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Pop - Released October 8, 2021 | Rhino - Warner Records

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Metal - Released October 1, 2021 | Rhino - Warner Records

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Metal - Released September 24, 2021 | Rhino - Warner Records

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Metal - Released September 10, 2021 | Rhino - Warner Records

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Pop - Released August 26, 2021 | Rhino - Warner Records

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Metal - Released August 20, 2021 | Rhino - Warner Records

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Alternative & Indie - Released August 20, 2021 | Rhino - Warner Records

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Alternative & Indie - Released August 13, 2021 | Rhino - Warner Records

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Alternative & Indie - Released August 6, 2021 | Rhino - Warner Records

Set aside all romantic notions about unfinished and unreleased albums: most scrapped albums are shelved because they're not very good. Certainly, that's the case with the Original Memphis Recordings of Give Out But Don't Give Up, the 1994 album that found Primal Scream reckoning with the American South without considering what may lie beneath the surface. Certainly, the cover of the original album -- which showcased a lit-up stars-and-bars -- illustrated that Primal Scream didn't care much for the intricacies of American politics, but what's really shocking about the original sessions showcased on this 2018 release is how they don't seem all that interested in American music, either. At best, the group work up a head of steam that recalls older British bands reckoning with American music -- "Rocks" is a Faces pastiche so good Rod Stewart would later bestow it with a cover -- and whenever the band try to relax into a groove, they wind up sounding messy. This is especially true of the second disc, which finds the group stumbling through their originals and covers with an equal sense of blindness. At first, the looseness is alluring, suggesting the listener is eavesdropping on the sessions, but soon the entire proceedings grow frustrating because it's clear that Primal Scream have no idea what they're doing. Listening to this set, it's little wonder Alan McGee decided to throw money at George Drakoulias to get this to sound a little bit like the Black Crowes: it was the only way to salvage the money, time, and effort Creation and Primal Scream spent on this misguided folly. © Stephen Thomas Erlewine /TiVo
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Metal - Released August 5, 2021 | Rhino - Warner Records

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Pop - Released July 30, 2021 | Rhino - Warner Records

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R&B - Released July 16, 2021 | Rhino - Warner Records

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R&B - Released July 9, 2021 | Rhino - Warner Records

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Pop/Rock - Released July 2, 2021 | Rhino - Warner Records

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After publishing Archives-Vol. 1: The Early Years (1963-1967), an imposing box set of Joni Mitchell's recordings, running to 119 mostly unreleased tracks that date from before her first official record, there now comes a collection of well-made, overdue remasterings of her studio albums. As its title suggests, The Reprise Albums (1968-1971) brings together the first four of these: Song to a Seagull (March 1968), Clouds (May 1969), Ladies of the Canyon (April 1970) and Blue (June 1971). The first four and nothing else! That means that we dispense with the usual alternative takes and other unreleased demos that we would usually find on this kind of reissue: the focus here is on the essentials. And what is essential here is a young woman gradually extracting herself from a folk idiom (the Canadian always hated being labelled a folk-singer) and creating her own language. This is an identity that takes shape from Songs to a Seagull onwards. The young Mitchell even entrusted the former Byrd, David Crosby, with the production of this first effort, which she divided into two sides: I Came to the City which looks towards the city, and Out of the City and Down by the Seaside, which turns towards nature. Joni Mitchell develops these themes with her open tuning, her high, clear, mesmerising voice, and a certain melodic richness. A big drawback to Songs to a Seagull is its original mix, which sounds almost shameful. This error was rectified for the 2021 re-release by sound engineer Matt Lee. “The original mix was atrocious. It sounded like it was recorded under a jello bowl, so I fixed it!” With Clouds, Joni Mitchell ploughs a similar furrow, but with greater harmonic and instrumental richness. The themes she addresses on this second album remain transparent enough, from the personal and introspective (I Don't Know Where I Stand) to the tormented and fearful (The Fiddle and the Drum), but the music has become denser.This feeling will intensify with Ladies of the Canyon, a hit which boosted her reputation. This third album saw the singer transform her folk sound with richer lyrics and increasingly subtle arrangements. Joni Mitchell was achieving unprecedented sophistication and becoming a unique star in the orbit of Crosby, Stills, Nash and Young, to whom she was still very much attached. Critics and audiences quickly fell in love with all of these quirks. But in spite of her fame she still yearned for freedom, and to get away from the limelight. So after Ladies of the Canyon was recorded, naturally Joni Mitchell wanted to set out travelling.One year later, Blue came out. Her fourth album on Reprise, it proved a cornerstone of her introspective, stripped-down folk sound. For all its lack of artifice and repetitive ingredients, this was a work of peerless grace and depth. A masterpiece conceived as a private journal set to music, it marked a real turning point in the career of the 28-year-old musician. This remaster offers up a definitive version. And that is just one more reason why The Reprise Albums (1968-1971) are totally in-dis-pen-sa-ble! © Marc Zisman/Qobuz
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Pop - Released July 2, 2021 | Rhino - Warner Records

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Rock - Released June 25, 2021 | Rhino - Warner Records

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R&B - Released June 25, 2021 | Rhino - Warner Records

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Pop - Released June 21, 2021 | Rhino - Warner Records

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Metal - Released June 11, 2021 | Rhino - Warner Records

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Pop - Released June 4, 2021 | Rhino - Warner Records