{"title":"Universal WK30 2026","description":null,"products":[{"product_id":"paul-mccartney-flowers-in-the-dirt-cd","title":"Paul McCartney - Flowers In The Dirt [CD]","description":"\u003cp\u003eFormat: CD\u003cbr\u003eCatalogue No.: 7896725\u003cbr\u003eBarcode: 0602478967252\u003cbr\u003eRelease Date: 01 May 2026\u003cbr\u003eGenre: Rock\u003c\/p\u003e\n\u003cp\u003eFlowers in the Dirt (1989) marked a creative resurgence for Paul McCartney, presenting him as a vital, contemporary songwriter at the close of the 1980s. Track highlights include the bright, harmony-filled “My Brave Face,” the heartfelt ballad “Put It There,” and the polished pop single “This One.” Several songs were co-written with Elvis Costello, a collaboration that sharpened McCartney’s lyrical edge and drew critical attention. Culturally, the album is often seen as a late-career comeback, reestablishing McCartney’s artistic credibility and introducing his music to a new generation of listeners. Available now on single CD.\u003c\/p\u003e\n\u003cp\u003eTracklist:\u003cbr\u003e1. My Brave Face\u003cbr\u003e2. Rough Ride\u003cbr\u003e3. You Want Her Too\u003cbr\u003e4. Distractions\u003cbr\u003e5. We Got Married\u003cbr\u003e6. Put It There\u003cbr\u003e7. Figure Of Eight\u003cbr\u003e8. This One\u003cbr\u003e9. Don’t Be Careless Love\u003cbr\u003e10. That Day Is Done\u003cbr\u003e11. How Many People\u003cbr\u003e12. Motor Of Love\u003cbr\u003e13. Où Est Le Soleil?\u003c\/p\u003e","brand":"UMR","offers":[{"title":"Default Title","offer_id":46494524801180,"sku":"7896725","price":14.86,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/cd_c11cc6f4-ae00-48a7-b66e-3ad21ee3f7c2.webp?v=1773163674"},{"product_id":"paul-mccartney-flaming-pie-cd","title":"Paul McCartney - Flaming Pie [CD]","description":"\u003cp\u003eFormat: CD\u003cbr\u003eCatalogue No.: 7896724\u003cbr\u003eBarcode: 0602478967245\u003cbr\u003eRelease Date: 01 May 2026\u003cbr\u003eGenre: Rock\u003c\/p\u003e\n\u003cp\u003eFlaming Pie (1997) is widely regarded as one of Paul McCartney’s strongest late-career albums, reflecting a relaxed, confident return to classic songwriting. Featuring the breezy “The World Tonight,” the reflective, lush “Young Boy,” and the tender, Grammy-winning ballad “Calico Skies”, the album blends modern production with McCartney’s timeless melodic sensibility, drawing on rock, pop, and acoustic influences. Flaming Pie reaffirmed McCartney’s relevance in the 1990s and was celebrated as a creative renewal that bridged his 60s legacy with contemporary audiences.\u003c\/p\u003e\n\u003cp\u003eTracklist:\u003cbr\u003e1. The Song We Were Singing\u003cbr\u003e2. The World Tonight\u003cbr\u003e3. If You Wanna\u003cbr\u003e4. Somedays\u003cbr\u003e5. Young Boy\u003cbr\u003e6. Calico Skies\u003cbr\u003e7. Flaming Pie\u003cbr\u003e8. Heaven On A Sunday\u003cbr\u003e9. Used To Be Bad\u003cbr\u003e10. Souvenir\u003cbr\u003e11. Little Willow\u003cbr\u003e12. Really Love You\u003cbr\u003e13. Beautiful Night\u003cbr\u003e14. Great Day\u003c\/p\u003e","brand":"UMR","offers":[{"title":"Default Title","offer_id":46494524833948,"sku":"7896724","price":14.86,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/1_f4a519db-6e61-436d-a2a0-3fa1206d5609.webp?v=1773163726"},{"product_id":"paul-mccartney-and-wings-red-rose-speedway-cd","title":"Paul McCartney and Wings - Red Rose Speedway [CD]","description":"\u003cp\u003eFormat: CD\u003cbr\u003eCatalogue No.: 7896726\u003cbr\u003eBarcode: 0602478967269\u003cbr\u003eRelease Date: 01 May 2026\u003cbr\u003eGenre: Rock\u003c\/p\u003e\n\u003cp\u003eRed Rose Speedway (1973) is Wings’ lush, romantic sophomore album, marking Paul McCartney’s growing confidence as a writer and bandleader. Track highlights include the chart-topping ballad “My Love,” the exuberant opener “Big Barn Bed,” and the tender, multi-sectioned “Little Lamb Dragonfly,” which showcase McCartney’s melodic strengths. Originally envisioned as a double album, it ultimately emerged as a streamlined collection with a polished, soft-rock sound. Red Rose Speedway helped solidify Wings as a commercially viable McCartney project and reinforced his dominance in early 1970s pop music. Available now on single CD.\u003c\/p\u003e\n\u003cp\u003eTracklist:\u003cbr\u003e1. Big Barn Bed\u003cbr\u003e2. My Love\u003cbr\u003e3. Get On The Right Thing\u003cbr\u003e4. One More Kiss\u003cbr\u003e5. Little Lamb Dragonfly\u003cbr\u003e6. Single Pigeon\u003cbr\u003e7. When The Night\u003cbr\u003e8. Loup (1st Indian On The Moon)\u003cbr\u003e9. Medley:\u003cbr\u003ea) Hold Me Tight\u003cbr\u003eb) Lazy Dynamite\u003cbr\u003ec) Hands Of Love\u003cbr\u003ed) Power Cut\u003c\/p\u003e","brand":"UMR","offers":[{"title":"Default Title","offer_id":46494525030556,"sku":"7896726","price":14.86,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/0_41331c10-ccb6-47d5-acdd-4a2177cd31a5.webp?v=1773164040"},{"product_id":"paul-mccartney-and-wings-wild-life-cd","title":"Paul McCartney and Wings - Wild Life [CD]","description":"\u003cp\u003eFormat: CD\u003cbr\u003eCatalogue No.: 7896729\u003cbr\u003eBarcode: 0602478967290\u003cbr\u003eRelease Date: 01 May 2026\u003cbr\u003eGenre: Rock\u003c\/p\u003e\n\u003cp\u003eOriginally released in December 1971, the beloved debut album from Wings established Paul McCartney’s newest music project as a bonafide rock band. Wild Life was written almost entirely by Paul and Linda McCartney, and was recorded in just over a week with the majority of tracks laid down in a single take. Featuring the yearning and politically charged title track, the funky “Love Is Strange” and the gentle acoustic ballad “Dear Friend”, Wild Life is a must-have title for the Wings collector. Available now on single CD.\u003c\/p\u003e\n\u003cp\u003eTracklist:\u003cbr\u003e1. Mumbo\u003cbr\u003e2. Bip Bop\u003cbr\u003e3. Love Is Strange\u003cbr\u003e4. Wild Life\u003cbr\u003e5. Some People Never Know\u003cbr\u003e6. I Am Your Singer\u003cbr\u003e7. Bip Bop (Link)\u003cbr\u003e8. Tomorrow\u003cbr\u003e9. Dear Friend\u003cbr\u003e10. Mumbo (Link)\u003c\/p\u003e","brand":"UMR","offers":[{"title":"Default Title","offer_id":46494525128860,"sku":"7896729","price":14.86,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/0_a68c79de-757d-4f10-b696-6e6f318d6775.webp?v=1773164099"},{"product_id":"westside-cowboy-it-goes-on-cd","title":"Westside Cowboy - It Goes On [CD]","description":"\u003cp\u003e\u003cspan\u003eFormat: CD\u003cbr\u003eCatalogue No.: 57978934\u003cbr\u003eBarcode: 199957978934\u003cbr\u003eRelease Date: 21 Aug 2026\u003cbr\u003eGenre: Indie\/Alternative\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e‘It Goes On’ is the debut album from Manchester-based four piece Westside Cowboy, released on 21st August 2026, and produced by Loren Humphrey.\u003c\/p\u003e\n\u003cp\u003eCD housed in a 4 panel digi-sleeve with lyric booklet.\u003c\/p\u003e\n\u003cp\u003eIn an age of algorithms, Westside Cowboy are pure-spirited proof of the magic that can only come from human connection. Just three years on from forming in Manchester, starting a band for the fun of it without so much as a plan to even play a gig, the quartet - Jimmy Bradbury (vocals, guitar), Reuben Haycocks (vocals, guitar), Aoife Anson O'Connell (vocals, bass) and Paddy Murphy (drums) - have crafted perhaps the year’s most exciting debut by simply figuring out what feels good, and following it into the horizon.\u003c\/p\u003e\n\u003cp\u003e\"There’s no computer that could make It Goes On. No formula to creating the joyous whack of emotion that comes from these four mates pooling their ideas and watching them fly. “If you go in with a preconceived notion of what you're doing, it’s sort of destined to fail because you’re not truly being yourself,” suggests Aoife. “So because we didn’t think we were gonna [do any of this] at the beginning, all we were thinking was: ‘What’s going to be the most enjoyable thing to play right now?’\"\u003c\/p\u003e\n\u003cp\u003eAoife, Reuben and Paddy all knew each other from the Royal Northern College of Music; Jimmy and Paddy had played in a band together a few years previously. When they decided to sit in a practice room as a quartet for the first time, there was only one rule for what would follow. “We just wanted to make simple music. I think the reason there was such chemistry - and when we look back, even after two weeks we were really working well together - is because it was such a simple statement of intent,” recalls Reuben. “Any time we’d disagree on something - which was very rare - we’d just consult the original mission statement: if you’ve got too many chords in it, you’re wrong.”