplace before this drops - it won't have the 7"w/ the bonus tracks * Cuts for Luck and Scars for Freedom is the debut album by Mystic, released on June 19, 2001 through GoodVibe Recordings and JCOR Entertainment. The album elicited highly positive reviews from critics, who praised the album's lyrics and themes. Eventually, the album earned Mystic several accolades and award nominations. In 2001, Kludge magazine ranked it at number seven on their list of best albums of the year. In 2002, the album earned Mystic a nomination for Best Female Hip-Hop Artist at the BET Awards, where she lost to Missy Elliott. That same year, the album cut "W" was nominated for "Best Rap/Sung Collaboration," a new category, at the Grammy Awards; the song lost to Eve's "Let Me Blow Ya Mind," a collaboration with Gwen Stefani.

Indie Exclusive * Junior Walker’s debut album on Motown’s subsidiary label Soul. Includes the eponymous single, which reached #1 on the US R&B Singles chart for four weeks and peaked at #4 on the Billboard Hot 100. The group had several more hit songs, including “What Does It Take (To Win Your Love)” (also #1 R&B) and a cover of The Supremes’ song “Come See About Me.”

Indie Exclusive * Fourth studio album and fifth album overall by Martha and the Vandellas, led by Martha Reeves, one of the most unfairly underrated female soul singers ever. Includes the top 10 hit singles, “I’m Ready for Love” and “Jimmy Mack”, as well as the ballad “What Am I Gonna Do Without Your Love?” Recorded in 1966 by a cross-section of Motown’s leading producers, including Holland/Dozier/Holland, William “Smokey” Robinson and William “Mickey” Stevenson.

Indie Exclusive * Third album from former Temptations member David Ruffin, the LP made it into the US R&B Top Five in 1973. David Ruffin was ranked as one of the 100 Greatest Singers of All Time by Rolling Stone magazine in 2008, and was inducted into the Rock and Roll Hall of Fame in 1989 for his work with The Temptations. Marvin Gaye once said admiringly of Ruffin: “I heard in [his voice] a strength my own voice lacked.”

Indie Exclusive * First time on colored vinyl * Based in Indianapolis in the early 1970s, the group released only two obscure 45s in their recording career. Birthed from the same scene as the Ebony Rhythm Band, Amnesty had a political edge similar to LA Carnival and the hardest brass section since The Kashmere Stage Band. In 1973 Amnesty recorded five hard, vocal funk numbers alongside some ballads and a handful of demos based around nothing more than guitar accompaniment. Only two songs were ever released; Amnesty's biting, difficult-to-categorize prog/rock/soul/funk stretched far beyond Indianapolis's bounds and the band didn't have a label to take them to the next level. Five decades after they were recorded, these songs are funk arranged with dangerous complexity and performed with precision - arguably the most unique funk to originate from Naptown, and some of the best music of it's kind.

Indie Exclusive * First time on colored vinyl * Damon’s Song Of A Gypsy is generally regarded as one of the finest privately-pressed psychedelic rock records and has, for over twenty years, been one of the most sought after late 60s American rock artifacts. Bad bootlegs and scrappy reissues have spread his music, but left Damon’s story untouched, leaving Song of a Gypsy high on its own plateau: out of reach and indescribable. Finally, Damon’s story can be told. Under the supervision of Now-Again's Egon and Damon himself, and over a five year period, Song Of A Gypsy has been researched and documented, and has now been pitch-corrected and remastered.

Indie Exclusive * Released in 1972 on the Janus label, this record is Don Covay’s second collaboration with the Jefferson Lemon Blues Band following his departure from Atlantic Records. Largely recorded at the prestigious Muscle Shoals Studios, these cuts are an eclectic mix of funk, soul, gospel and rock, and highlight his admirable skills as a songwriter and producer. Marking five decades since its original release, this record is reissued here on heavyweight red virgin vinyl.

"Indie Exclusive * Released in 1973, this record was the first Al Wilson LP for the Rocky Road label. The hit title track ‘Show and Tell’ shot to the top of the US pop charts, and also reached top ten in the R&B charts. Due to some poor business decisions by his label, Wilson never truly got the credit he deserved as a contending hitmaker, but Hidle Brown Barnum’s arrangements here come packed with gritty horns, lustrous strings and sultry soul vocals. These 11 sides are certainly worth collecting for any true fan of mid-70s soul music. Pressed for the first time in five decades and reissued on heavyweight white virgin vinyl."

We’re celebrating the 30th anniversary of the debut album from legendary hip-hop collective The Pharcyde with this exclusive RSD Essential 2-LP set of Bizarre Ride II The Pharcyde, pressed on clear with yellow + purple splatter vinyl.

Originally released in 1992 through the iconic Delicious Vinyl, this RIAA Gold-certified album was featured as one of Rolling Stone’s 500 Greatest Albums of All Time.

This album features the singles “Passin’ Me By” “Ya Mama” and “Pack the Pipe”, and is a must-have for any West Coast hip-hop fan.