\u003c\/p\u003e\n\u003cp\u003eA purposeful reaction against the “more abstract” styles they’d individually been dallying with before, Westside Cowboy swiftly became a place for concise, straight-hitting ideas influenced by “early rock’n’roll: Lonnie Donegan, The Beatles and The Velvet Underground,” says Paddy. Jimmy remembers spending the bulk of 2023 playing the first five songs of an Elvis Presley album on repeat. “When we started the band, people would ask who was in it and we’d be like, ‘We got this guy who works in a guitar shop, only listens to Elvis and dresses like Marty McFly - you know, that guy!’” Aoife laughs.\u003c\/p\u003e\n\u003cp\u003eIf these were the solid early seeds of Westside Cowboy, then the biggest thing that’s shaped them into the exploratory, melodically robust band they are now, has been their own journey. When they did start playing gigs (their first two shows were at a coffee shop, and for an animal rights charity), they found that their songs were being stretched and pushed forward in real time. Paddy notes that the true crux of It Goes On’s propulsive, heady opening track ‘Kick Stones (The Boys)’ is “as much about how we made it as the lyrics”.\u003c\/p\u003e\n\u003cp\u003e“We loved the way it felt to play, but we thought we couldn’t record it like that or people would think we wanted to be a stadium rock band,” Aoife jokes. Instead, they translated it through their own lens, using a live recording of The Velvet Underground’s ‘What Goes On’ as their primary reference point. “We always thought, if we can pull this off it could be really fun,” Paddy grins. “Taking this mad, ‘70s rock thing but then having it played by a bunch of scrawny kids.” Since those first shows, Westside Cowboy have found themselves notching up an increasingly wild list of live milestones. Last year, they won Glastonbury’s prestigious Emerging Talent Competition, leading them to an opening slot on the televised Woodsies Stage. Since then, they’ve toured with Black Country, New Road and Geese while, later this year, they’ll play their biggest headline gigs to date, including stop offs at London’s O2 Kentish Town Forum and Manchester’s Albert Hall. Winning the Glastonbury slot, says Reuben, felt like “the first moment that we realised we really were a band”. Now, with the making of It Goes On, Westside Cowboy have underlined exactly what kind of band they want to be.\u003c\/p\u003e\n\u003cp\u003eRecorded with producer Loren Humphrey (Geese, Cameron Winter, Wunderhorse) at Greenmount Studios in Leeds over a period that saw them thinking on their feet and remodelling their production into an even more directly energetic new form, there’s an urgency of feeling to It\u003c\/p\u003e\n\u003cp\u003eGoes On that could only ever really happen with a young group’s debut record. “First albums are often my favourites because you can tell there’s a point to prove. You’re firing on all cylinders because you know that this may never happen again,” says Paddy. “You’re trying to create these big feelings, but all you have with you to string it together is a pencil and a Pritt Stick.”\u003c\/p\u003e\n\u003cp\u003eBig feelings are at the heart of the matter: these are songs that aim to distill the confusion, desperation and blind hope of youth into eleven tracks that hit you in the chest. Westside Cowboy describe it as ‘the yank’. “There’s a major key, triumphant sound to some music - like the first Arcade Fire album, or ‘Someone Great’ by LCD Soundsystem - where there’s a persistence that’s contemporary and energetic, but also a simplicity,” Paddy continues. “It’s as though someone is shoving emotion into it in a way that feels like it’s reverberating,” Aoife nods. The lyrics across Westside Cowboy’s debut might often be up for interpretation, but the emotion that pours out of them is clear. On ‘Well Done Kid, You Did It’ they address the confusion of trying to make your way in a broken and terrifying world with the same cathartic forward motion of its central idea: that sometimes, all you can do is try your best. The rousing ‘Pin Up Boys’, explains Reuben, became “heavier and more aggro” every time they played it live; a mirror to its preoccupations with the struggles of self control. Meanwhile, though ‘Worried Age’ might wear its fears in its title, there’s a sense of defiance and resistance to its steadily escalating sonic scale that feels like strength. By the track’s raucous, screaming crescendo, the only answer is to come together and dance it out.\u003c\/p\u003e\n\u003cp\u003eIn a time of terrifying division and conflict, Westside Cowboy always try to focus on what unites us. Early on in the group’s life, they co-created No Band Is An Island: a Manchester-based collective putting on fundraising nights to spotlight both local artists and important issues via speakers from charities and direct action groups.I think we wanted to engage with politics in a way that felt more impactful beyond the music,” notes Aoife. In their current video for ‘Kick Stones (The Boys)’, they called upon the skills of FC United: a splinter team that started when Man United were sold to an American corporation. “They’re very community minded and they have a similar atmosphere to what we want to be,” says Reuben. “Their ethos is ‘making friends not millionaires’.”\u003c\/p\u003e\n\u003cp\u003eIt Goes On ends with ‘You Could Have Died There On The Dancefloor’: a track that the quartet purposefully wanted to leave as the record’s parting note. It’s a wide-eyed, open-hearted ellipsis that cuts to the core of everything that’s come before; the final air punch in the name of hope. “The final lyric is ‘I am everything but perfect \/ But I’m trying, so please keep me around,” smiles Reuben. “And that’s the spirit of Westside Cowboy.”\u003c\/p\u003e\n\u003cp\u003eTRACKLISTING:\u003cbr\u003eKick Stones (The Boys)\u003cbr\u003ePaper Chains\u003cbr\u003eDobro\u003cbr\u003eWell Done Kid, You Did It\u003cbr\u003eWorried Age\u003cbr\u003eBig Wheels\u003cbr\u003ePin Up Boys\u003cbr\u003eCoyote\u003cbr\u003ePatchwork\u003cbr\u003eTake My Leaving As I Love You\u003cbr\u003eYou Could Have Died There On The Dancefloor\u003c\/p\u003e","brand":"Island","offers":[{"title":"Default Title","offer_id":46928641097884,"sku":"5797893","price":13.89,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/WSCB-PRODUCT-CD-Cover_Disk.jpg?v=1779291787"},{"product_id":"westside-cowboy-it-goes-on-lp","title":"Westside Cowboy - It Goes On [LP]","description":"\u003cp\u003e\u003cspan\u003eFormat: LP\u003cbr\u003eCatalogue No.: 5795203\u003cbr\u003eBarcode: 199957952033\u003cbr\u003eRelease Date: 21 Aug 2026\u003cbr\u003eGenre: Indie\/Alternative\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e‘It Goes On’ is the debut album from Manchester-based four piece Westside Cowboy, released on 21st August 2026, and produced by Loren Humphrey.\u003c\/p\u003e\n\u003cp\u003e140g black recycled vinyl, housed in a printed jacket + coloured inner sleeve + 12” printed insert\u003c\/p\u003e\n\u003cp\u003eIn an age of algorithms, Westside Cowboy are pure-spirited proof of the magic that can only come from human connection. Just three years on from forming in Manchester, starting a band for the fun of it without so much as a plan to even play a gig, the quartet - Jimmy Bradbury (vocals, guitar), Reuben Haycocks (vocals, guitar), Aoife Anson O'Connell (vocals, bass) and Paddy Murphy (drums) - have crafted perhaps the year’s most exciting debut by simply figuring out what feels good, and following it into the horizon.\u003c\/p\u003e\n\u003cp\u003e\"There’s no computer that could make It Goes On. No formula to creating the joyous whack of emotion that comes from these four mates pooling their ideas and watching them fly. “If you go in with a preconceived notion of what you're doing, it’s sort of destined to fail because you’re not truly being yourself,” suggests Aoife. “So because we didn’t think we were gonna [do any of this] at the beginning, all we were thinking was: ‘What’s going to be the most enjoyable thing to play right now?’\"\u003c\/p\u003e\n\u003cp\u003eAoife, Reuben and Paddy all knew each other from the Royal Northern College of Music; Jimmy and Paddy had played in a band together a few years previously. When they decided to sit in a practice room as a quartet for the first time, there was only one rule for what would follow. “We just wanted to make simple music. I think the reason there was such chemistry - and when we look back, even after two weeks we were really working well together - is because it was such a simple statement of intent,” recalls Reuben. “Any time we’d disagree on something - which was very rare - we’d just consult the original mission statement: if you’ve got too many chords in it, you’re wrong.”\u003c\/p\u003e\n\u003cp\u003eA purposeful reaction against the “more abstract” styles they’d individually been dallying with before, Westside Cowboy swiftly became a place for concise, straight-hitting ideas influenced by “early rock’n’roll: Lonnie Donegan, The Beatles and The Velvet Underground,” says Paddy. Jimmy remembers spending the bulk of 2023 playing the first five songs of an Elvis Presley album on repeat. “When we started the band, people would ask who was in it and we’d be like, ‘We got this guy who works in a guitar shop, only listens to Elvis and dresses like Marty McFly - you know, that guy!’” Aoife laughs.\u003c\/p\u003e\n\u003cp\u003eIf these were the solid early seeds of Westside Cowboy, then the biggest thing that’s shaped them into the exploratory, melodically robust band they are now, has been their own journey. When they did start playing gigs (their first two shows were at a coffee shop, and for an animal rights charity), they found that their songs were being stretched and pushed forward in real time. Paddy notes that the true crux of It Goes On’s propulsive, heady opening track ‘Kick Stones (The Boys)’ is “as much about how we made it as the lyrics”.\u003c\/p\u003e\n\u003cp\u003e“We loved the way it felt to play, but we thought we couldn’t record it like that or people would think we wanted to be a stadium rock band,” Aoife jokes. Instead, they translated it through their own lens, using a live recording of The Velvet Underground’s ‘What Goes On’ as their primary reference point. “We always thought, if we can pull this off it could be really fun,” Paddy grins. “Taking this mad, ‘70s rock thing but then having it played by a bunch of scrawny kids.” Since those first shows, Westside Cowboy have found themselves notching up an increasingly wild list of live milestones. Last year, they won Glastonbury’s prestigious Emerging Talent Competition, leading them to an opening slot on the televised Woodsies Stage. Since then, they’ve toured with Black Country, New Road and Geese while, later this year, they’ll play their biggest headline gigs to date, including stop offs at London’s O2 Kentish Town Forum and Manchester’s Albert Hall. Winning the Glastonbury slot, says Reuben, felt like “the first moment that we realised we really were a band”. Now, with the making of It Goes On, Westside Cowboy have underlined exactly what kind of band they want to be.\u003c\/p\u003e\n\u003cp\u003eRecorded with producer Loren Humphrey (Geese, Cameron Winter, Wunderhorse) at Greenmount Studios in Leeds over a period that saw them thinking on their feet and remodelling their production into an even more directly energetic new form, there’s an urgency of feeling to It\u003c\/p\u003e\n\u003cp\u003eGoes On that could only ever really happen with a young group’s debut record. “First albums are often my favourites because you can tell there’s a point to prove. You’re firing on all cylinders because you know that this may never happen again,” says Paddy. “You’re trying to create these big feelings, but all you have with you to string it together is a pencil and a Pritt Stick.”\u003c\/p\u003e\n\u003cp\u003eBig feelings are at the heart of the matter: these are songs that aim to distill the confusion, desperation and blind hope of youth into eleven tracks that hit you in the chest. Westside Cowboy describe it as ‘the yank’. “There’s a major key, triumphant sound to some music - like the first Arcade Fire album, or ‘Someone Great’ by LCD Soundsystem - where there’s a persistence that’s contemporary and energetic, but also a simplicity,” Paddy continues. “It’s as though someone is shoving emotion into it in a way that feels like it’s reverberating,” Aoife nods. The lyrics across Westside Cowboy’s debut might often be up for interpretation, but the emotion that pours out of them is clear. On ‘Well Done Kid, You Did It’ they address the confusion of trying to make your way in a broken and terrifying world with the same cathartic forward motion of its central idea: that sometimes, all you can do is try your best. The rousing ‘Pin Up Boys’, explains Reuben, became “heavier and more aggro” every time they played it live; a mirror to its preoccupations with the struggles of self control. Meanwhile, though ‘Worried Age’ might wear its fears in its title, there’s a sense of defiance and resistance to its steadily escalating sonic scale that feels like strength. By the track’s raucous, screaming crescendo, the only answer is to come together and dance it out.\u003c\/p\u003e\n\u003cp\u003eIn a time of terrifying division and conflict, Westside Cowboy always try to focus on what unites us. Early on in the group’s life, they co-created No Band Is An Island: a Manchester-based collective putting on fundraising nights to spotlight both local artists and important issues via speakers from charities and direct action groups.I think we wanted to engage with politics in a way that felt more impactful beyond the music,” notes Aoife. In their current video for ‘Kick Stones (The Boys)’, they called upon the skills of FC United: a splinter team that started when Man United were sold to an American corporation. “They’re very community minded and they have a similar atmosphere to what we want to be,” says Reuben. “Their ethos is ‘making friends not millionaires’.”\u003c\/p\u003e\n\u003cp\u003eIt Goes On ends with ‘You Could Have Died There On The Dancefloor’: a track that the quartet purposefully wanted to leave as the record’s parting note. It’s a wide-eyed, open-hearted ellipsis that cuts to the core of everything that’s come before; the final air punch in the name of hope. “The final lyric is ‘I am everything but perfect \/ But I’m trying, so please keep me around,” smiles Reuben. “And that’s the spirit of Westside Cowboy.”\u003c\/p\u003e\n\u003cp\u003eTRACKLISTING:\u003cbr\u003eKick Stones (The Boys)\u003cbr\u003ePaper Chains\u003cbr\u003eDobro\u003cbr\u003eWell Done Kid, You Did It\u003cbr\u003eWorried Age\u003cbr\u003eBig Wheels\u003cbr\u003ePin Up Boys\u003cbr\u003eCoyote\u003cbr\u003ePatchwork\u003cbr\u003eTake My Leaving As I Love You\u003cbr\u003eYou Could Have Died There On The Dancefloor\u003c\/p\u003e","brand":"Island","offers":[{"title":"Default Title","offer_id":46928642179228,"sku":"5795203","price":22.61,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/WSCB-PRODUCT-INDIES-Back_Inner_Disk.jpg?v=1779291800"},{"product_id":"westside-cowboy-it-goes-on-red-lp","title":"Westside Cowboy - It Goes On [Red LP]","description":"\u003cp\u003e\u003cspan\u003eFormat: LP\u003cbr\u003eCatalogue No.: 5795204\u003cbr\u003eBarcode: 199957952040\u003cbr\u003eRelease Date: 21 Aug 2026\u003cbr\u003eGenre: Indie\/Alternative\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e‘It Goes On’ is the debut album from Manchester-based four piece Westside Cowboy, released on 21st August 2026, and produced by Loren Humphrey.\u003c\/p\u003e\n\u003cp\u003eLimited edition 140g red recycled vinyl, housed in a printed jacket + printed inner sleeve.\u003c\/p\u003e\n\u003cp\u003ePlease note due to being recycled vinyl, the colour gradient may vary.\u003c\/p\u003e\n\u003cp\u003eIn an age of algorithms, Westside Cowboy are pure-spirited proof of the magic that can only come from human connection. Just three years on from forming in Manchester, starting a band for the fun of it without so much as a plan to even play a gig, the quartet - Jimmy Bradbury (vocals, guitar), Reuben Haycocks (vocals, guitar), Aoife Anson O'Connell (vocals, bass) and Paddy Murphy (drums) - have crafted perhaps the year’s most exciting debut by simply figuring out what feels good, and following it into the horizon.\u003c\/p\u003e\n\u003cp\u003e\"There’s no computer that could make It Goes On. No formula to creating the joyous whack of emotion that comes from these four mates pooling their ideas and watching them fly. “If you go in with a preconceived notion of what you're doing, it’s sort of destined to fail because you’re not truly being yourself,” suggests Aoife. “So because we didn’t think we were gonna [do any of this] at the beginning, all we were thinking was: ‘What’s going to be the most enjoyable thing to play right now?’\"\u003c\/p\u003e\n\u003cp\u003eAoife, Reuben and Paddy all knew each other from the Royal Northern College of Music; Jimmy and Paddy had played in a band together a few years previously. When they decided to sit in a practice room as a quartet for the first time, there was only one rule for what would follow. “We just wanted to make simple music. I think the reason there was such chemistry - and when we look back, even after two weeks we were really working well together - is because it was such a simple statement of intent,” recalls Reuben. “Any time we’d disagree on something - which was very rare - we’d just consult the original mission statement: if you’ve got too many chords in it, you’re wrong.”\u003c\/p\u003e\n\u003cp\u003eA purposeful reaction against the “more abstract” styles they’d individually been dallying with before, Westside Cowboy swiftly became a place for concise, straight-hitting ideas influenced by “early rock’n’roll: Lonnie Donegan, The Beatles and The Velvet Underground,” says Paddy. Jimmy remembers spending the bulk of 2023 playing the first five songs of an Elvis Presley album on repeat. “When we started the band, people would ask who was in it and we’d be like, ‘We got this guy who works in a guitar shop, only listens to Elvis and dresses like Marty McFly - you know, that guy!’” Aoife laughs.\u003c\/p\u003e\n\u003cp\u003eIf these were the solid early seeds of Westside Cowboy, then the biggest thing that’s shaped them into the exploratory, melodically robust band they are now, has been their own journey. When they did start playing gigs (their first two shows were at a coffee shop, and for an animal rights charity), they found that their songs were being stretched and pushed forward in real time. Paddy notes that the true crux of It Goes On’s propulsive, heady opening track ‘Kick Stones (The Boys)’ is “as much about how we made it as the lyrics”.\u003c\/p\u003e\n\u003cp\u003e“We loved the way it felt to play, but we thought we couldn’t record it like that or people would think we wanted to be a stadium rock band,” Aoife jokes. Instead, they translated it through their own lens, using a live recording of The Velvet Underground’s ‘What Goes On’ as their primary reference point. “We always thought, if we can pull this off it could be really fun,” Paddy grins. “Taking this mad, ‘70s rock thing but then having it played by a bunch of scrawny kids.” Since those first shows, Westside Cowboy have found themselves notching up an increasingly wild list of live milestones. Last year, they won Glastonbury’s prestigious Emerging Talent Competition, leading them to an opening slot on the televised Woodsies Stage. Since then, they’ve toured with Black Country, New Road and Geese while, later this year, they’ll play their biggest headline gigs to date, including stop offs at London’s O2 Kentish Town Forum and Manchester’s Albert Hall. Winning the Glastonbury slot, says Reuben, felt like “the first moment that we realised we really were a band”. Now, with the making of It Goes On, Westside Cowboy have underlined exactly what kind of band they want to be.\u003c\/p\u003e\n\u003cp\u003eRecorded with producer Loren Humphrey (Geese, Cameron Winter, Wunderhorse) at Greenmount Studios in Leeds over a period that saw them thinking on their feet and remodelling their production into an even more directly energetic new form, there’s an urgency of feeling to It\u003c\/p\u003e\n\u003cp\u003eGoes On that could only ever really happen with a young group’s debut record. “First albums are often my favourites because you can tell there’s a point to prove. You’re firing on all cylinders because you know that this may never happen again,” says Paddy. “You’re trying to create these big feelings, but all you have with you to string it together is a pencil and a Pritt Stick.”\u003c\/p\u003e\n\u003cp\u003eBig feelings are at the heart of the matter: these are songs that aim to distill the confusion, desperation and blind hope of youth into eleven tracks that hit you in the chest. Westside Cowboy describe it as ‘the yank’. “There’s a major key, triumphant sound to some music - like the first Arcade Fire album, or ‘Someone Great’ by LCD Soundsystem - where there’s a persistence that’s contemporary and energetic, but also a simplicity,” Paddy continues. “It’s as though someone is shoving emotion into it in a way that feels like it’s reverberating,” Aoife nods. The lyrics across Westside Cowboy’s debut might often be up for interpretation, but the emotion that pours out of them is clear. On ‘Well Done Kid, You Did It’ they address the confusion of trying to make your way in a broken and terrifying world with the same cathartic forward motion of its central idea: that sometimes, all you can do is try your best. The rousing ‘Pin Up Boys’, explains Reuben, became “heavier and more aggro” every time they played it live; a mirror to its preoccupations with the struggles of self control. Meanwhile, though ‘Worried Age’ might wear its fears in its title, there’s a sense of defiance and resistance to its steadily escalating sonic scale that feels like strength. By the track’s raucous, screaming crescendo, the only answer is to come together and dance it out.\u003c\/p\u003e\n\u003cp\u003eIn a time of terrifying division and conflict, Westside Cowboy always try to focus on what unites us. Early on in the group’s life, they co-created No Band Is An Island: a Manchester-based collective putting on fundraising nights to spotlight both local artists and important issues via speakers from charities and direct action groups.I think we wanted to engage with politics in a way that felt more impactful beyond the music,” notes Aoife. In their current video for ‘Kick Stones (The Boys)’, they called upon the skills of FC United: a splinter team that started when Man United were sold to an American corporation. “They’re very community minded and they have a similar atmosphere to what we want to be,” says Reuben. “Their ethos is ‘making friends not millionaires’.”\u003c\/p\u003e\n\u003cp\u003eIt Goes On ends with ‘You Could Have Died There On The Dancefloor’: a track that the quartet purposefully wanted to leave as the record’s parting note. It’s a wide-eyed, open-hearted ellipsis that cuts to the core of everything that’s come before; the final air punch in the name of hope. “The final lyric is ‘I am everything but perfect \/ But I’m trying, so please keep me around,” smiles Reuben. “And that’s the spirit of Westside Cowboy.”\u003c\/p\u003e\n\u003cp\u003eTRACKLISTING:\u003cbr\u003eKick Stones (The Boys)\u003cbr\u003ePaper Chains\u003cbr\u003eDobro\u003cbr\u003eWell Done Kid, You Did It\u003cbr\u003eWorried Age\u003cbr\u003eBig Wheels\u003cbr\u003ePin Up Boys\u003cbr\u003eCoyote\u003cbr\u003ePatchwork\u003cbr\u003eTake My Leaving As I Love You\u003cbr\u003eYou Could Have Died There On The Dancefloor\u003c\/p\u003e","brand":"Island","offers":[{"title":"Default Title","offer_id":46928642965660,"sku":"5795204","price":26.66,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/WSCB-PRODUCT-STANDARD-Back_Inner_Disk.jpg?v=1779291876"},{"product_id":"insane-clown-posse-the-great-milenko-2lp","title":"Insane Clown Posse - The Great Milenko [2LP]","description":"\u003cp\u003eFormat: 2 x LP\u003cbr\u003eCatalogue No.: 5757437\u003cbr\u003eBarcode: 0199957574372\u003cbr\u003eRelease Date: 10 Jul 2026\u003cbr\u003eGenre: Hip Hop\/R\u0026amp;B\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1997, Insane Clown Posse's The Great Milenko didn’t just drop — it detonated.\u003cbr\u003eCensorship battles. Industry backlash. Platinum in spite of it all.\u003cbr\u003eNow the Joker's Card that defined a generation of Juggalos \u0026amp; Juggalettes taunts the world in glorious black vinyl with its full booklet for the first time - making it a must-have title for all core collectors and new fans of the twisted Dark Carnival alike. Contains “Hokus Pokus,” “Halls of Illusions,” and “What Is A Juggalo?” \u003cbr\u003eOften misunderstood but impossible to ignore, Insane Clown Posse built one of modern music’s most dedicated fan movements at a time when few artists could survive outside major-label orthodoxy. The Great Milenko became a lightning rod for cultural debate — and in the process, helped redefine what independent success could look like in hip-hop.\u003cbr\u003eWhoop whoop!\u003c\/p\u003e\n\u003cp\u003eTracklist:\u003cbr\u003eA1 Intro\u003cbr\u003eA2 Great Milenko\u003cbr\u003eA3 Hokus Pokus\u003cbr\u003eA4 Piggy Pie\u003cbr\u003e \u003cbr\u003eB1 How Many Times?\u003cbr\u003eB2 Southwest Voodoo\u003cbr\u003eB3 Halls Of Illusions\u003cbr\u003eB4 Under The Moon\u003cbr\u003e \u003cbr\u003eC1 What Is A Juggle\u003cbr\u003eC2 House Of Horrors\u003cbr\u003eC3 Boogie Woogie Wu\u003cbr\u003eC4 The Neden Game\u003cbr\u003e \u003cbr\u003eD1 Hellalujah\u003cbr\u003eD2 Down With The Clown\u003cbr\u003eD3 Just Like That\u003cbr\u003eD4 Pass Me By\u003cbr\u003e\u003c\/p\u003e","brand":"UMR","offers":[{"title":"Default Title","offer_id":46971854848156,"sku":"5757437","price":38.66,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/InsaneClownPosse_TheGreatMilenko_199957574372_Wide_ProductShot.jpg?v=1779899374"},{"product_id":"paul-heaton-jenius-cd","title":"Paul Heaton - Jenius [CD]","description":"\u003cp\u003eFormat: CD\u003cbr\u003eCatalogue No.: EMICD2158\u003cbr\u003eBarcode: 0600574204363\u003cbr\u003eRelease Date: 21 Aug 2026\u003cbr\u003eGenre: Rock\u003c\/p\u003e\n\u003cp\u003e1CD gatefold + booklet.\u003c\/p\u003e\n\u003cp\u003eAsk Paul Heaton how many songs he’s written and he’ll tell you he’s not really sure. Perhaps that’s unsurprising: this summer it’s 40 years since The Housemartins released their debut album, Hull: 0 London: 4, peaking at number 3 in Britain. Subsequently, he’s released, in various configurations – with The Housemartins and The Beautiful South, solo and with Jacqui Abbot, not to mention as Biscuit Boy  –another 21 studio albums, plenty going gold, some multi-platinum, as they’ve risen to the charts’ highest reaches. For each, moreover, he’ll have written many many more songs than he’ll ever include.\u003c\/p\u003e\n\u003cp\u003eNow, less than two years since The Mighty Several – itself his sixth album to go Top 5 in a dozen years – this prolific, poetic observer of human nature is back with another fifteen gems. “I've had stuff coming in and out of my brain since I was 17 or 18,” he laughs, “but I’m surprised the tunes keep popping into my head. You've got to get it out of your system, though. Writer’s block just sounds made-up. You don't get plumber's block. If your toilet's full of shit, you don't think, ‘Do you know what? I can't get my head around this.’ You either call a plumber or do it yourself. That's how I see it with songs. Don't leave it in there. Just get it out. Even if it's shit.”\u003c\/p\u003e\n\u003cp\u003eTo observers of the Manchester-dwelling songwriter, such self-effacement will be familiar. Few artists are as modest, a spirit Heaton carries over into his lifestyle, whether taking the tram to the studio when’s it raining or touring England by bike in 2010 (and the whole UK two years later.) “I've just tried to be myself,” he says, humble once more, “because I'm not a rotten person. I don't think most people are.” He’s also uncommonly willing to share his microphone, letting others make his songs their own. This time, Rianne Downey picks up where she left off on The Mighty Several – having first covered for an ailing Jacqui Abbott on tour in 2020 after Heaton discovered her on social media – while Ireland’s Declan O’Rourke brings out her Dolly Parton side on rambunctious country bacchanal, ‘The Whisky Did’.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eJenius, Heaton’s new album’s title, is a symptom of this unassuming style. “If anybody ever calls me a genius,” he explains, “I always say, ‘What?! With a J?!’ The spelling would obviously be wrong.” Fortunately, there’s nothing bashful about these songs, something reflected in the LP’s cover, the first to feature a photo of Heaton since the Housemartin’s debut album. Indeed, Jenius betrays the truth of his talents, and its songs – of love and loneliness, pubs and booze, community and counsel, a nod to football, the state of the nation, and the overall wisdom of kindness – are distinguished by his notably tender voice, his enchanting melodies and a meticulous, effortless craft. “If I can get a variety of people of all sorts of backgrounds to say, ‘Oh, that could be about me or you,’” he says, “then I've been successful”.\u003c\/p\u003e\n\u003cp\u003eSuch diversity isn’t restricted to his lyrics. Kicking off with ‘Can’t Get Next To You’’s rowdy three-chord rush and rounding things up with ‘A Son A Father’’s extravagant but barbed glam rock, Jenius dips its toes assuredly into rock ‘n’ roll, country, soul and ska, blues, Yacht Rock, even Latin terrain. Again, his duets are as charming and loaded as Nancy \u0026amp; Lee’s, yet, on the likes of the fragile ‘Jet Back Sky’ and bittersweet ‘Send In The Clowns’, he explores what he considers more “atmospheric” territory than ever before.\u003c\/p\u003e\n\u003cp\u003eAll of this is shot through with his quintessential blend of empathy, wit and contempt. His protagonists pine for the elusive (‘Can’t Get Next To You’) and revel in flaws (‘My Favourite Kind Of Idiot’). They find the best in their circumstances (‘She Ain’t Pretty’) or find themselves written out of history (‘Do Not Ask Me’). They commit to romance (‘I Want The Job’), watch it “screwed up or binned” (‘Sad Songs And Lawsuits’), or concede that it’s not for them (‘Good For The Bees’). They rail at racists (‘One Eye Open’) and berate buffoons (‘Send In The Clowns’), get pissed (‘Don’t Lean On Me’), and if at times they extol the benefits of maintaining good humour (‘Go Upstream’), at others they spotlight uncomfortable truths, like the insanity of humanity’s impatience (‘Before Before’). Indeed, there aren’t many chart-topping songwriters who can pack a punch with Heaton’s prowess, as when he crowns ‘A Son A Father’’s belting eulogy with “... Husband and a cunt.”\u003c\/p\u003e\n\u003cp\u003eJenius would be a remarkable album at any time, even more for a man who turned 64 this spring. But it’s still more remarkable because it sounds like it was a joy to make but was recorded as his ten-year marriage ended. There is, however, no point seeking clues to this development in its songs because they were begun in the months following The Mighty Several and penned, like so many before them, during cycling breaks in Holland. They were finished there, too, in a village north of Amsterdam, with guitarist Jonny Lexus. Having worked with Heaton since 2010’s Acid Country, this time he earned eight co-writing credits as well as helping arrange other tracks. “It's nice writing songs by yourself,” Heaton says. “…but it's really nice writing them with Jonny.”\u003c\/p\u003e\n\u003cp\u003eLike 2022’s N.K. Pop, Jenius was recorded in early 2026 at Manchester’s Blueprint Studios with a loyal coterie of associates. Bassist Chris Wise, who’s done a dozen years in Paul’s band and drummer Pete Marshall, a cool 17 years, returned again, though duties with Squeeze meant keyboardist Stephen Large was replaced by Toby Chapman. (“They all told him, ‘Just do the opposite of what you'd expect the song would need, and Paul would probably like that.’”) It was also produced, like The Mighty Several, by the legendary Ian Broudie. “Everybody in the band said he's the best who's worked on their instrument, and I could hear the difference,” Heaton says. “I think the production's probably even better this time because I've trusted him even more. I'm not technically musical, but he understands where I want to get to and he's given me shortcuts. I remember with The Housemartins I said something sounded ‘too milky’ and they're like, ‘What do you mean, ‘milky’?!’ It’s really nice to have somebody who translates that. He's like me, but with knowledge!”\u003c\/p\u003e\n\u003cp\u003eThis December marks forty years since Heaton’s first number one, The Housemartins’ cover of the Isley Jasper Isley’ song’ ‘Caravan Of Love’. That said, despite the many hits he’s had – from exuberant anthems like ‘Happy Hour’ to poignant portraits like ‘Old Red Eyes Is Back’, from platinum singles like ‘Rotterdam (Or Anywhere)’ to number one albums like Manchester Calling – Jenius feels like a real achievement. “I’m particularly proud I've done this record at all,” he admits. “I didn't want the band to see what was going on in my private life, but going into a studio and seeing your friends and people who love you was a break from what was happening. Normally I write happy tunes when I'm skipping to the shops, but I've not been out and about much, whistling. I don't know why it sounds like fun, but, yeah, it is, and I'm glad it sounds like fun.”\u003c\/p\u003e\n\u003cp\u003eUltimately, Heaton estimates he’s now written some four or five hundred songs. In so doing, he’s established – though he’s too self-deprecating to state this himself – his own distinctive, if unconventional brand of quasi-English folk. Moreover, these singular classics not only keep coming but somehow keep getting better. “Even though I treat it like a job,” he concludes, “it never feels like a job. When I go into writing mode, I take it seriously, even if I'm having a drink. I feel proud of the person I am when I'm writing. I’m really in the zone, as they say. Then I ruin it in moments of silliness afterwards!”\u003c\/p\u003e\n\u003cp\u003eSilly or serious, poignant or pointed, therein lies Paul Heaton’s Jenius.\u003c\/p\u003e\n\u003cp\u003eTracklisting:\u003cbr\u003e1.  Can’t Get Next To You\u003cbr\u003e2.  Favourite Kind Of Idiot\u003cbr\u003e3.  I Want The Job\u003cbr\u003e4.  Sad Songs And Lawsuits\u003cbr\u003e5.  She Ain’t Pretty\u003cbr\u003e6.  One Eye Open\u003cbr\u003e7.  Send In The Clowns\u003cbr\u003e8.  Do Not Ask Me\u003cbr\u003e9.  Don’t Lean On Me\u003cbr\u003e10. Jet Black Sky\u003cbr\u003e11. The Whisky Did\u003cbr\u003e12. Before Before\u003cbr\u003e13. Good For The Bees\u003cbr\u003e14. Go Upstream\u003cbr\u003e15. A Son A Father\u003c\/p\u003e","brand":"EMI","offers":[{"title":"Default Title","offer_id":46978014707868,"sku":"EMICD2158","price":13.89,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/CD_955d7269-a0bf-4d0b-965a-4c88e6506a22.jpg?v=1779959538"},{"product_id":"paul-heaton-jenius-2lp","title":"Paul Heaton - Jenius [2LP]","description":"\u003cp\u003eFormat: 2 x LP\u003cbr\u003eCatalogue No.: EMIV2158\u003cbr\u003eBarcode: 0600574204547\u003cbr\u003eRelease Date: 21 Aug 2026\u003cbr\u003eGenre: Rock\u003c\/p\u003e\n\u003cp\u003eDouble vinyl 180g black gatefold LP.\u003c\/p\u003e\n\u003cp\u003eAsk Paul Heaton how many songs he’s written and he’ll tell you he’s not really sure. Perhaps that’s unsurprising: this summer it’s 40 years since The Housemartins released their debut album, Hull: 0 London: 4, peaking at number 3 in Britain. Subsequently, he’s released, in various configurations – with The Housemartins and The Beautiful South, solo and with Jacqui Abbot, not to mention as Biscuit Boy  –another 21 studio albums, plenty going gold, some multi-platinum, as they’ve risen to the charts’ highest reaches. For each, moreover, he’ll have written many many more songs than he’ll ever include.\u003c\/p\u003e\n\u003cp\u003eNow, less than two years since The Mighty Several – itself his sixth album to go Top 5 in a dozen years – this prolific, poetic observer of human nature is back with another fifteen gems. “I've had stuff coming in and out of my brain since I was 17 or 18,” he laughs, “but I’m surprised the tunes keep popping into my head. You've got to get it out of your system, though. Writer’s block just sounds made-up. You don't get plumber's block. If your toilet's full of shit, you don't think, ‘Do you know what? I can't get my head around this.’ You either call a plumber or do it yourself. That's how I see it with songs. Don't leave it in there. Just get it out. Even if it's shit.”\u003c\/p\u003e\n\u003cp\u003eTo observers of the Manchester-dwelling songwriter, such self-effacement will be familiar. Few artists are as modest, a spirit Heaton carries over into his lifestyle, whether taking the tram to the studio when’s it raining or touring England by bike in 2010 (and the whole UK two years later.) “I've just tried to be myself,” he says, humble once more, “because I'm not a rotten person. I don't think most people are.” He’s also uncommonly willing to share his microphone, letting others make his songs their own. This time, Rianne Downey picks up where she left off on The Mighty Several – having first covered for an ailing Jacqui Abbott on tour in 2020 after Heaton discovered her on social media – while Ireland’s Declan O’Rourke brings out her Dolly Parton side on rambunctious country bacchanal, ‘The Whisky Did’.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eJenius, Heaton’s new album’s title, is a symptom of this unassuming style. “If anybody ever calls me a genius,” he explains, “I always say, ‘What?! With a J?!’ The spelling would obviously be wrong.” Fortunately, there’s nothing bashful about these songs, something reflected in the LP’s cover, the first to feature a photo of Heaton since the Housemartin’s debut album. Indeed, Jenius betrays the truth of his talents, and its songs – of love and loneliness, pubs and booze, community and counsel, a nod to football, the state of the nation, and the overall wisdom of kindness – are distinguished by his notably tender voice, his enchanting melodies and a meticulous, effortless craft. “If I can get a variety of people of all sorts of backgrounds to say, ‘Oh, that could be about me or you,’” he says, “then I've been successful”.\u003c\/p\u003e\n\u003cp\u003eSuch diversity isn’t restricted to his lyrics. Kicking off with ‘Can’t Get Next To You’’s rowdy three-chord rush and rounding things up with ‘A Son A Father’’s extravagant but barbed glam rock, Jenius dips its toes assuredly into rock ‘n’ roll, country, soul and ska, blues, Yacht Rock, even Latin terrain. Again, his duets are as charming and loaded as Nancy \u0026amp; Lee’s, yet, on the likes of the fragile ‘Jet Back Sky’ and bittersweet ‘Send In The Clowns’, he explores what he considers more “atmospheric” territory than ever before.\u003c\/p\u003e\n\u003cp\u003eAll of this is shot through with his quintessential blend of empathy, wit and contempt. His protagonists pine for the elusive (‘Can’t Get Next To You’) and revel in flaws (‘My Favourite Kind Of Idiot’). They find the best in their circumstances (‘She Ain’t Pretty’) or find themselves written out of history (‘Do Not Ask Me’). They commit to romance (‘I Want The Job’), watch it “screwed up or binned” (‘Sad Songs And Lawsuits’), or concede that it’s not for them (‘Good For The Bees’). They rail at racists (‘One Eye Open’) and berate buffoons (‘Send In The Clowns’), get pissed (‘Don’t Lean On Me’), and if at times they extol the benefits of maintaining good humour (‘Go Upstream’), at others they spotlight uncomfortable truths, like the insanity of humanity’s impatience (‘Before Before’). Indeed, there aren’t many chart-topping songwriters who can pack a punch with Heaton’s prowess, as when he crowns ‘A Son A Father’’s belting eulogy with “... Husband and a cunt.”\u003c\/p\u003e\n\u003cp\u003eJenius would be a remarkable album at any time, even more for a man who turned 64 this spring. But it’s still more remarkable because it sounds like it was a joy to make but was recorded as his ten-year marriage ended. There is, however, no point seeking clues to this development in its songs because they were begun in the months following The Mighty Several and penned, like so many before them, during cycling breaks in Holland. They were finished there, too, in a village north of Amsterdam, with guitarist Jonny Lexus. Having worked with Heaton since 2010’s Acid Country, this time he earned eight co-writing credits as well as helping arrange other tracks. “It's nice writing songs by yourself,” Heaton says. “…but it's really nice writing them with Jonny.”\u003c\/p\u003e\n\u003cp\u003eLike 2022’s N.K. Pop, Jenius was recorded in early 2026 at Manchester’s Blueprint Studios with a loyal coterie of associates. Bassist Chris Wise, who’s done a dozen years in Paul’s band and drummer Pete Marshall, a cool 17 years, returned again, though duties with Squeeze meant keyboardist Stephen Large was replaced by Toby Chapman. (“They all told him, ‘Just do the opposite of what you'd expect the song would need, and Paul would probably like that.’”) It was also produced, like The Mighty Several, by the legendary Ian Broudie. “Everybody in the band said he's the best who's worked on their instrument, and I could hear the difference,” Heaton says. “I think the production's probably even better this time because I've trusted him even more. I'm not technically musical, but he understands where I want to get to and he's given me shortcuts. I remember with The Housemartins I said something sounded ‘too milky’ and they're like, ‘What do you mean, ‘milky’?!’ It’s really nice to have somebody who translates that. He's like me, but with knowledge!”\u003c\/p\u003e\n\u003cp\u003eThis December marks forty years since Heaton’s first number one, The Housemartins’ cover of the Isley Jasper Isley’ song’ ‘Caravan Of Love’. That said, despite the many hits he’s had – from exuberant anthems like ‘Happy Hour’ to poignant portraits like ‘Old Red Eyes Is Back’, from platinum singles like ‘Rotterdam (Or Anywhere)’ to number one albums like Manchester Calling – Jenius feels like a real achievement. “I’m particularly proud I've done this record at all,” he admits. “I didn't want the band to see what was going on in my private life, but going into a studio and seeing your friends and people who love you was a break from what was happening. Normally I write happy tunes when I'm skipping to the shops, but I've not been out and about much, whistling. I don't know why it sounds like fun, but, yeah, it is, and I'm glad it sounds like fun.”\u003c\/p\u003e\n\u003cp\u003eUltimately, Heaton estimates he’s now written some four or five hundred songs. In so doing, he’s established – though he’s too self-deprecating to state this himself – his own distinctive, if unconventional brand of quasi-English folk. Moreover, these singular classics not only keep coming but somehow keep getting better. “Even though I treat it like a job,” he concludes, “it never feels like a job. When I go into writing mode, I take it seriously, even if I'm having a drink. I feel proud of the person I am when I'm writing. I’m really in the zone, as they say. Then I ruin it in moments of silliness afterwards!”\u003c\/p\u003e\n\u003cp\u003eSilly or serious, poignant or pointed, therein lies Paul Heaton’s Jenius.\u003c\/p\u003e\n\u003cp\u003eTracklisting:\u003cbr\u003e1.  Can’t Get Next To You\u003cbr\u003e2.  Favourite Kind Of Idiot\u003cbr\u003e3.  I Want The Job\u003cbr\u003e4.  Sad Songs And Lawsuits\u003cbr\u003e5.  She Ain’t Pretty\u003cbr\u003e6.  One Eye Open\u003cbr\u003e7.  Send In The Clowns\u003cbr\u003e8.  Do Not Ask Me\u003cbr\u003e9.  Don’t Lean On Me\u003cbr\u003e10. Jet Black Sky\u003cbr\u003e11. The Whisky Did\u003cbr\u003e12. Before Before\u003cbr\u003e13. Good For The Bees\u003cbr\u003e14. Go Upstream\u003cbr\u003e15. A Son A Father\u003c\/p\u003e","brand":"EMI","offers":[{"title":"Default Title","offer_id":46978014740636,"sku":"EMIV2158","price":33.12,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/BLACKLP_cbcec2df-a083-421b-88ed-d162af23b2fa.jpg?v=1779959532"},{"product_id":"paul-heaton-jenius-2lp-white","title":"Paul Heaton - Jenius [2LP White]","description":"\u003cp\u003eFormat: 2 x LP\u003cbr\u003eCatalogue No.: EMIVX2158\u003cbr\u003eBarcode: 0600574204554\u003cbr\u003eRelease Date: 21 Aug 2026\u003cbr\u003eGenre: Rock\u003c\/p\u003e\n\u003cp\u003eDouble vinyl 180g white gatefold LP.\u003c\/p\u003e\n\u003cp\u003eAsk Paul Heaton how many songs he’s written and he’ll tell you he’s not really sure. Perhaps that’s unsurprising: this summer it’s 40 years since The Housemartins released their debut album, Hull: 0 London: 4, peaking at number 3 in Britain. Subsequently, he’s released, in various configurations – with The Housemartins and The Beautiful South, solo and with Jacqui Abbot, not to mention as Biscuit Boy  –another 21 studio albums, plenty going gold, some multi-platinum, as they’ve risen to the charts’ highest reaches. For each, moreover, he’ll have written many many more songs than he’ll ever include.\u003c\/p\u003e\n\u003cp\u003eNow, less than two years since The Mighty Several – itself his sixth album to go Top 5 in a dozen years – this prolific, poetic observer of human nature is back with another fifteen gems. “I've had stuff coming in and out of my brain since I was 17 or 18,” he laughs, “but I’m surprised the tunes keep popping into my head. You've got to get it out of your system, though. Writer’s block just sounds made-up. You don't get plumber's block. If your toilet's full of shit, you don't think, ‘Do you know what? I can't get my head around this.’ You either call a plumber or do it yourself. That's how I see it with songs. Don't leave it in there. Just get it out. Even if it's shit.”\u003c\/p\u003e\n\u003cp\u003eTo observers of the Manchester-dwelling songwriter, such self-effacement will be familiar. Few artists are as modest, a spirit Heaton carries over into his lifestyle, whether taking the tram to the studio when’s it raining or touring England by bike in 2010 (and the whole UK two years later.) “I've just tried to be myself,” he says, humble once more, “because I'm not a rotten person. I don't think most people are.” He’s also uncommonly willing to share his microphone, letting others make his songs their own. This time, Rianne Downey picks up where she left off on The Mighty Several – having first covered for an ailing Jacqui Abbott on tour in 2020 after Heaton discovered her on social media – while Ireland’s Declan O’Rourke brings out her Dolly Parton side on rambunctious country bacchanal, ‘The Whisky Did’.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eJenius, Heaton’s new album’s title, is a symptom of this unassuming style. “If anybody ever calls me a genius,” he explains, “I always say, ‘What?! With a J?!’ The spelling would obviously be wrong.” Fortunately, there’s nothing bashful about these songs, something reflected in the LP’s cover, the first to feature a photo of Heaton since the Housemartin’s debut album. Indeed, Jenius betrays the truth of his talents, and its songs – of love and loneliness, pubs and booze, community and counsel, a nod to football, the state of the nation, and the overall wisdom of kindness – are distinguished by his notably tender voice, his enchanting melodies and a meticulous, effortless craft. “If I can get a variety of people of all sorts of backgrounds to say, ‘Oh, that could be about me or you,’” he says, “then I've been successful”.\u003c\/p\u003e\n\u003cp\u003eSuch diversity isn’t restricted to his lyrics. Kicking off with ‘Can’t Get Next To You’’s rowdy three-chord rush and rounding things up with ‘A Son A Father’’s extravagant but barbed glam rock, Jenius dips its toes assuredly into rock ‘n’ roll, country, soul and ska, blues, Yacht Rock, even Latin terrain. Again, his duets are as charming and loaded as Nancy \u0026amp; Lee’s, yet, on the likes of the fragile ‘Jet Back Sky’ and bittersweet ‘Send In The Clowns’, he explores what he considers more “atmospheric” territory than ever before.\u003c\/p\u003e\n\u003cp\u003eAll of this is shot through with his quintessential blend of empathy, wit and contempt. His protagonists pine for the elusive (‘Can’t Get Next To You’) and revel in flaws (‘My Favourite Kind Of Idiot’). They find the best in their circumstances (‘She Ain’t Pretty’) or find themselves written out of history (‘Do Not Ask Me’). They commit to romance (‘I Want The Job’), watch it “screwed up or binned” (‘Sad Songs And Lawsuits’), or concede that it’s not for them (‘Good For The Bees’). They rail at racists (‘One Eye Open’) and berate buffoons (‘Send In The Clowns’), get pissed (‘Don’t Lean On Me’), and if at times they extol the benefits of maintaining good humour (‘Go Upstream’), at others they spotlight uncomfortable truths, like the insanity of humanity’s impatience (‘Before Before’). Indeed, there aren’t many chart-topping songwriters who can pack a punch with Heaton’s prowess, as when he crowns ‘A Son A Father’’s belting eulogy with “... Husband and a cunt.”\u003c\/p\u003e\n\u003cp\u003eJenius would be a remarkable album at any time, even more for a man who turned 64 this spring. But it’s still more remarkable because it sounds like it was a joy to make but was recorded as his ten-year marriage ended. There is, however, no point seeking clues to this development in its songs because they were begun in the months following The Mighty Several and penned, like so many before them, during cycling breaks in Holland. They were finished there, too, in a village north of Amsterdam, with guitarist Jonny Lexus. Having worked with Heaton since 2010’s Acid Country, this time he earned eight co-writing credits as well as helping arrange other tracks. “It's nice writing songs by yourself,” Heaton says. “…but it's really nice writing them with Jonny.”\u003c\/p\u003e\n\u003cp\u003eLike 2022’s N.K. Pop, Jenius was recorded in early 2026 at Manchester’s Blueprint Studios with a loyal coterie of associates. Bassist Chris Wise, who’s done a dozen years in Paul’s band and drummer Pete Marshall, a cool 17 years, returned again, though duties with Squeeze meant keyboardist Stephen Large was replaced by Toby Chapman. (“They all told him, ‘Just do the opposite of what you'd expect the song would need, and Paul would probably like that.’”) It was also produced, like The Mighty Several, by the legendary Ian Broudie. “Everybody in the band said he's the best who's worked on their instrument, and I could hear the difference,” Heaton says. “I think the production's probably even better this time because I've trusted him even more. I'm not technically musical, but he understands where I want to get to and he's given me shortcuts. I remember with The Housemartins I said something sounded ‘too milky’ and they're like, ‘What do you mean, ‘milky’?!’ It’s really nice to have somebody who translates that. He's like me, but with knowledge!”\u003c\/p\u003e\n\u003cp\u003eThis December marks forty years since Heaton’s first number one, The Housemartins’ cover of the Isley Jasper Isley’ song’ ‘Caravan Of Love’. That said, despite the many hits he’s had – from exuberant anthems like ‘Happy Hour’ to poignant portraits like ‘Old Red Eyes Is Back’, from platinum singles like ‘Rotterdam (Or Anywhere)’ to number one albums like Manchester Calling – Jenius feels like a real achievement. “I’m particularly proud I've done this record at all,” he admits. “I didn't want the band to see what was going on in my private life, but going into a studio and seeing your friends and people who love you was a break from what was happening. Normally I write happy tunes when I'm skipping to the shops, but I've not been out and about much, whistling. I don't know why it sounds like fun, but, yeah, it is, and I'm glad it sounds like fun.”\u003c\/p\u003e\n\u003cp\u003eUltimately, Heaton estimates he’s now written some four or five hundred songs. In so doing, he’s established – though he’s too self-deprecating to state this himself – his own distinctive, if unconventional brand of quasi-English folk. Moreover, these singular classics not only keep coming but somehow keep getting better. “Even though I treat it like a job,” he concludes, “it never feels like a job. When I go into writing mode, I take it seriously, even if I'm having a drink. I feel proud of the person I am when I'm writing. I’m really in the zone, as they say. Then I ruin it in moments of silliness afterwards!”\u003c\/p\u003e\n\u003cp\u003eSilly or serious, poignant or pointed, therein lies Paul Heaton’s Jenius.\u003c\/p\u003e\n\u003cp\u003eTracklisting:\u003cbr\u003e1.  Can’t Get Next To You\u003cbr\u003e2.  Favourite Kind Of Idiot\u003cbr\u003e3.  I Want The Job\u003cbr\u003e4.  Sad Songs And Lawsuits\u003cbr\u003e5.  She Ain’t Pretty\u003cbr\u003e6.  One Eye Open\u003cbr\u003e7.  Send In The Clowns\u003cbr\u003e8.  Do Not Ask Me\u003cbr\u003e9.  Don’t Lean On Me\u003cbr\u003e10. Jet Black Sky\u003cbr\u003e11. The Whisky Did\u003cbr\u003e12. Before Before\u003cbr\u003e13. Good For The Bees\u003cbr\u003e14. Go Upstream\u003cbr\u003e15. A Son A Father\u003c\/p\u003e","brand":"EMI","offers":[{"title":"Default Title","offer_id":46978014773404,"sku":"EMIV2158","price":36.35,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/WHITELP.jpg?v=1779959525"},{"product_id":"dance-gavin-dance-downtown-battle-mountain-eco-black-vinyl","title":"Dance Gavin Dance - Downtown Battle Mountain [Eco Black Vinyl]","description":"\u003cp\u003eFormat: LP\u003cbr\u003eCatalogue No.: 964231101\u003cbr\u003eBarcode: 4099964231106\u003cbr\u003eRelease Date: 21 Aug 2026\u003cbr\u003eGenre: Punk\/Hardcore\u003c\/p\u003e\n\u003cp\u003eRepress of Dance Gavin Dance’s hugely influential 2007 album Downtown Battle Mountain on environmentally-friendly eco black vinyl for the first time.\u003c\/p\u003e\n\u003cp\u003eTRACKLIST:\u003cbr\u003eSide 1\u003cbr\u003e1. Untitled\u003cbr\u003e2. And I Told Them I Invented Times New Roman\u003cbr\u003e3. 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(Music from and Inspired by K-POPS! Motion Picture), a bold cross-cultural soundtrack accompanying his Netflix directorial debut. Featuring an all-star lineup including G-DRAGON, aespa, JID, DEAN, NMIXX, and members of SEVENTEEN, ATEEZ, and i-dle, the 17-track project blends K-pop, R\u0026amp;B, hip-hop, and soul into a vibrant celebration of music and storytelling. More than a soundtrack, K-POPS! captures the spirit of collaboration, connection, and global creativity at the heart of the film.\u003c\/p\u003e\n\u003cp\u003eSide A\u003cbr\u003e1. Flashing Lights - Crush and Anderson .Paak\u003cbr\u003e2. Caution - NMIXX and Anderson .Paak\u003cbr\u003e3. Aftertaste - DEAN and Anderson .Paak\u003cbr\u003e4. PITC (Party In The Corner) - Jay Park, HONGJOONG of ATEEZ and Anderson .Paak\u003cbr\u003e5. Fire With Fire - LNGSHOT\u003c\/p\u003e\n\u003cp\u003eSide B\u003cbr\u003e6. Can’t Get Enough – ALISSIA and Anderson .Paak\u003cbr\u003e7. Bet - CHUNG HA and Anderson .Paak\u003cbr\u003e8. 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More than a soundtrack, K-POPS! captures the spirit of collaboration, connection, and global creativity at the heart of the film.\u003c\/p\u003e\n\u003cp\u003e1. “Flashing Lights” - Crush \u0026amp; Anderson .Paak\u003cbr\u003e2. “Caution” - NMIXX \u0026amp; Anderson .Paak\u003cbr\u003e3. “Aftertaste (Inspired by the Original Motion Picture K-POPS!)” - DEAN \u0026amp; Anderson .Paak\u003cbr\u003e4. “PITC (Party In The Corner)” - HONGJOONG of ATEEZ, Jay Park \u0026amp; Anderson .Paak\u003cbr\u003e5. “Fire With Fire” - LNGSHOT\u003cbr\u003e6. “Can’t Get Enough” - Alissia \u0026amp; Anderson .Paak\u003cbr\u003e7. “Bet On U” - CHUNG HA \u0026amp; Anderson .Paak\u003cbr\u003e8. “International” - SOYEON of i-dle \u0026amp; Anderson .Paak\u003cbr\u003e9. “What About Us” - JID \u0026amp; Anderson .Paak\u003cbr\u003e10. “Wanna Buy A Plant + Cost Me” - JO1 \u0026amp; Anderson .Paak\u003cbr\u003e11. “Keychain (Inspired by the Original Motion Picture K-POPS!)” - aespa \u0026amp; Anderson .Paak\u003cbr\u003e12. “One More Dance” - JOSHUA of SEVENTEEN \u0026amp; Corbyn Besson\u003cbr\u003e13. “Wildcard” - Kevin Woo\u003cbr\u003e14. “Just One Bite” - Kevin Woo\u003cbr\u003e15. “Too Bad (K-POPS! 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After joining the Chess Records family through its Checker imprint in the early 1960s, the Mississippi-born singer, guitarist, and songwriter revitalized the label with a new sound. The title track, a stirring anthem for the growing civil rights movement, topped the R\u0026amp;B chart for three weeks straight. The album showcases Milton’s vocal control and expert phrasing which defined Milton’s crossover success. Other key tracks include “Who’s Cheating Who?,” “Blind Man,” and “Stand By Me.”\u003cbr\u003eBring home the sound of America’s greatest blues label in high fidelity with the Chess Records Acoustic Sounds Series. These audiophile reissues of classic albums and compilations from the Chess discography are remastered from the original analog tapes and pressed on 180-gram vinyl at Quality Record Pressings (QRP). 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